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.

Passage: The building was sold in 1549 by Buonaccorso Pitti, a descendant of Luca Pitti, to Eleonora di Toledo.  Raised at the luxurious court of Naples, Eleonora was the wife of Cosimo I de' Medici of Tuscany, later the Grand Duke.  On moving into the palace, Cosimo had Vasari enlarge the structure to fit his tastes; the palace was more than doubled by the addition of a new block along the rear.  Vasari also built the Vasari Corridor, an above-ground walkway from Cosimo's old palace and the seat of government, the Palazzo Vecchio, through the Uffizi, above the Ponte Vecchio to the Palazzo Pitti. This enabled the Grand Duke and his family to move easily and safely from their official residence to the Palazzo Pitti. Initially the Palazzo Pitti was used mostly for lodging official guests and for occasional functions of the court, while the Medicis' principal residence remained the Palazzo Vecchio. It was not until the reign of Eleonora's son Francesco I and his wife Johanna of Austria that the palazzo was occupied on a permanent basis and became home to the Medicis' art collection.Land on the Boboli hill at the rear of the palazzo was acquired in order to create a large formal park and gardens, today known as the Boboli Gardens. The landscape architect employed for this was the Medici court artist Niccolò Tribolo, who died the following year; he was quickly succeeded by Bartolommeo Ammanati. The original design of the gardens centred on an amphitheatre, behind the corps de logis of the palazzo. The first play recorded as performed there was Andria by Terence in 1476. It was followed by many classically inspired plays of Florentine playwrights such as Giovan Battista Cini. Performed for the amusement of the cultivated Medici court, they featured elaborate sets designed by the court architect Baldassarre Lanci. 
Question: What is the first name of the Grand Duke whose family was enabled to move easily and safely from their official residence?
Cosimo.

Passage: Handel joined the Hamburg opera house when it was experiencing a period of considerable artistic success. This blossoming followed the arrival of Reinhard Keiser, who had become musical director at the Gänsemarkt in about 1697, and in 1703 succeeded Johann Kusser as the theatre's manager. Born in 1674, Keiser had studied under Johann Schelle and probably Johann Kuhnau at the Thomasschule zu Leipzig.  In 1694 he was employed as a court composer at Brunswick, where in three years he composed seven operas, at least one of which (Mahumeth) was performed in Hamburg. According to Handel's biographer Donald Burrows, Keiser was a good judge of popular taste, with a flair for writing Italian-style arias.  Between 1697 and 1703, prior to Handel's arrival, about a dozen more Keiser operas had been staged at the Gänsemarkt. Despite his on-stage successes, Keiser was an unreliable general manager, with expensive private tastes and little financial acumen, often at odds with his creditors.It is possible that Keiser, who had connections in the Halle area, had heard of Handel and was directly instrumental in securing the latter's post in the Gänsemarkt orchestra; certainly he was a considerable influence on the younger man in the three years that Handel spent in Hamburg. Another important Gänsemarkt colleague was the house composer and singer Johann Mattheson, who noted Handel's rapid progress in the orchestra from back-desk violinist to harpsichord soloist, a role in which, said Mattheson, "he showed himself a man—a thing which no one had before suspected, save I alone". Mattheson was less complimentary on Handel's early efforts at composition: "He composed very long, long arias, and really interminable cantatas", before, it seems, "the lofty schooling of opera ... trimmed him into other fashions". 
Question: What is the last name of the person who was employed as a court composer at Brunswick in 1694?
Keiser.

Passage: Many independent Chicago-based record labels were also getting their artists on the dance charts. Detroit DJ Terrence Parker uses his advanced turntablism skills and his focus on precision to blend hip hop music DJing styles, such as rhythmic scratching, in his house mixes. Fellow Detroit spinner DJ Minx is a notable woman house DJ. Her records on her Women on Wax label blend Parker-influenced turntablism precision with a funky style.
In the UK, any house song released by a Chicago-based label was routinely considered a "must-play" at UK house music clubs. Paradise Garage in New York City was still a top club in the house era, just as it had been during the disco age. The emergence of Todd Terry, a pioneer of the genre, demonstrated the continuum from the underground disco approach which moved to a new house sound. Terry's cover of Class Action's "Weekend" (mixed by Larry Levan) shows how Terry drew on newer hip-hop influences, such as the quicker sampling and the more rugged basslines.
In the late 1980s, Nu Groove Records launched and nurtured the careers of Rheji Burrell and Rhano Burrell, collectively known as Burrell (after a brief stay on Virgin America via Timmy Regisford and Frank Mendez). Nu Groove also had a stable of other NYC underground scene DJs. The Burrell's created the "New York Underground" sound of house, and they did 30+ releases on this label featuring this sound. In the 2010s, Nu Groove Record releases like the Burrells' enjoy a cult status among "crate diggers" and DJs. Mint-condition vinyl records by the Burrells from the 1980s can fetch high prices.
By the late 1980s, house DJing and production had moved to the US's west coast, particularly to San Francisco, Oakland, Los Angeles, Fresno, San Diego and Seattle. Los Angeles saw am explosion of underground raves, where DJs mixed dance tracks. L.A. DJs Marques Wyatt and Billy Long spun at Jewel's Catch One. In 1989, the L.A.-based, former EBN-OZN singer/rapper Robert Ozn started indie house label One Voice Records. Ozn released the Mike "Hitman" Wilson remix of Dada Nada's "Haunted House", which garnered club and mix show radio play in Chicago, Detroit and New York as well as in the U.K. and France. The record went up to number five on the Billboard Club Chart, marking it as the first house record by a white (Caucasian) artist to chart in the U.S.  Dada Nada, the moniker for Ozn's solo act, did his first releases in 1990, using a jazz-based Deep House style. The Frankie Knuckles and David Morales remix of Dada Nada's "Deep Love" (One Voice Records in the US, Polydor in the UK), featuring Ozn's lush, crooning vocals and jazzy improvisational solos by muted trumpet, underscored Deep House's progression into a genre that integrated jazz and pop songwriting and song forms (unlike acid house and techno). 
Question: What are the first names of the people who created the "New York Underground" sound of house?

Rhano.