TASK DEFINITION: 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.
PROBLEM: Passage: Their records have been heavily influenced by the "motorik" technique of 1970s krautrock groups such as Neu! and Faust. Tim Gane has supported the comparison: "Neu! did minimalism and drones, but in a very pop way." Dave Heaton of PopMatters said that their music also had "echoes of bubblegum, of exotica, of Beach Boys and bossa nova", with their earlier work "bearing strong Velvet Underground overtones". Funk, jazz, and Brazilian music were additional inspirations for the band. Stephan Davet of French newspaper Le Monde said that Emperor Tomato Ketchup (1996) had musical influences such as Burt Bacharach, and Françoise Hardy. The sounds influenced by minimalist composers Philip Glass and Steve Reich can be found on the 1999 album Cobra and Phases Group Play Voltage in the Milky Night. The same album, according to Rick Reger of Chicago Tribune, "charts [a course] somewhere between the Beach Boys and Kraftwerk." Stereolab's style also incorporates easy-listening music of the 1950s and '60s. Barney Hoskyns wrote in a review for Dots and Loops (1997) that the group moved "away from the one-chord Velvets drone-mesh of its early days" toward easy-listening and Europop. Joshua Klein in Washington Post said that, "Years before everyone else caught on, Stereolab [were] referencing the 1970s German bands Can and Neu!, the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach." Regarding their later work such as Instant 0 in the Universe (2003) and Margerine Eclipse (2004), critics have compared the releases to the band's earlier guitar-driven style. 
Question: What is the name of the album that Rick Reger said it was between the Beach Boys and Kraftwerk?

SOLUTION: Cobra and Phases Group Play Voltage in the Milky Night.

PROBLEM: Passage: The identity of the donor has not been established, although a number of suggestions have been advanced over the last 200 years. Harbison suggests the work's small scale indicates that it functioned as a portable altarpiece rather than as a private devotional work, and thus was commissioned by or for a member of the clergy. Other art historians have argued that the donor may have been a Genoese merchant. This belief has been fed by the triptych's similarity to Giovanni Mazone's Virgin and Child altarpiece in Pontremoli, Tuscany, which may place it in the Italian region of Liguria at latest by the end of the 15th century. Damaged coats of arms on the inner frames have been linked to the Giustiniani family, known for establishing trade links with Bruges in the 14th and 15th centuries. If not commissioned by that family, historical record place the work at least in their possession by the end of the century. In the early 1800s, Frances Weale attempted to place Michele Giustiniani as the donor, however later historical research has been unable to verify his presence in Bruges around 1437, and he seems to have returned to Italy by 1430.Mid-twentieth century technical examination revealed the Giustiniani coats of arms may have been painted over an earlier heraldic design, perhaps as early as the 15th century, whose signifiance and history is now lost. Dhanens theorises that a member of the Giustiniani family may have established other associations with St. Michael and St. Catherine, advancing that they were a member of the Italian Rapondi family, whose trading house in Paris was named after St. Catherine. Their daughter, also named Catherine, married the Italian merchant Michel Burlamacchi (Bollemard in Flemish) from Lucca, who was active in Bruges. From this Dhanens theorises the piece was commissioned as a wedding gift for the couple. Documents show weavers in Wervik paid taxes to Catherine Rapondi and in September 1434, when Michele Burlamacchi was tax collector in that town, van Eyck received a stipend funded by local tax receipts, suggesting a connection. Dhanens admits the donor's identity is lost, but she says of the piece that "it could have been a gift from the husband to the wife, a pledge of his affection during his absences; or it could have been a gift from the wife to the husband, by way of protection on his travels.". 
Question: What is the last name of the person who married the Italian merchant Michel Burlamacchi?

SOLUTION: Rapondi.

PROBLEM: Passage: Dr. Sullivan Travis (aka "Dr. T.") (Richard Gere) is a wealthy Dallas gynecologist for some of the wealthiest women in Texas who finds his life beginning to fall apart starting when his wife, Kate, suffers a rare type of infantalizing syndrome of wealthy women, receding into a childlike state and, after she disrobes in a shopping mall fountain is committed to the state mental hospital.  When Dr. T visits  Kate , she rebuffs his kisses as improper and he sees her pre-teen psychic age cannot be brought back to adulthood by his affection. Dr. T's eldest daughter, Dee Dee, is planning to go through with her approaching wedding despite the secret that she is romantically involved with Marilyn, the maid of honor. Dr. T's youngest daughter, Connie, is a spunky conspiracy theorist who has her own agenda including sharing with her father how she discovered Dee Dee and Marilyn are lovers. 
While Marilyn is on his examining table for the first time, she surmises her condition is caused by the stress of being the maid of honor for her friend Dee Dee. Dr. T  realizes she is Dee Dee's lover and becomes embarrassed mid-examination asking Carolyn, Dr. T's loyal secretary, (Shelley Long) to finish.  
Carolyn has romantic feelings for him, which are not mutual: in a farcical scene at the workday end, she locks the office door and gives him a shoulder-massage from behind his chair, secretly disrobing while emphasizing his need for a loving wife. Refreshed but unaware of her intentions , he goes to the coat closet, turns and finds she has vanished. From under the desk, she says he never empties his trash baskets. Approaching the desk he glimpses her state of dress and quickly leaves.
Dr. T's sister-in-law, Peggy, meddles in every situation she stumbles into. 
Question: Who cannot be brought back to adulthood?

SOLUTION:
Kate.