TASK DEFINITION: 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.
PROBLEM: Passage: The film begins in a parking lot in which a teenage filmmaker named Eric is attempting to document the faux-gangsta lifestyle enjoyed by Allison Lang and her boyfriend Toby's (Mike Vogel) gang of white upper-class teenagers living in the Pacific Palisades neighborhood. A brawl ensues between Toby's gang and another gang, which ends with both sides fleeing just before police arrive. Later that night, Toby's gang goes to a party at Eric's house, and Allison's relationship with Toby as well as her other friends Emily and Sam is further revealed. At the end of the party, Allison performs oral sex on her boyfriend.
The next day, Allison meets with her father, Stuart, at work to discuss family problems, the awkward conversation revealing the virtually non-existent relationship Allison has with her parents. Afterwards, she and her friends drive downtown into East LA, intent on buying marijuana, eventually encountering Mexican drug dealer Hector and his crew. Toby and Hector make a deal, but Toby believes that Hector did not sell him enough for what he paid, and attempts to confront Hector, who pulls a gun on him, humiliating him in front of his friends. Allison persuades Hector to leave Toby alone. 
Question: Where do the gangs have a brawl?

SOLUTION: parking lot.

PROBLEM: Passage: At the turn of the 17th century, Monteverdi found himself the target of musical controversy. The influential Bolognese theorist Giovanni Maria Artusi attacked Monteverdi's music (without naming the composer) in his work L'Artusi, overo Delle imperfettioni della moderna musica (Artusi, or On the imperfections of modern music) of 1600, followed by a sequel in 1603. Artusi cited extracts from Monteverdi's works not yet published (they later formed parts of his fourth and fifth books of madrigals of 1603 and 1605), condemning their use of harmony and their innovations in use of musical modes, compared to orthodox polyphonic practice of the sixteenth century. Artusi attempted to correspond with Monteverdi on these issues; the composer refused to respond, but found a champion in a pseudonymous supporter, "L'Ottuso Academico" ("The Obtuse Academic"). Eventually Monteverdi replied in the preface to the fifth book of madrigals that his duties at court prevented him from a detailed reply; but in a note to "the studious reader", he claimed that he would shortly publish a response, Seconda Pratica, overo Perfettione della Moderna Musica (The Second Style, or Perfection of Modern Music). This work never appeared, but a later publication by Claudio's brother Giulio Cesare made it clear that the seconda pratica which Monteverdi defended was not seen by him as radical change or his own invention, but was an evolution from previous styles (prima pratica) which was complementary to them.This debate seems in any case to have raised the composer's profile, leading to reprints of his earlier books of madrigals. Some of his madrigals were published in Copenhagen in 1605 and 1606, and the poet Tommaso Stigliani published a eulogy of him in his 1605 poem "O sirene de' fiumi". The composer of madrigal comedies and theorist Adriano Banchieri wrote in 1609: "I must not neglect to mention the most noble of composers, Monteverdi ... his expressive qualities are truly deserving of the highest commendation, and we find in them countless examples of matchless declamation ... enhanced by comparable harmonies." The modern music historian Massimo Ossi has placed the Artusi issue in the context of Monteverdi's artistic development: "If the controversy seems to define Monteverdi's historical position, it also seems to have been about stylistic developments that by 1600 Monteverdi had already outgrown".The non-appearance of Monteverdi's promised explanatory treatise may have been a deliberate ploy, since by 1608, by Monteverdi's reckoning, Artusi had become fully reconciled to modern trends in music, and the seconda pratica was by then well established; Monteverdi had no need to revisit the issue. On the other hand, letters to Giovanni Battista Doni of 1632 show that Monteverdi was still preparing a defence of the seconda practica, in a treatise entitled Melodia; he may still have been working on this at the time of his death ten years later. 
Question: What is the first name of the person that received letters in 1632 showing that the man who was a target of musical controversy was still preparing a defence of the seconda practica?

SOLUTION: Giovanni.

PROBLEM: Passage: Sanders is a British colonial District Commissioner in Colonial Nigeria. He tries to rule his province fairly, including the various tribes comprising the Peoples of the River. He is regarded with respect by some and with fear by others, among whom he is referred to as "Sandi" and "Lord Sandi". He has an ally in Bosambo, a literate and educated chief (played by the American actor, Paul Robeson).
When Sanders goes on leave, another chief, King Mofolaba, spreads the rumour that "Sandi is dead." Inter-tribal war seems inevitable, and the situation is made worse by gun-runners and slavers.
His relief, Ferguson (known to the natives as Lord Ferguson), is unequal to the task; he is captured and killed by King Mofolaba. Sanders returns to restore peace. When Bosambo's wife Lilongo is kidnapped, the chief tracks down her kidnappers. Captured by them, he is saved by a relief force commanded by Sanders. Bosambo kills King Mofolaba and is subsequently named by Sanders as the King of the Peoples of the River. 
Question: Who is captured while looking for his wife and then saved by a relief force?

SOLUTION:
Bosambo.