In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

Passage: Bellette and Haefliger returned to Australia just before the outbreak of World War II. Shortly after her arrival, Bellette held an exhibition at Sydney's Macquarie Galleries. The couple became influential members of the Sydney Art Group, a network of "fashionable" moderns whose membership included William Dobell and Russell Drysdale. Bellette painted and held regular shows – "a solo show every second year and a group show every year at the Macquarie Galleries". Her husband served as art critic for The Sydney Morning Herald for a decade and a half.In 1942, Bellette won the Sir John Sulman Prize with For Whom the Bell Tolls. She won it again in 1944 with her painting Iphigenia in Tauris, inspired by Euripides' play. The composition is set in a dry, open landscape, with several riders on horses whose appearance suggests "the Australian present, rather than Greek antiquity". The judge awarding the prize actually preferred another of her entries, Electra, depicting the sister of Iphigenia also prominent in Greek tragedy – but it failed to meet the size requirements. Both Iphigenia in Tauris and Electra were among the many works created by Bellette in the 1940s that were inspired by the tragedies of Euripides, Sophocles and Homer. Her choice of subject matter and approach placed her at odds with mainstream modernism, while she seemed to shun explicit links between the classical and the Australian. Bellette reasoned that she preferred to choose her palette and the spatial arrangements of her compositions to evoke a place's atmosphere. Critics identified the influence of European modernists Aristide Maillol and Giorgio de Chirico, as well as Italian Quattrocento painters Masaccio and Piero della Francesca, about some of whom Bellette wrote articles in the journal Art in Australia.The most distinctive feature of the artist's work was this choice of classical subjects. In 1946, Bellette's paintings were hung in at least four separate exhibitions. Reviewers commented on her synthesis of "the impulsiveness of romanticism and the deliberateness of classicism", and her "romantically classical" approach. Despite the generally positive views, there were some reservations, particularly that the artist might be at risk of settling upon, and then repeating, a formula in her work. Bellette's treatment of classical subjects extended beyond conventional painting; in 1947 she created a textile design, titled "myths and legends", and in 1948 she created the sets for a production of Shakespeare's Pericles, Prince of Tyre. Her "vigorous imaginativeness" was well reviewed, though the acting was not. 
Question: Whose "vigorous imaginativeness" was commented upon?
Bellette.

Passage: Zappa expressed opinions on censorship when he appeared on CNN's Crossfire TV series and debated issues with Washington Times commentator John Lofton in 1986. On September 19, 1985, Zappa testified before the United States Senate Commerce, Technology, and Transportation committee, attacking the Parents Music Resource Center or PMRC, a music organization co-founded by Tipper Gore, wife of then-senator Al Gore. The PMRC consisted of many wives of politicians, including the wives of five members of the committee, and was founded to address the issue of song lyrics with sexual or satanic content. During Zappa's testimony, he stated that there was a clear conflict of interest between the PMRC due to the relations of its founders to the politicians who were then trying to pass what he referred to as the "Blank Tape Tax." Kandy Stroud, a spokeswoman for the PMRC, announced that Senator Gore (who co-founded the committee) was a co-sponsor of that legislation. Zappa suggested that record labels were trying to get the bill passed quickly through committees, one of which was chaired by Senator Strom Thurmond, who was also affiliated with the PMRC. Zappa further pointed out that this committee was being used as a distraction from that bill being passed, which would lead only to the benefit of a select few in the music industry.Zappa saw their activities as on a path towards censorship, and called their proposal for voluntary labelling of records with explicit content "extortion" of the music industry.In his prepared statement, he said:
The PMRC proposal is an ill-conceived piece of nonsense which fails to deliver any real benefits to children, infringes the civil liberties of people who are not children, and promises to keep the courts busy for years dealing with the interpretational and enforcemental problems inherent in the proposal's design. It is my understanding that, in law, First Amendment issues are decided with a preference for the least restrictive alternative. In this context, the PMRC's demands are the equivalent of treating dandruff by decapitation. ... The establishment of a rating system, voluntary or otherwise, opens the door to an endless parade of moral quality control programs based on things certain Christians do not like. What if the next bunch of Washington wives demands a large yellow "J" on all material written or performed by Jews, in order to save helpless children from exposure to concealed Zionist doctrine?Zappa set excerpts from the PMRC hearings to Synclavier music in his composition "Porn Wars" on the 1985 album Frank Zappa Meets the Mothers of Prevention, and the full recording was released in 2010 as Congress Shall Make No Law... Zappa is heard interacting with Senators Fritz Hollings, Slade Gorton and Al Gore. 
Question: What is the first name of the person who saw the PMRC's activities as on a path towards censorship, and called their proposal for voluntary labelling of records with explicit content "extortion" of the music industry?
Frank.

Passage: Finds in the nearby Karain Cave indicate occupation during the Paleolithic era as far back as 20,000 BC, and archeological evidence shows a port existed at Syedra, south of the modern city, during the Bronze Age around 3,000 BC. A Phoenician language tablet found in the district dates to 625 BC, and the city is specifically mentioned in the 4th-century BC Greek geography manuscript, the periplus of Pseudo-Scylax. The castle rock was likely inhabited under the Hittites and the Achaemenid Empire, and was first fortified in the Hellenistic period following the area's conquest by Alexander the Great. Alexander's successors left the area to one of the competing Macedonian generals, Ptolemy I Soter, after Alexander's death in 323 BC. His dynasty maintained loose control over the mainly Isaurian population, and the port became a popular refuge for Mediterranean pirates. The city resisted Antiochus III the Great of the neighboring Seleucid kingdom in 199 BC, but was loyal to the pirate Diodotus Tryphon when he seized the Seleucid crown from 142 to 138 BC.  His rival Antiochus VII Sidetes completed work in 137 BC on a new castle and port, begun under Diodotus.The Roman Republic fought Cilician pirates in 102 BC, when Marcus Antonius the Orator established a proconsulship in nearby Side, and in 78 BC under Servilius Vatia, who moved to control the Isaurian tribes. The period of piracy in Alanya finally ended after the city's incorporation into the Pamphylia province by Pompey in 67 BC, with the Battle of Korakesion fought in the city's harbor. Isaurian banditry remained an issue under the Romans, and the tribes revolted in the fourth and fifth centuries AD, with the largest rebellion being from 404 to 408.With the spread of Christianity Coracesium, as it was called, became a bishopric. Its bishop Theodulus took part in the First Council of Constantinople in 381, Matidianus in the Council of Ephesus in 431, Obrimus in the Council of Chalcedon in 451, and Nicephorus (Nicetas) in the Third Council of Constantinople in 680. Coracesium was a suffragan of the metropolitan see of Side, the capital of the Roman province of Pamphylia Prima, to which Coracesium belonged. It continued to be mentioned in the Notitiae Episcopatuum as late as the 12th or 13th century. No longer a residential bishopric, Coracesium is today listed by the Catholic Church as a titular see.Islam arrived in the 7th century with Arab raids, which led to the construction of new fortifications.  The area fell from Byzantine control after the Battle of Manzikert in 1071 to tribes of Seljuk Turks, only to be returned in 1120 by John II Komnenos. 
Question: What is the name of the battle that resulted in the loss of Byzantine control in 1071 in the city that was a bishopric?

Battle of Manzikert.