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.

Input: Consider Input: Passage: Eleven year old Randy Daytona becomes anxious when he learns that his father Peter has bet on his performance in the 1988 Summer Olympics table tennis finals. During his first game between his opponent Karl Wolfschtagg from the German Democratic Republic, Daytona has an accident and suffers an injury. Unable to continue, he loses the match. Loan sharks, in the employ of criminal mastermind Feng, murder his father, and Daytona leaves competitive ping-pong.
Nineteen years later, Daytona is dismissed from the Peppermill casino and meets FBI agent Ernie Rodriguez, who requests his assistance in arresting Feng for running guns. Feng's hidden jungle hideout hosts a black-market Ping-Pong tournament, and Daytona's invitation is a way for the FBI to infiltrate Feng's organization. When Daytona agrees, Rodriguez tells him to win enough championships that Feng's scouts notice him. After losing a local tournament, Daytona is apprenticed to a blind man in Chinatown named Wong, who was Feng's former mentor. Daytona also meets Wong's niece, Maggie. When locals vandalize Master Wong's house for violating their edict against teaching white people ping pong, Daytona is forced to play against "The Dragon", a young girl, in exchange for Wong's right to stay. After Daytona beats the Dragon, Feng's men take notice of his win and bring Daytona, Rodriguez, and Wong to Feng's facility. 
Question: Who do the loan sharks that work for the criminal mastermind kill?

Output: Peter.


Input: Consider Input: Passage: Fuller's time at Adyar was eventful. Leadbeater arrived around the same time as Fuller, and soon afterward he "discovered" the person he believed would become a global teacher and orator, Jiddu Krishnamurti (then in his teens). Leadbetter and others tutored Krishnamurti. Fuller may have taught him photography. She also had a small studio built in the grounds, and painted. Her works from the period include a portrait of Leadbeater and Portrait of the Lord Buddha. McFarlane emphasises the significance of the latter work, pointing out that it is "strikingly modern" in comparison to all of Fuller's other work, and more radical than compositions created by Grace Cossington Smith and Roland Wakelin, half a decade later. The painting owes much to theosophy's emphasis on seeing the subject "through a psychic, visionary experience".
Sources describing Fuller's movements after her time in India sometimes are ambiguous. She arrived in England in June 1911, where she marched with Besant in the suffragette protests associated with the coronation of George V. She continued to paint portraits, but found it difficult to realise the transformation in her art that she had conceptualised in India:I have painted a great many portraits since I have been in England, and have been, I suppose, fairly successful—though I have done nothing in any way remarkable. The hidden inner life has not yet succeeded in expressing itself on canvas, and I can only write myself as one who aspires to a greater art, but who has not yet achieved. 
Question: What is the last name of the person who went to England in June 1911?

Output: Fuller.


Input: Consider Input: Passage: A substantial proportion of Ravel's output was vocal. His early works in that sphere include cantatas written for his unsuccessful attempts at the Prix de Rome. His other vocal music from that period shows Debussy's influence, in what Kelly describes as "a static, recitative-like vocal style", prominent piano parts and rhythmic flexibility. By 1906 Ravel was taking even further than Debussy the natural, sometimes colloquial, setting of the French language in Histoires naturelles. The same technique is highlighted in Trois poèmes de Mallarmé (1913); Debussy set two of the three poems at the same time as Ravel, and the former's word-setting is noticeably more formal than the latter's, in which syllables are often elided. In the cycles Shéhérazade and Chansons madécasses, Ravel gives vent to his taste for the exotic, even the sensual, in both the vocal line and the accompaniment.Ravel's songs often draw on vernacular styles, using elements of many folk traditions in such works as Cinq mélodies populaires grecques, Deux mélodies hébraïques and Chants populaires. Among the poets on whose lyrics he drew were Marot, Léon-Paul Fargue, Leconte de Lisle and Verlaine. For three songs dating from 1914–15, he wrote his own texts.Although Ravel wrote for mixed choirs and male solo voices, he is chiefly associated, in his songs, with the soprano and mezzo-soprano voices. Even when setting lyrics clearly narrated by a man, he often favoured a female voice, and he seems to have preferred his best-known cycle, Shéhérazade, to be sung by a woman, although a tenor voice is a permitted alternative in the score. 
Question: What is the name of the person whose early vocal music from the Prix de Rome period is described by Kelly as "a static, recitative-like vocal style," with prominent piano parts and rhythmic flexibility?


Output: Ravel.