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: Music critic J. D. Considine noted "on albums, Jackson's sound isn't defined by her voice so much as by the way her voice is framed by the lush, propulsive production of Jimmy Jam and Terry Lewis." Wendy Robinson of PopMatters said "the power of Janet Jackson's voice does not lie in her pipes. She doesn't blow, she whispers ... Jackson's confectionary vocals are masterfully complemented by gentle harmonies and balanced out by pulsing rhythms, so she's never unpleasant to listen to."Matthew Perpetus of Fluxblog suggested Jackson's vocal techniques as a study for indie rock music, considering it to possess "a somewhat subliminal effect on the listener, guiding and emphasizing dynamic shifts without distracting attention from its primal hooks." Perpetus added: "Her voice effortlessly transitions from a rhythmic toughness to soulful emoting to a flirty softness without overselling any aspect of her performance ... a continuum of emotions and attitudes that add up to the impression that we're listening to the expression of a fully-formed human being with contradictions and complexities."Jackson's music has encompassed a broad range of genres. Her records from the 1980s have been described as being influenced by Prince, as her producers are ex-members of the Time. Sal Cinquemani wrote that in addition to defining Top 40 radio, she "gave Prince's Minneapolis sound a distinctly feminine—and, with songs like 'What Have You Done for Me Lately?,' 'Nasty,' 'Control,' and 'Let's Wait Awhile,' a distinctly feminist—spin."On Control, Richard J. Ripani documented that she, Jam and Lewis had "crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility." Author Rickey Vincent stated that she has often been credited for redefining the standard of popular music with the industrial-strength beats of the album. She is considered a trendsetter in pop balladry, with Richard Rischar stating "the black pop ballad of the mid-1980s had been dominated by the vocal and production style that was smooth and polished, led by singers Whitney Houston, Janet Jackson, and James Ingram."Jackson continued her musical development by blending pop and urban music with elements of hip-hop in the nineties. This included a softer representation, articulated by lush, soulful ballads and up-tempo dance beats. She is described by music critic Greg Kot as "an artist who has reshaped the sound and image of rhythm and blues" within the first decade of her career. Critic Karla Peterson remarked that "she is a sharp dancer, an appealing performer, and as 'That's the Way Love Goes' proves—an ace pop-song writer." Selected material from the following decade has been viewed less favorably, as Sal Cinquemani comments "except for maybe R.E.M., no other former superstar act has been as prolific with such diminishing commercial and creative returns."Jackson has changed her lyrical focus over the years, becoming the subject of analysis in musicology, African American studies, and gender studies. David Ritz compared Jackson's musical style to Marvin Gaye's, stating, "like Marvin, autobiography seemed the sole source of her music. Her art, also like Marvin's, floated over a reservoir of secret pain." Much of her success has been attributed to "a series of powerful, metallic grooves; her chirpy, multi-tracked vocals; and a lyrical philosophy built on pride and self-knowledge." Ritz also stated, "The mystery is the low flame that burns around the perimeters of Janet Jackson's soul. The flame feeds off the most highly combustible elements: survival and ambition, caution and creativity, supreme confidence and dark fear."During the 1980s, her lyrics embodied self-actualization, feminist principles, and politically driven ideology. Gillian G. Gaar described Control as "an autobiographical tale about her life with her parents, her first marriage, and breaking free." Jessie Carney Smith wrote "with that album, she asserted her independence, individuality, and personal power. She challenged audiences to see her as a transformed person, from an ingénue to a grow-up, multi-talented celebrity." Referring to Rhythm Nation 1814 as an embodiment of hope, Timothy E. Scheurer wrote "It may remind some of Sly Stone prior to There's a Riot Going On and other African-American artists of the 1970s in its tacit assumption that the world imagined by Dr. King is still possible, that the American Dream is a dream for all people."On Janet, Jackson began focusing on sexual themes. Shayne Lee wrote that her music over the following decade "brand[ed] her as one of the most sexually stimulating vocalists of the 1990s." Lilly J. Goren observed "Jackson's evolution from politically aware musician to sexy diva marked the direction that society and the music industry were encouraging the dance-rock divas to pursue." The Washington Post declared Jackson's public image over the course of her career had shifted "from innocence to experience, inspiring such carnal albums as 1993's 'Janet' and 1997's 'The Velvet Rope', the latter of which explored the bonds—figuratively and literally—of love and lust."The song "Free Xone" from The Velvet Rope, which portrays same-sex relationships in a positive light, is described by sociologist Shayne Lee as "a rare incident in which a popular black vocalist explores romantic or sensual energy outside the contours of heteronormativity, making it a significant song in black sexual politics." During promotion for Janet, she stated "I love feeling deeply sexual—and don't mind letting the world know. For me, sex has become a celebration, a joyful part of the creative process."Upon the release of Damita Jo, Jackon stated "Beginning with the earlier albums, exploring—and liberating—my sexuality has been an ongoing discovery and theme," adding "As an artist, that's not only my passion, it's my obligation." Stephen Thomas Erlewine has found Jackson's consistent inclusion of sex in her music lacking ingenuity, especially in comparisons to other artists such as Prince, stating "while sex indisputably fuels much great pop music, it isn't an inherently fascinating topic for pop music—as with anything, it all depends on the artist.". 
Question: What is the first of the person who, according to Smith, "challenged audiences to see her as a transformed person, from an ingénue to a grow-up, multi-talented celebrity"?

