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.

Q: Passage: In 1987 in Oklahoma, Danielle Edmondston is a troubled and promiscuous high school student. She argues with her mother, Sue-Ann, who is about to marry a Mormon, Ray, and amidst the chaos she befriends Clarke Walters, a shy, gay classmate. Together, they flee in a car owned by Clarke's homophobic father, Joseph, and embark on a road trip to Fresno, where Danielle expects to find her birth father, Danny Briggs. Meanwhile, Sue-Ann and Clarke's mother, Peggy, chase after them.
Joseph breaks into Danielle's house in an attempt to find Clarke, only to find that the entire family is gone in vacation, besides Danielle, who has already left with Clarke. Joseph is then arrested for breaking into the house. He calls Peggy to bail him out, only to find out that Peggy refuses to let him out and that she will not allow him to harm Clarke for being gay anymore. Joseph, aggravated, has to stay in the cell until a judge can see him.
On the way, Danielle and Clarke pick up a hitchhiker named Joel, who after they stop for rest, has sex with Clarke. Clarke awakens the next morning to find that he is gone, leaving him heartbroken. Clarke blames Danielle for this. After seemingly moving on and getting back in the car, it breaks down on the side of the road. Clarke and Danielle continue on foot, trying to rent a car, only to find Joseph has been released from prison and has reported their credit card stolen. Desperate for money, the two enter a bar and Danielle enters a stripping contest. After she is booed profusely, Clarke realizes that it is a biker gay bar. Danielle tells him he must strip instead. 
Question: What is the last name of the person who gets booed for stripping at a gay bar?

A: Edmondston.
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Q: Passage: Slint formed in 1987 in Louisville, Kentucky, from the remnants of the punk rock band Squirrel Bait; the founding members included Brian McMahan (guitar, vocals), David Pajo (guitar), Britt Walford (drums) and Ethan Buckler (bass guitar). The band's debut album, the Steve Albini-produced Tweez, was released on the group's self-owned label Jennifer Hartman Records and Tapes. The album's sound has been described as a combination of "scratchy guitars, thumping bass lines and hard hitting drums". Buckler promptly left the band out of dissatisfaction with Albini's production, and was replaced with Todd Brashear. The band's second recording was for the instrumental extended play Slint, which included a new version of "Rhoda" from Tweez. The EP, which would not be released until 1994, was a departure from Tweez's sound and reflected the band's new musical direction.After the band ended its brief tour in support of Tweez, most of its members attended college. Around this time McMahan and Walford began writing together for the band's next record, creating six new songs which the band practiced throughout the summer of 1990. Slint entered River North Records in August 1990 to record Spiderland. At that time there were no vocals or lyrics prepared for the album, so the band wrote them while in the studio. The album's producer, Brian Paulson, was known for his "live" recording style in the studio, with minimal takes. Paulson recalled "It was weird while I was doing [Spiderland] because I remember sitting there, and I just knew there was something about it. I've never heard anything like this. I'm really digging this but it's really fucking weird."The recording sessions for Spiderland are reputed to have been difficult for the members of the band and were, according to AllMusic, "intense, traumatic and one more piece of evidence supporting the theory that band members had to be periodically institutionalized during the completion of the album." Rumors circulated that at least one member of Slint had been checked into a psychiatric hospital. Walford later addressed these stories in an article in Select by saying, "[We were] definitely trying to be serious about things, pretty intense, which made recording the album kinda stressful." The recording was completed in four days. 
Question: What is the full name of the person that Todd Brashear replaced?

A: Ethan Buckler.
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Q: Passage: Too Much Too Soon received positive reviews from contemporary critics. Reviewing for Rolling Stone in 1974, Dave Marsh hailed the New York Dolls as the leading hard rock band in the US and noted what he felt was Nolan's competent drumming, Johansen's ability to add depth to his characters, and Thunders's innovative guitar playing. Marsh especially praised his playing on "Chatterbox", calling it "a classic", and believed even the most brazen songs sounded successful because Morton's production highlighted the group's more unrefined musical qualities. Writing for Creem magazine, Christgau said the polished sound reproduction preserved the band's raw qualities, especially in the case of Johansen's vocals and Nolan's drumming, and remarked that Rundgren "should be ashamed—Shadow Morton has gotten more out of the Dolls than they can give us live on any but their best nights." Robert Hilburn from the Los Angeles Times felt Too Much Too Soon was a better-produced album that proved the band to be "the real thing", calling it the best record of derisive punk rock since Exile on Main St. by the Rolling Stones in 1972. In The New Yorker, Ellen Willis wrote that she learned to appreciate Too Much Too Soon more than New York Dolls after seeing the band perform songs from the former album in concert, particularly "Human Being" and "Puss 'n' Boots", while Ron Ross from Phonograph Record magazine said the group's "easy going ironic sensibility" was expressed "far more amusingly and accessibly" here than on their debut album.Some reviewers were critical of Too Much Too Soon for what they felt was a poorly recorded and overproduced sound. In a negative review for NME, Nick Kent said it sounded cluttered and "shot through with unfulfilled potential", while Circus magazine panned the record as "cut after cut of annoying screeching". It was nonetheless voted the tenth best album of 1974 in the Pazz & Jop, an annual poll of American critics nationwide, published in The Village Voice. Willis, one of the critics polled, listed it as her fifth favorite record of the year. Christgau, the poll's creator and supervisor, named it third best, and in a decade-end list for The Village Voice, he named it the fourth best album of the 1970s. Los Angeles Times critic Richard Cromelin included it in his list of favorite records from the decade and wrote that Morton's production made it slightly better than New York Dolls. 
Question: What did Christgau, the poll's creator and supervisor, name third best?

A:
Too Much Too Soon.
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