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 Q]: 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?
[EX A]: Tony! Toni! Toné!.

[EX Q]: Passage: On Sunday 1 November the marchers proceeded to Hyde Park for a hastily organised public meeting. The Communist Party was holding a general rally in the park against unemployment; Wilkinson records that they "generously gave way for an hour and asked their great audience to swell our Crusade meeting". The police made a low estimate of 3,000 for the crowd, but the journalist Ritchie Calder, who was present, put the figure at 50,000.After a day's rest, the marchers' main event on Tuesday was a public meeting in the Memorial Hall, Farringdon Street. Among the guest speakers was the Rev. Canon Dick Sheppard,  founder of the Peace Pledge Union. He told the marchers: "You have so aroused the conscience of the country that things are bound to happen". Sir John Jarvis, without prior warning, then revealed plans for a steel tubes mill on the Palmers site. The impression that Jarrow's problems could be solved thus, without government action, disconcerted the listening marchers. Wilkinson commented that such plans were in the future, and were no substitute for the town's requirement for immediate government intervention.On Wednesday 4 November Wilkinson presented the Jarrow petition to the House of Commons. With over 11,000 signatures, it asked that "His Majesty's Government and this honourable House should realise the urgent need that work should be provided for the town without further delay." In the brief discussion that followed, Runciman said that "the unemployment position at Jarrow, while still far from satisfactory, has improved during recent months", to which James Chuter Ede, the Labour backbencher representing  South Shields, the neighbouring constituency to Wilkinson's, replied that "the Government's complacency is regarded throughout the country as an affront to the national conscience".Blythe summarises the marchers' anger and disillusionment: "And that was that. The result of three months' excited preparation and one month's march has led to a few minutes of flaccid argument during which the Government speakers had hardly mustered enough energy to roll to their feet". A "stay-in" strike was briefly proposed, before Wilkinson arranged a meeting with a cross-party group of MPs. The marchers' case was heard sympathetically; the meeting was warned that, given international uncertainties, they might come to regret the dismantling of an important shipbuilding facility for reasons of private profit. Such statements, according to Wilkinson, made members "distinctly uncomfortable".    The next day the marchers returned by train to Jarrow, where they received an ecstatic welcome from the town. 
Question: What is the name of that which asked "His Majesty's Government and this honourable House should realise the urgent need that work should be provided for the town without further delay"?
[EX A]: the Jarrow petition.

[EX Q]: 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: What is the the name of the person whose biographer, Burnett James, describes him as "self-possessed, a little aloof, intellectually biased" and "given to mild banter"?
[EX A]:
Ravel.