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.
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Question: Passage: The name Spiderland originates from McMahan's younger brother, who thought that the record sounded "spidery". The album's black-and-white cover photograph, which depicts the members of the band (Brashear, McMahan, Walford and Pajo, from left to right) treading water in the lake of an abandoned quarry, was taken by Will Oldham. An article in The Stranger credited the cover for creating a mystique surrounding Slint, noting "[m]ost people only had seen Slint as four heads floating in a Kentucky quarry on Spiderland's cover. Listeners pondered the band's sparsely adorned black-and-white covers as if they were runes bearing secrets." Chris Gaerig of the Michigan Daily wrote, "the cover of Slint's masterful Spiderland captures the joyous fear and violence of the album so precisely it shakes souls. The group—submerged in a lake to their chins with deranged smiles—seems to be stalking you, hovering out of the black-and-white façade." Several other promotional images have been taken from the same photo session with Oldham.A photo of a spider taken by Noel Saltzman is used on the back cover, reflecting the album's title. The inside sleeve contains the message "interested female vocalists write 1864 douglas blvd. louisville, ky. 40205". McMahan confirmed that this message was serious, and said "We did get some responses and we did listen to CDs and tapes. We didn't end up doing anything immediately, so that idea of adding someone sort of fell by the wayside." The message "this recording is meant to be listened to on vinyl" is printed on some CD issues of Spiderland, demonstrating Slint's preference of analog audio devices. 
Question: What is the name of the band whose members are depicted on Spiderland's black-and-white cover photograph?

Answer: Slint.


Question: Passage: Spanky McFarland is the president of the "He-Man Woman Haters Club" with many school-aged boys from around the neighborhood as members. Alfalfa Switzer, Spanky's best friend, has been chosen to be the driver for the club's prize-winning go-kart, "The Blur", in the upcoming Soap Box Derby go-kart race. However, Alfalfa is nowhere to be found.
The boys go to find Alfalfa and discover him in the company of his sweetheart Darla, with whom he is forbidden to be in love because she is a girl, which goes against club rules. Alfalfa invites Darla on a picnic, and to prove his devotion to her, he agrees to have the picnic inside the clubhouse. Unbeknownst to Alfalfa, his fellow club members find out about his plans.
At the picnic, Alfalfa and Darla think they are alone, but the other club members secretly pull several silly pranks to sabotage their romantic date (whoopee cushion, cat litter in sandwiches, etc.). When they finally reveal themselves and demand to come inside the clubhouse, Alfalfa frantically tries to convince Darla to hide in the closet, which leads her to mistakenly believe that Alfalfa feels ashamed of her. In the frenzy, a candle flame gets out of control, ultimately causing the clubhouse to burn down.
Darla breaks up with Alfalfa and turns her attentions towards Waldo, the new kid in town whose father is an oil tycoon. Because Alfalfa burned down the clubhouse and also fraternized with a girl, he is assigned by Stymie to guard the go-kart until the day of the race. 
Question: Who thinks that the go-kart driver is ashamed of her?

Answer: Darla.


Question: Passage: After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Dürer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 1573–74, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after mention in the 1633–58 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Dürer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Dürer oeuvre".
In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Dürer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of Barbara's panel. Brand Philip noted the similarities between the panel and Dürer's 1514 charcoal drawing Portrait of the Artist's Mother at the Age of 63. Fedja Anzelewsky agreed with the attribution, noting that both portraits bear, on their reverse, the catalogue number recorded in the Imhoff inventories, as well as "precisely the same design of masses of dark clouds".Anzelewsky speculated that the father's portrait, which was not listed in the 1628 Imhoff inventory, had been broken off and sold to Rudolph II of Austria. Hans Hieronymus Imhoff's lukewarm description of Barbara's portrait—"the mother of Albrecht Dürer in oil colors on wood, [but] there are many who do not believe it to be a work of Dürer"—led Brand Philip to conclude that Albrecht's panel was likely sold individually as the more accomplished and marketable of the two. The attribution is widely accepted today. In 2013 Stephan Kemperdick noted the sophistication of the Nuremberg portrait and that its three-dimensional modeling of the head displays a level of skill beyond Wolgemut and his circle.The two panels were reunited in 2012 during a Dürer exhibition in Nuremberg having been separated since sometime between 1588 and 1628. 
Question: What is the full name of the person whose portrait was last accounted for, prior to 1977, in the inventory books of Hans Hieronymus Imhoff?

Answer:
Barbara Holper.