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.

[Q]: Passage: Both Surfer Rosa and Steve Albini's production of the album have been influential on alternative rock, and on grunge in particular. Nirvana's Kurt Cobain cited Surfer Rosa as the basis for Nevermind's songwriting. When he first heard the album, Cobain discovered a template for the mix of heavy noise and pop he was aiming to achieve. He remarked in 1992 that he "heard songs off of Surfer Rosa that I'd written but threw out because I was too afraid to play them for anybody." Cobain hired Albini to produce Nirvana's 1993 album In Utero, primarily due to his contribution to Surfer Rosa. The Smashing Pumpkins' Billy Corgan described Surfer Rosa as "the one that made me go, 'holy shit'. It was so fresh. It rocked without being lame." Corgan was impressed by the album's drum sound, and acknowledged that The Smashing Pumpkins used to study the record for its technical elements. Musician PJ Harvey said that Surfer Rosa "blew my mind," and that she "immediately went to track down Steve Albini." Cobain listed Surfer Rosa as number 2 of the top 50 albums he thought were most influential to Nirvana's sound in his journal in 1993.People connected with the band were impressed by the record. Ivo Watts-Russell recalled: "I remember when I first heard Surfer Rosa thinking, 'I didn't know the Pixies could sound like The Fall.' That was my immediate reaction, in other words, incredibly raw." Gary Smith, who at the time was in a disagreement with the band, admitted he "was really happy that they had made such a forceful, aggressive, record." Dinosaur Jr.'s J Mascis, comparing the record to the later Pixies albums Bossanova and Trompe le Monde, said he thought that Steve Albini's production "sounded way better than the other ones."In 1991, as Pixies were recording Trompe le Monde, Albini described his impressions of Pixies during the recording of Surfer Rosa to the fan magazine Forced Exposure: "A patchwork pinch loaf from a band who at their top dollar best are blandly entertaining college rock. Their willingness to be 'guided' by their manager, their record company and their producers is unparalleled. Never have I seen four cows more anxious to be led around by their nose rings." Albini later apologized for his remarks, saying, "to this day I regret having done it. I don't think that I regarded the band as significantly as I should have.". 
Question: What is the first name of the person who was hired for their work with Surfer Rosa?
[A]: Steve.


[Q]: Passage: With the encouragement of his parents, Ravel applied for entry to France's most important musical college, the Conservatoire de Paris. In November 1889, playing music by Chopin, he passed the examination for admission to the preparatory piano class run by Eugène Anthiome. Ravel won the first prize in the Conservatoire's piano competition in 1891, but otherwise he did not stand out as a student.   Nevertheless, these years were a time of considerable advance in his development as a composer. The musicologist Arbie Orenstein writes that for Ravel the 1890s were a period "of immense growth ... from adolescence to maturity." 
In 1891 Ravel progressed to the classes of Charles-Wilfrid de Bériot, for piano, and Émile Pessard, for harmony. He made solid, unspectacular progress, with particular encouragement from Bériot but, in the words of the musical scholar Barbara L. Kelly, he "was only teachable on his own terms". His later teacher Gabriel Fauré understood this, but it was not generally acceptable to the conservative faculty of the Conservatoire of the 1890s. Ravel was expelled in 1895, having won no more prizes. His earliest works to survive in full are from these student days: Sérénade grotesque, for piano, and "Ballade de la Reine morte d'aimer", a mélodie setting a poem by Roland de Marès (both 1893).Ravel was never so assiduous a student of the piano as his colleagues such as Viñes and Cortot were. It was plain that as a pianist he would never match them, and his overriding ambition was to be a composer. From this point he concentrated on composition. His works from the period include the songs "Un grand sommeil noir" and "D'Anne jouant de l'espinette" to words by Paul Verlaine and Clément Marot, and the piano pieces Menuet antique and Habanera (for four-hands), the latter eventually incorporated into the Rapsodie espagnole. At around this time, Joseph Ravel introduced his son to Erik Satie, who was earning a living as a café pianist. Ravel was one of the first musicians – Debussy was another – who recognised Satie's originality and talent. Satie's constant experiments in musical form were an inspiration to Ravel, who counted them "of inestimable value". 
Question: What are the names of the two colleagues who it was plain that Ravel, as a pianist, would never match?
[A]: Viñes.


[Q]: Passage: The house has been restored and preserved as it looked in the 1920-30s; at the time of the Trust's purchase, Churchill committed to leave it, "garnished and furnished so as to be of interest to the public". Rooms are decorated with memorabilia and gifts, the original furniture and books, as well as honours and medals that Churchill received. Lady Churchill's long-time secretary, Grace Hamblin, was appointed the first administrator of the house. Earlier in her career, Miss Hamblin had undertaken the destruction of the portrait of Churchill painted by Graham Sutherland. The picture, a gift from both Houses of Parliament on Churchill's 80th birthday in 1954, was loathed by both Churchill and Lady Churchill and had been stored in the cellars at Chartwell before being burnt in secret.The opening of the house required the construction of facilities for visitors and a restaurant was designed by Philip Jebb, and built to the north of the house, along with a shop and ticket office. Alterations have also been made to the gardens, for ease of access and of maintenance. In 1987, the Great Storm caused considerable damage, with some twenty-three trees being blown down in the gardens. Greater loss occurred in the woodlands surrounding the house, which lost over 70% of its trees.Chartwell has become among the National Trust's most popular properties; in 2016 some 232,000 visitors came to the house. In that year, the fiftieth anniversary of the house's opening, the Trust launched the Churchill's Chartwell Appeal, to raise £7.1M for the purchase of hundreds of personal items held at Chartwell on loan from the Churchill family. The items available to the Trust include Churchill's Nobel Prize in Literature awarded to him in 1953. The citation for the award reads, "for his mastery of historical and biographical description as well as for brilliant oratory in defending exalted human values". The medal is displayed in the museum room on the first floor of Chartwell, at the opposite end of the house to the study, the room where, in the words used by John F. Kennedy when awarding him honorary citizenship of the United States, Churchill "mobilized the English language and sent it into battle". 
Question: What is the name of the person whose "mastery of historical and biographical description" is cited on the Nobel Prize in Literature that he was awarded?
[A]:
Churchill.