instruction:
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.
question:
Passage: During the reign of the Jiajing Emperor (r. 1521–1567), the native Chinese ideology of Daoism was fully sponsored at the Ming court, while Tibetan Vajrayana and even Chinese Buddhism were ignored or suppressed. Even the History of Ming states that the Tibetan lamas discontinued their trips to Ming China and its court at this point. Grand Secretary Yang Tinghe under Jiajing was determined to break the eunuch influence at court which typified the Zhengde era, an example being the costly escort of the eunuch Liu Yun as described above in his failed mission to Tibet. The court eunuchs were in favor of expanding and building new commercial ties with foreign countries such as Portugal, which Zhengde deemed permissible since he had an affinity for foreign and exotic people.With the death of Zhengde and ascension of Jiajing, the politics at court shifted in favor of the Neo-Confucian establishment which not only rejected the Portuguese embassy of Fernão Pires de Andrade (d. 1523), but had a predisposed animosity towards Tibetan Buddhism and lamas. Evelyn S. Rawski, a professor in the Department of History of the University of Pittsburgh, writes that the Ming's unique relationship with Tibetan prelates essentially ended with Jiajing's reign while Ming influence in the Amdo region was supplanted by the Mongols.The Chinese Ming dynasty also deliberately helped to propagate Tibetan Buddhism instead of Chinese Buddhism among the Mongols. The Ming assisted Altan Khan, King of the Tümed Mongols, when he requested aid in propagating Lamaism.Meanwhile, the Tumed Mongols began moving into the Kokonor region (modern Qinghai), raiding the Ming Chinese frontier and even as far as the suburbs of Beijing under Altan Khan (1507–1582). Klieger writes that Altan Khan's presence in the west effectively reduced Ming influence and contact with Tibet. After Altan Khan made peace with the Ming dynasty in 1571, he invited the third hierarch of the Gelug—Sönam Gyatso (1543–1588)—to meet him in Amdo (modern Qinghai) in 1578, where he accidentally bestowed him and his two predecessors with the title of Dalai Lama—"Ocean Teacher". The full title was "Dalai Lama Vajradhara", "Vajradhara" meaning "Holder of the Thunderbolt" in Sanskrit. Victoria Huckenpahler notes that Vajradhara is considered by Buddhists to be the primordial Buddha of limitless and all-pervasive beneficial qualities, a being that "represents the ultimate aspect of enlightenment." Goldstein writes that Sönam Gyatso also enhanced Altan Khan's standing by granting him the title "king of religion, majestic purity". Rawski writes that the Dalai Lama officially recognized Altan Khan as the "Protector of the Faith". 
Question: What is the full name of the Dalai Lama who officially recognized Altan Khan as the "Protector of the Faith"?
answer:
Sönam Gyatso.


