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.

Ex Input:
Passage: The 1919 plans incorporated a Mobile Naval Base Defence Organisation (MNBDO) which could develop and defend a forward base. The MNBDO had a strength of 7,000 and included a brigade of antiaircraft artillery, a brigade of coastal artillery and a battalion of infantry, all drawn from the Royal Marines. In one paper exercise, the Royal Marines occupied Nakagusuku Bay unopposed and the MNBDO developed a major base there from which the fleet blockaded Japan. Actual fleet exercises were conducted in the Mediterranean in the 1920s to test the MNBDO concept. However, the Royal Marines were not greatly interested in amphibious warfare, and lacking organisational backing, the techniques and tactics of amphibious warfare began to atrophy. By the 1930s the Admiralty was concerned that the United States and Japan were well ahead of Britain in this field and persuaded the Army and RAF to join with it in establishing the Inter-Service Training and Development Centre, which opened in July 1938. Under its first commandant, Captain Loben Edward Harold Maund, it began investigating the problems of amphibious warfare, including the design of landing craft.Nor was this the only field in which the Royal Navy was lagging in the 1930s. In the 1920s, Colonel the Master of Sempill led the semi-official Sempill Mission to Japan to help the Imperial Japanese Navy establish an air arm. At the time the Royal Navy was the world leader in naval aviation. The Sempill mission taught advanced techniques such as carrier deck landing, conducted training with modern aircraft, and provided engines, ordnance and technical equipment. Within a decade, Japan had overtaken Britain. The Royal Navy pioneered the armoured flight deck, which enabled carriers to absorb damage, but resulted in limiting the number of aircraft that a carrier could operate. The Royal Navy had great faith in the ability of ships' antiaircraft batteries, and so saw little need for high performance fighters. To maximise the benefit of the small numbers of aircraft that could be carried, the Royal Navy developed multi-role aircraft such as the Blackburn Roc, Fairey Fulmar, Fairey Barracuda, Blackburn Skua and Fairey Swordfish. As a result, the Royal Navy's aircraft were no match for their Japanese counterparts.The possibility of Japan taking advantage of a war in Europe was foreseen. In June 1939, the Tientsin Incident demonstrated another possibility: that Germany might attempt to take advantage of a war in the Far East. In the event of a worst-case scenario of simultaneous war with Germany, Italy and Japan, two approaches were considered. The first was to reduce the war to one against Germany and Japan only by knocking Italy out of the conflict as quickly as possible. The former First Sea Lord, Sir Reginald Drax, who was brought out of retirement to advise on strategy, called for a "flying squadron" of four or five battleships, along with an aircraft carrier, some cruisers and destroyers, to be sent to Singapore. Such a force would be too small to fight the Japanese main fleet, but could protect British trade in the Indian Ocean against commerce raiders. Drax argued that a small, fast force would be better in this role than a large, slow one. When more ships became available, it could become the nucleus of a full-sized battle fleet. Chatfield, now Minister for Coordination of Defence, disagreed with this concept. He felt that the flying squadron would become nothing more than a target for the Japanese fleet. Instead, he put forward a second approach, namely that the Mediterranean be abandoned and the fleet sent to Singapore. 
Question: What is the full name of the person that felt the flying squadron would become nothing more than a target for the Japanese fleet?

Ex Output:
Chatfield.


Ex Input:
Passage: The album  was recorded in Los Angeles, California with Reign in Blood producer Rick Rubin. PopMatters reviewer Adrien Begrand observed that Rubin's production "shoves [Dave] Lombardo's drumming right up front in the mix". Guitarist Jeff Hanneman has since said that South of Heaven was the only album the band members discussed before writing the music. Aware that they "couldn't top Reign in Blood", and that whatever they recorded would be "compared to that album", he believed they "had to slow down", something Slayer had never done on albums before, or since. Guitarist Kerry King cited the need to "keep people guessing" as another reason for the musical shift. "In order to contrast the aggressive assault put forth on Reign in Blood, Slayer consciously slowed down the tempo of the album as a whole", according to Slayer's official biography. "They also added elements like undistorted guitars and toned-down vocal styles not heard on previous albums."King has since been critical of his performance, which he describes as his "most lackluster". King attributes this to the fact he had recently married, and moved to Phoenix, Arizona. Describing himself as "probably the odd man out at that point", he stated he "didn't participate as much because of that".  Hanneman said: "We go through dry spells sometimes, but the good thing about having two guitar players that can write music is that you are never gonna go without. I guess at that time, Kerry was hitting a dry spell." King has also been critical of the album in general, describing it as one of his least favorite Slayer albums. He feels  vocalist Tom Araya moved too far away from his regular vocal style, and "added too much singing". Drummer Dave Lombardo has since observed: "There was fire on all the records, but it started dimming when South of Heaven came into the picture. And that's me personally. Again, I was probably wanting something else."Judas Priest's "Dissident Aggressor" is the first cover version to appear on a Slayer studio album. The song was chosen due to its war-themed lyrics. Hanneman described the track as "more just like one of those odd songs that a lot of people didn't know, but it was a favorite of Kerry and I, so we just picked that one". Meanwhile, "Cleanse the Soul" has been heavily criticized by King who said that he hates the track: "That's one of the black marks in our history, in my book. I just fucking think it's horrible. [Laughs] I hate the opening riff. It's what we call a 'happy riff.' It's just like 'la-lala-la-la-la.' I can't see myself playing it, but after that, where it gets heavier, I like that section. If we ever did a medley, I'd put part of that in there." The Slayer boxset Soundtrack to the Apocalypse featured, along with four songs of the album, an early version of the title track, recorded at Hanneman's home. 
Question: What is the full name of the person that felt vocalist Tom Araya moved too far away from his regular vocal style?

Ex Output:
Kerry King.


Ex Input:
Passage: In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven. 
Question: Whose politically progressive outlook was deplored?

Ex Output:

Ravel.