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: In mid-1917 nine-year-old Frances Griffiths and her mother—both newly arrived in the UK from South Africa—were staying with Frances' aunt, Elsie Wright's mother, in the village of Cottingley in West Yorkshire; Elsie was then 16 years old. The two girls often played together beside the beck (stream) at the bottom of the garden, much to their mothers' annoyance, because they frequently came back with wet feet and clothes. Frances and Elsie said they only went to the beck to see the fairies, and to prove it, Elsie borrowed her father's camera, a Midg quarter-plate. The girls returned about 30 minutes later, "triumphant".Elsie's father, Arthur, was a keen amateur photographer, and had set up his own darkroom. The picture on the photographic plate he developed showed Frances behind a bush in the foreground, on which four fairies appeared to be dancing. Knowing his daughter's artistic ability, and that she had spent some time working in a photographer's studio, he dismissed the figures as cardboard cutouts. Two months later the girls borrowed his camera again, and this time returned with a photograph of Elsie sitting on the lawn holding out her hand to a 1-foot-tall (30 cm) gnome. Exasperated by what he believed to be "nothing but a prank", and convinced that the girls must have tampered with his camera in some way, Arthur Wright refused to lend it to them again. His wife Polly, however, believed the photographs to be authentic.
Towards the end of 1918, Frances sent a letter to Johanna Parvin, a friend in Cape Town, South Africa, where Frances had lived for most of her life, enclosing the photograph of herself with the fairies. On the back she wrote "It is funny, I never used to see them in Africa. It must be too hot for them there."The photographs became public in mid-1919, after Elsie's mother attended a meeting of the Theosophical Society in Bradford. The lecture that evening was on "fairy life", and at the end of the meeting Polly Wright showed the two fairy photographs taken by her daughter and niece to the speaker. As a result, the photographs were displayed at the society's annual conference in Harrogate, held a few months later. There they came to the attention of a leading member of the society, Edward Gardner. One of the central beliefs of theosophy is that humanity is undergoing a cycle of evolution, towards increasing "perfection", and Gardner recognised the potential significance of the photographs for the movement:
the fact that two young girls had not only been able to see fairies, which others had done, but had actually for the first time ever been able to materialise them at a density sufficient for their images to be recorded on a photographic plate, meant that it was possible that the next cycle of evolution was underway. 
Question: What is the first name of the friend that the little girl who took a picture with four fairies?
[EX A]: Johanna.

[EX Q]: Passage: The movie begins with a scooter chase between Harry and his nan because she didn't know it was him. Afterwards, Harry is sent to get a chicken for lunch, but they fire a machine gun at him and throw a grenade, which Harry throws into the chicken shed, blowing them up. Nan tells Harry the story of his twin brother, Otto, which Harry claims to have heard before. 
Suddenly, Harry and Nan then discover that their beloved pet hamster Abu is ill after he vomits a green substance on them, so they take him to the vet. He is almost put down until Harry takes him back home. Ed the vet and his assistant, Kisko, are working for Harry's neo-Nazi twin brother Otto who was abandoned by Nan in the 1970s, claiming it was because she couldn't look after them both, and was raised by Alsatians.
After another failed attempt to capture Abu (by disguising as a priest and a nun), Harry and Nan decide to take him on a trip in their Rover P6 to Blackpool for a week before he dies (when Abu really wanted to visit the home of Rihanna). Ed and his assistant pursue them on the road, until they arrive in "Blackpole" by mistake. The next day, Harry and Nan take Abu on a personal guided tour around the nuclear power plant by the cleaner. Ed and Kisko attempt to capture him again only for him to end up turned into a destructive giant caused by radiation which wears off shortly. While walking on the beach they encounter Barney Cull, a member of the Shell People. 
Question: What are the first names of the people who pursue Nan and Harry on the road?
[EX A]:
Ed.