question:
Passage: Giovanni Battista Barbirolli was born in Southampton Row, Holborn, London, the second child and eldest son of an Italian father and a French mother. He was a British national from birth, and as Southampton Row is within the sound of Bow Bells, Barbirolli always regarded himself as a Cockney. His father, Lorenzo Barbirolli (1864–1929), was a Venetian violinist who had settled in London with his wife, Louise Marie, née Ribeyrol (1870–1962). Lorenzo and his father had played in the orchestra at La Scala, Milan, where they had taken part in the première of Otello in 1887. In London they played in West End theatre orchestras, principally that of the Empire, Leicester Square.
The young Barbirolli began to play the violin when he was four, but soon changed to the cello. He later said that this was at the instigation of his grandfather who, exasperated at the child's habit of wandering around while practising the violin, bought him a small cello to stop him from "getting in everybody's way". His education at St. Clement Danes Grammar School overlapped, from 1910, with a scholarship at Trinity College of Music. As a Trinity student, he made his concert debut in a cello concerto in the Queen's Hall in 1911. The following year he won a scholarship to the Royal Academy of Music, which he attended from 1912 to 1916, studying harmony, counterpoint and theory under Dr. J. B. McEwen and the cello with Herbert Walenn. In 1914 he was joint winner of the academy's Charles Rube Prize for ensemble playing, and in 1916 The Musical Times singled him out as "that excellent young 'cello player, Mr Giovanni Barbirolli." The principal of the Academy, Sir Alexander Mackenzie, had forbidden students to play the chamber music of Ravel, which he regarded as "a pernicious influence". Barbirolli was keenly interested in modern music, and he and three colleagues secretly rehearsed Ravel's String Quartet in the privacy of a men's lavatory in the Academy.From 1916 to 1918 Barbirolli was a freelance cellist in London. He recalled, "My first orchestral engagement was with the Queen's Hall Orchestra – I was probably the youngest orchestral musician ever, joining them in 1916. We had an enormous repertory – six concerts a week, three hours or more rehearsal a day. In those days we were happy if we began and finished together". While playing in the Queen's Hall Orchestra, Barbirolli also played in the opera pit for the Beecham and Carl Rosa opera companies, in recitals with the pianist Ethel Bartlett, with orchestras in theatres, cinemas, hotels and dance-halls, and, as he said, "everywhere except the street". During the last year of the First World War, Barbirolli enlisted in the army and became a lance-corporal in the Suffolk Regiment. Here he had his first opportunity to conduct, when an orchestra of volunteers was formed. He later described the experience:. 
Question: What is the last name of the person whose father settled in London?
answer:
Barbirolli.


question:
Passage: Bryant identified "Son of Three" as an example of "when the Breeders set out to rock", noting "the chugging guitars and stomping drums." The Breeders re-recorded "Son of Three" in July 2002 for its release as Title TK's third single; this version is faster than the album track, and reflects the speed they were playing the song in concert that year. The lyrics of both "Son of Three" and "The She" suggest extended road trips with unknown outcomes. The album's next song, "Put on a Side", has a distinctive bassline and a cramped, repressive feel. Berger wrote that Kim Deal's "voice grinds sweetly, weariedly, sloppily inside your brain," as she repeats twelve words over the course of the song: "Better I better I stayed up / Better mono, put on a side."An earlier version of "Full on Idle", Title TK's eighth track, was released on the Amps' Pacer in 1995. In a 1997 interview, Deal expressed an interest in redoing multiple Amps songs, partially because she did not feel Pacer was well recorded. Bryant opined that both versions of "Full on Idle" sound almost the same, but The Village Voice's Jessica Grose wrote that the Breeders' rendition is noticeably slower. In Cibula's view, this version contains elements of country music, cumbia, and ska. The Guardian's Betty Clarke cited the line "Obey your colorist, bleach it all away" as an example of Title TK's amusing, off-center lyrics. On "Sinister Foxx", Deal repeatedly sings "Has anyone seen the iguana?" She has explained this as being a reference to buying marijuana: "Have you ever bought a bag of weed? You walk in, and the pot dealer's got an empty terrarium ... Every time I go to a pot dealer's house, there's no iguana." Another line, "I'm in beer class every Thursday night", refers to the alcohol awareness classes that Richard Presley attended after being caught driving while drunk. Phares described the song as having a "sexy menace", and Berger compared the drum part to gunshots and door-knocking.Moores identified in "Forced to Drive" the "quiet-LOUD-quiet" dynamic for which Deal's former band, the Pixies, are famous. Berger noticed a similar contrast between the song's "pop verses" and "the gloom of a twisty, malignant chorus". For Abbott, this four-chord chorus "approaches exuberance" in its mixture of catchy melody and grunge. The penultimate track, "T and T", was described by Bryant as an instrumental introduction leading into "Huffer". Kelley Deal has stated that these two songs share a thematic union: the latter is about the negative side of inhaling paint or other substances, while the former stands for "Toil and Trouble", also about the hardships that inhaling chemicals can cause. "Huffer" is, according to Moores, a lively, poppy track, and critics have commented on its "da-da-da" and "ah-ah" chorus. 
Question: What was the name of the song that had a reference to buying marijuana in it?
answer:

Sinister Foxx.