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: A prologue explains the role of the bounty hunter. A wanted criminal named Burch tries to ambush bounty hunter Jim Kipp, but Kipp gets the better of him. Kipp takes Burch's corpse into town to collect the reward. A representative of the Pinkerton Detective Agency asks Kipp to hunt a trio of fugitives. Three masked men committed a robbery and fled with $100,000. Kipp, who has the reputation that he will do anything for money, is offered a huge reward if he can capture the culprits dead or alive.
Kipp rides into the town of Twin Forks, and uses an alias. He seeks information about one fugitive's wounds from Dr. Spencer, who is wary of revealing too much. Kipp is immediately attracted to the doctor's daughter, Julie. A limping man named Bill Rachin, who works at the hotel, draws Kipp's suspicion. So does George Williams, a card dealer. Williams' wife, Alice, flirts with Kipp and tries to coax information out of him. Kipp does not reveal the purpose for his visit.
Vance Edwards identifies Kipp and his reputation as a bounty hunter.  Edwards mistakenly believes Kipp is seeking him for another crime. The townspeople become anxious as the truth about Kipp becomes known. Led by the postmaster, Danvers, they offer Kipp a bribe to leave town. Kipp tells several people that he is expecting a package on the next day's stagecoach and in the package is a likeness of one of the robbers. Dr. Spencer later overhears Kipp telling his daughter the same thing and he becomes worried. 
Question: What is the first name of the person that Kipp tells something to that makes Dr. Spencer worried?
[EX A]: Julie.

[EX Q]: Passage: The Catacombs of Rome contain most of the surviving Christian art of the Early Christian period, mainly in the form of frescos and sculpted sarcophagi. They show a Christian iconography emerging, initially from Roman popular decorative art, but later borrowing from official imperial and pagan motifs.  Initially, Christians avoided iconic images of religious figures, and sarcophagi were decorated with ornaments, Christian symbols like the Chi Rho monogram and, later, narrative religious scenes. The Early Christians' habit, after the end of their persecution, of building churches (most famously St Peter's, Rome) over the burial places of martyrs who had originally been buried discreetly or in a mass grave perhaps led to the most distinctive feature of Christian funerary art, the church monument, or tomb inside a church. The beliefs of many cultures, including Judaism and Hinduism as well as classical paganism, consider the dead ritually impure and avoid mixing temples and cemeteries (though see above for Moche, and below for Islamic culture).
In the late Middle Ages, influenced by the Black Death and devotional writers, explicit memento mori imagery of death in the forms of skulls or skeletons, or even decomposing corpses overrun with worms in the transi tomb, became common in northern Europe, and may be found in some funerary art, as well as motifs like the Dance of Death and works like the Ars moriendi, or "Art of Dying".  It took until the Baroque period for such imagery to become popular in Italy, in works like the tomb of Pope Urban VIII by Bernini (1628–1647), where a bronze winged skeleton inscribes the Pope's name on a tablet below his enthroned effigy.  As cities became more crowded, bones were sometimes recovered after a period, and placed in ossuaries where they might be arranged for artistic effect, as at the Capuchin Crypt in Rome or the Czech Sedlec Ossuary, which has a chandelier made of skulls and bones. 
Question: What shows a Christian iconography emerging, initially from Roman popular decorative art?
[EX A]: surviving Christian art of the Early Christian period.

[EX Q]: Passage: Presley's rise to national attention in 1956 transformed the field of popular music and had a huge effect on the broader scope of popular culture. As the catalyst for the cultural revolution that was rock and roll, he was central not only to defining it as a musical genre but in making it a touchstone of youth culture and rebellious attitude. With its racially mixed origins—repeatedly affirmed by Presley—rock and roll's occupation of a central position in mainstream American culture facilitated a new acceptance and appreciation of black culture. In this regard, Little Richard said of Presley, "He was an integrator. Elvis was a blessing. They wouldn't let black music through. He opened the door for black music." Al Green agreed: "He broke the ice for all of us." President Jimmy Carter remarked on his legacy in 1977: "His music and his personality, fusing the styles of white country and black rhythm and blues, permanently changed the face of American popular culture. His following was immense, and he was a symbol to people the world over of the vitality, rebelliousness, and good humor of his country." Presley also heralded the vastly expanded reach of celebrity in the era of mass communication: at the age of 21, within a year of his first appearance on American network television, he was one of the most famous people in the world.Presley's name, image, and voice are instantly recognizable around the globe. He has inspired a legion of impersonators. In polls and surveys, he is recognized as one of the most important popular music artists and influential Americans. "Elvis Presley is the greatest cultural force in the twentieth century", said composer and conductor Leonard Bernstein. "He introduced the beat to everything and he changed everything—music, language, clothes. It's a whole new social revolution—the sixties came from it." In the words of John Lennon, "Nothing really affected me until Elvis." Bob Dylan described the sensation of first hearing Presley as "like busting out of jail".
On the 25th anniversary of Presley's death, The New York Times asserted, "All the talentless impersonators and appalling black velvet paintings on display can make him seem little more than a perverse and distant memory. But before Elvis was camp, he was its opposite: a genuine cultural force. ... Elvis' breakthroughs are underappreciated because in this rock-and-roll age, his hard-rocking music and sultry style have triumphed so completely." Not only Presley's achievements, but his failings as well, are seen by some cultural observers as adding to the power of his legacy, as in this description by Greil Marcus:. 
Question: What publication wrote that the man who rose to national attention in 1956 was "a genuine cultural force"?
[EX A]:
The New York Times.