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.

Example Input: Passage: Sons of Soul bridged the gap between commercial and critical success for Tony! Toni! Toné!, helping them become one of the most popular acts in R&B at the time. Its success exemplified the genre's commercial resurgence during the early 1990s, when hip hop became the predominant African-American music genre in the mainstream. In 1994, Greg Kot of the Chicago Tribune attributed its resurgence to younger artists' blend of live instrumentation and hip hop production values, and cited Sons of Soul as "the most accomplished merger of hip-hop attitude with a '70s R&B aesthetic." The Atlanta Journal-Constitution hailed it as "a gentle reminder of those glory days" and felt that the group having both vocal and musical talents is most indicative of a return to early R&B's aesthetics. Furthermore, they garnered mainstream attention in a year of several high-profile controversies with R&B and hip hop artists such as Michael Jackson and Snoop Dogg. David W. Brown of The Harvard Crimson wrote that Tony! Toni! Toné! is "known primarily for the quality of its music, not its extracurricular reputation, unlike other groups such as Jodeci who rely on a playa-gangsta-mack image to sell-records."Along with acts such as Mint Condition and R. Kelly, Tony! Toni! Toné! played live instruments that complemented their hip hop sensibilities. Their concerts featured visual elements such as incense smoke and kaleidoscopic stage lighting, the group's eccentric wardrobe, and additional instrumentalists, including another guitarist, two drummers, two keyboardists, a violinist, a trumpeter, and a saxophonist. The Charlotte Observer remarked on the group in 1994: "[T]heir use of live instruments on record and onstage makes them an anomaly in the synthesized and sampled world of modern R&B." With the group's reliance on traditional soul and R&B values of songwriting and instrumentation, Sons of Soul was a precursor to the neo soul movement of the 1990s. Matt Weitz of The Dallas Morning News wrote in 1993 that the group had distinguished themselves from their New jack swing contemporaries with Sons of Soul and found them aesthetically akin to acts such as Prince and P.M. Dawn. Raphael Wiggins said of their success with the album:
"We've been very blessed to be able to be a group that writes our own songs and people have accepted us from both sides, hip hop and the R&B crowd or whatever you might want to say. I feel very fortunate to be able to do that here in 1993–94, because like you know, it was starting to be a dying thing that was happening. But I guess we were like the bridge between hip hop and soul and R&B, and being a little bit commercial also helped us. A lot of humor, a lot of nice slow songs and being able to play kind of brought us a foundation.". 
Question: What is the name of the group that Weitz said was aesthetically akin to acts such as Prince and P.M. Dawn?
Example Output: Tony! Toni! Toné!.

Example Input: Passage: For the third time, the evil Wishmaster returns to wreck the lives of more innocents. This time, his victim is a beautiful, innocent and studious teenage girl named Diana Collins who accidentally opened up the Djinn's tomb (a strange box with a jewel inside) and released him. After gaining his freedom, the Djinn is asked by Professor Barash to let him be the one who makes the wishes. The professor wishes for two of the world's loveliest ladies to be in love with him.
However, as soon as the Djinn grants this wish, the women kill the professor; the Djinn takes the face off of the dead professor and is able to steal his identity. He then kills a secretary by her wishing for "files to burn up" but instead of the files, she burns. He takes the student file of Diana in an effort to find her and force her to fulfill her three wishes. While Diana is on the run, she must endeavor to prevent the Djinn from subjecting the entire world to Hell's wrath. While in a Church thinking it was safe, the Djinn is there instead of the priest. Her friend Ann, who is now the "professor's Teaching Assistant" makes the wish of "wanting to lose a little weight", to which she pukes up her guts in pain. Diana uses her first wish for her to stop having pain, but of course to the Djinn that means killing Ann. 
Question: What is the name of the person who has their identity stolen?
Example Output: Barash.

Example Input: Passage: Scary Monsters and Super Creeps (1980) produced the number-one hit "Ashes to Ashes", featuring the textural work of guitar-synthesist Chuck Hammer and revisiting the character of Major Tom from "Space Oddity". The song gave international exposure to the underground New Romantic movement when Bowie visited the London club "Blitz"—the main New Romantic hangout—to recruit several of the regulars (including Steve Strange of the band Visage) to act in the accompanying video, renowned as one of the most innovative of all time. While Scary Monsters used principles established by the Berlin albums, it was considered by critics to be far more direct musically and lyrically. The album's hard rock edge included conspicuous guitar contributions from Robert Fripp, Chuck Hammer, and Pete Townshend. As "Ashes to Ashes" hit number one on the UK charts, Bowie opened a three-month run on Broadway on 24 September, starring as John Merrick in The Elephant Man.Bowie paired with Queen in 1981 for a one-off single release, "Under Pressure". The duet was a hit, becoming Bowie's third UK number-one single. Bowie was given the lead role in the BBC's 1982 televised adaptation of Bertolt Brecht's play Baal. Coinciding with its transmission, a five-track EP of songs from the play, recorded earlier in Berlin, was released as David Bowie in Bertolt Brecht's Baal. In March 1982, the month before Paul Schrader's film Cat People came out, Bowie's title song, "Cat People (Putting Out Fire)", was released as a single, becoming a minor US hit and entering the UK Top 30.Bowie reached his peak of popularity and commercial success in 1983 with Let's Dance. Co-produced by Chic's Nile Rodgers, the album went platinum in both the UK and the US. Its three singles became Top 20 hits in both countries, where its title track reached number one. "Modern Love" and "China Girl" each made No. 2 in the UK, accompanied by a pair of "absorbing" promotional videos that biographer David Buckley said "activated key archetypes in the pop world. 'Let's Dance', with its little narrative surrounding the young Aborigine couple, targeted 'youth', and 'China Girl', with its bare-bummed (and later partially censored) beach lovemaking scene (a homage to the film From Here to Eternity), was sufficiently sexually provocative to guarantee heavy rotation on MTV". Stevie Ray Vaughan was guest guitarist playing solo on "Let's Dance", although the video depicts Bowie miming this part. By 1983, Bowie had emerged as one of the most important video artists of the day. Let's Dance was followed by the Serious Moonlight Tour, during which Bowie was accompanied by guitarist Earl Slick and backing vocalists Frank and George Simms. The world tour lasted six months and was extremely popular." At the 1984 MTV Video Music Awards Bowie received two awards including the inaugural Video Vanguard Award. 
Question: What was the full name of the singer that had the number one hit, Ashes to Ashes?
Example Output:
David Bowie.