Ex Output:
Janet.


Ex Input:
Passage: Throughout the early years of the July Monarchy, Alkan continued to teach and play at public concerts and in eminent social circles. He became a friend of many who were active in the world of the arts in Paris, including Franz Liszt (who had been based there since 1827), George Sand, and Victor Hugo. It is not clear exactly when he first met Frédéric Chopin, who arrived in Paris in September 1831. In 1832 Alkan took the solo role in his first Concerto da camera for piano and strings at the Conservatoire. In the same year, aged 19, he was elected to the influential Société Académique des Enfants d'Apollon (Society of the Children of Apollo), whose members included Luigi Cherubini, Fromental Halévy, the conductor François Habeneck, and Liszt, who had been elected in 1824 at the age of twelve. Between 1833 and 1836 Alkan participated at many of the Society's concerts. Alkan twice competed unsuccessfully for the Prix de Rome, in 1832 and again in 1834; the cantatas which he wrote for the competition, Hermann et Ketty and L'Entrée en loge, have remained unpublished and unperformed.In 1834 Alkan began his friendship with the Spanish musician Santiago Masarnau, which was to result in an extended and often intimate correspondence which only came to light in 2009. Like virtually all of Alkan's correspondence, this exchange is now one-sided; all of his papers (including his manuscripts and his extensive library) were either destroyed by Alkan himself, as is clear from his will, or became lost after his death. Later in 1834 Alkan made a visit to England, where he gave recitals and where the second Concerto da camera was performed in Bath by its dedicatee Henry Ibbot Field; it was published in London together with some solo piano pieces. A letter to Masarnau and a notice in a French journal that Alkan played in London with Moscheles and Cramer, indicate that he returned to England in 1835. Later that year, Alkan, having found a place of retreat at Piscop outside Paris, completed his first truly original works for solo piano, the Twelve Caprices, published in 1837 as Opp. 12, 13, 15 and 16. Op. 16, the Trois scherzi de bravoure, is dedicated to Masarnau. In January 1836, Liszt recommended Alkan for the post of Professor at the Geneva Conservatoire, which Alkan declined, and in 1837 he wrote an enthusiastic review of Alkan's Op. 15 Caprices in the Revue et gazette musicale. 
Question: Whose cantatas written for the competition, Hermann et Ketty and L'Entrée en loge, have remained unpublished and unperformed?

Ex Output:
Alkan.


Ex Input:
Passage: Newlyweds Christian and Anastasia are forced to cut their honeymoon short and return home after receiving news of a break-in at Christian's corporate headquarters. Some computer files were stolen and security camera tapes identify the perpetrator as Jack Hyde, Ana's former boss who was fired for sexual assault. Meanwhile, Ana is introduced to her new personal security team.
Christian surprises Ana with a new house and has hired an attractive architect, Gia Matteo, to rebuild it. Ana is annoyed when Gia openly flirts with Christian in Ana's presence. Ana privately threatens to fire Gia if she continues her flirting, forcing her to stop.
When Christian is away on a business trip, Ana disregards his wishes that she stay at home, and meets her friend, Kate Kavanagh, for a drink. Kate, who is dating Christian's older brother Elliot, confides that she suspects Elliot may be having an affair with Gia, who is also his business associate. When Ana returns home, she encounters Jack Hyde, who attempts to kidnap her. Ana's security team subdues him and he is arrested. After an argument with Christian about her night out with Kate, Ana berates Christian for being overly controlling and possessive and demands more freedom. Soon after, Christian surprises Ana with a trip to Aspen, bringing along Kate, Elliot, Mia, and José. Elliott proposes to Kate, who accepts. It is revealed that Gia was only helping Elliott choose the ring. 
Question: What is the occupation of Elliot's business associate?

Ex Output:

architect.