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: Bob Weston works for STOP, a scandal magazine whose owner and staff are proud of being regarded as the filthiest rag in America. One of Bob's colleagues has just written an article about Dr. Helen Gurley Brown, a young psychologist and author of the best-selling book Sex and the Single Girl, a self-help guide with advice to single women on how to deal with men. The article raises doubts on her experience with sex and relationships. Helen is very offended, having lost six appointments with patients due to the article discrediting her as a "23 year-old virgin.". Bob wants to follow up by interviewing her, but she refuses.
Bob's friend and neighbor, stocking manufacturer Frank Broderick, is having marriage issues with his strong-willed wife Sylvia, but can't find the time to go to a counselor. Therefore, Bob decides to impersonate Frank and go to Helen as a patient, with the goal of getting close to her in order to gather more information. In exchange, he'll report back to Frank her advice. During their first couple of sessions, Bob acts shy and smitten, and tries to gently seduce Helen. She seems to respond to Bob's courteous advances, all while insisting it's a transfer and that she'll play the role of Sylvia to the benefit of his therapy. After he fakes a suicide attempt, the two of them end up making out in her apartment, with Bob realizing he's actually falling for Helen, which is the reason he still has not written anything about her, prompting an ultimatum from his boss. 
Question: What is the last name of the person Helen pretends to be in therapy sessions?

Ex Output:
Broderick.


Ex Input:
Passage: Antoine's marriage to Marie of Lorraine was unhappy and yielded only two daughters. Monaco's constitution confined the throne to members of the Grimaldi family alone, and Antoine was thus keen for his daughter Princess Louise-Hippolyte (Illustration 11) to wed a Grimaldi cousin. However, the state of the Grimaldi fortunes, and the lack of (the politically necessary) approval from King Louis XIV, dictated otherwise. Louise-Hippolyte was married to Jacques de Goyon Matignon, a wealthy aristocrat from Normandy. Louise-Hippolyte succeeded her father as sovereign of Monaco in 1731 but died just months later. The King of France, confirming Monaco's subservient state to France, ignored the protests of other branches of the Grimaldi family, overthrew the Monégasque constitution, and approved the succession of Jacques de Goyon Matignon as Prince Jacques I.Jacques I assumed the name and arms of the Grimaldi, but the French aristocracy showed scant respect towards the new prince who had risen from their ranks and chose to spend his time absent from Monaco. He died in 1751 and was succeeded by his and Louise-Hippolyte's son Prince Honoré III.Honoré III married Catherine Brignole in 1757 and later divorced her. Before his marriage, Honoré III had been conducting an affair with his future mother-in-law.  After her divorce Marie Brignole married Louis Joseph de Bourbon, prince de Condé, a member of the fallen French royal house, in 1798.
Ironically, the Grimaldi fortunes were restored when descendants of both Hortense Mancini and Louis I married: Louise d'Aumont Mazarin married Honoré III's son and heir, the future Honoré IV. This marriage in 1776 was extremely advantageous to the Grimaldi, as Louise's ancestress Hortense Mancini had been the heiress of Cardinal Mazarin. Thus Monaco's ruling family acquired all the estates bequeathed by Cardinal Mazarin, including the Duchy of Rethel, and the Principality of Château-Porcien.
Honoré III was a soldier who fought at both Fontenoy and Rocourt. He was happy to leave Monaco to be governed by others, most notably a former tutor. It was on one of Honoré III's rare visits to the palace in 1767 that illness forced Edward, Duke of York, to land at Monaco. The sick duke was allocated the state bedchamber where he promptly died. Since that date the room has been known as the York Room.
Despite its lack of continuous occupancy, by the final quarter of the 18th century the palace was once again a "splendid place" (Illustration 12). However revolution was afoot, and in the late 1780s Honoré III had to make concessions to his people who had caught the revolutionary ideas from their French neighbours. This was only the beginning of the Grimaldi's problems. In 1793 the leaders of the French Revolution annexed Monaco. The prince was imprisoned in France and his property and estates, including the palace, were forfeited to France. 
Question: What is the name of the person that succeeded Prince Jacques 1?

Ex Output:
Prince Honoré III.


Ex Input:
Passage: Although Sylvain said Rundgren was not an interfering producer, he occasionally involved himself to improve a take. Sylvain recalled moments when Rundgren went into the isolation booth with Nolan when he struggled keeping a beat and drummed out beats on a cowbell for him to use as a click track. During another session, he stopped a take and walked out of the control room to plug in Kane's bass cabinet. Scoppa, who paid afternoon visits to the studio, overheard Rundgren say, "Yeah, that's all you needed. Okay, let's try it again!", and ultimately found the exchange funny and indicative of Rundgren's opinion of the band: "Todd was such a 'musician' while they were just getting by on attitude and energy. But as disdainful as he appeared to be at some points he got the job done really well." Rundgren felt Johansen's wild singing often sounded screamed or drunken but were eloquent in the sense that Johansen demonstrated a "propensity to incorporate certain cultural references into the music", particularly on "Personality Crisis". While recording the song, Johansen walked back into the control room and asked Rundgren if his vocals sounded "ludicrous enough".Because the New York Dolls had little money, Sylvain and Thunders played the austerely designed and affordable Gibson Les Paul Junior guitars on the record. They jokingly referred to them as "automatic guitars" due to their limited sound shaping features. To amplify their guitars, they ran a Marshall Plexi standalone amplifier through the speaker cabinets of a Fender Dual Showman, and occasionally used a Fender Twin Reverb. Some songs were embellished with additional instruments, including Buddy Bowser's brassy saxophone on "Lonely Planet Boy". Johansen sang into distorted guitar pickups for additional vocals and overdubbed them into the song. He also played an Asian gong for "Vietnamese Baby" and harmonica on "Pills". For "Personality Crisis", Sylvain originally played on The Record Plant's Yamaha grand piano before Rundgren added his own piano flourishes to both that song and "Private World". Rundgren also contributed to the background vocals heard on "Trash" and played synthesizers on "Vietnamese Baby" and "Frankenstein (Orig.)", which Sylvain recalled: "I remember him getting those weird sounds from this beautiful old Moog synthesizer he brought in. He said it was a model that only he and The Beatles had."New York Dolls was mixed in less than half a day. Rundgren felt the band seemed distracted and disinterested at that point, so he tried unsuccessfully to ban them from the mixing session. For the final mix, he minimized the sound of Nolan's drumming. In retrospect, Rundgren said the quality of the mix was poor because the band had hurried and questioned him while mixing the record: "It's too easy for it to become a free-for-all, with every musician only hearing their own part and not the whole. They all had other places to be, so rather than split, they rushed the thing and if that wasn't enough they took it to the crappy mastering lab that Mercury had put them in." Thunders famously complained to a journalist that Rundgren "fucked up the mix" on New York Dolls, adding to stories that the two had clashed during the album's recording. Both Johansen and Scoppa later said they did not see any conflict between the two and that Thunders' typically foolish behavior was misinterpreted. Johansen later praised Rundgren for how he enhanced and equalized each instrument, giving listeners the impression that "[they're] in a room and there's a band playing", while Sylvain said his mix accurately captured how the band sounded live. 
Question: Who referred to their guitars as "automatic guitars"?

Ex Output:

Sylvain.