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: Detroit techno is an offshoot of Chicago house music which developed in the early and mid-1980s. One of the earliest hits was "Big Fun" by Inner City. Detroit techno developed as the DJ The Electrifying Mojo did his radio program, which fused eclectic sounds into the signature Detroit techno sound. This sound, also influenced by European electronica (Kraftwerk, Art of Noise), Japanese synthpop (Yellow Magic Orchestra), early B-boy (breakdancing) Hip-Hop (Man Parrish, Soul Sonic Force) and Italo disco (Doctor's Cat, Ris, Klein M.B.O.), was further pioneered by Juan Atkins, Derrick May, and Kevin Saunderson, known as the Belleville Three.
Derrick May a.k.a. "MAYDAY" and Thomas Barnett released "Nude Photo" in 1987 on May's label "Transmat Records", which helped start the Detroit techno music scene. This record was played on Chicago's Hot Mix 5 Radio DJ mix show and in Chicago clubs. A year later, Transmat released "Strings of Life". Transmat Records also released such as 1988's "Wiggin". As well, Derrick May had releases on Kool Kat Records and many remixes for underground and mainstream recording artists. Kevin Saunderson's company KMS Records contributed many releases that were as much house music as they were techno. These tracks were well received in Chicago and played on Chicago radio and in clubs.Blake Baxter's 1986 recording, "When we Used to Play / Work your Body", 1987's "Bounce Your Body to the Box" and "Force Field", "The Sound / How to Play our Music" and "the Groove that Won't Stop" and a remix of "Grooving Without a Doubt". In 1988, as house music became more popular among general audiences, Kevin Saunderson's group Inner City with Paris Gray released the 1988 hits "Big Fun" and "Good Life", which eventually were picked up by Virgin Records. Each EP / 12 inch single sported remixes by Mike "Hitman" Wilson and Steve "Silk" Hurley of Chicago and Derrick "Mayday" May and Juan Atkins of Detroit. In 1989, KMS had another hit release of "Rock to the Beat" which was a theme in Chicago dance clubs.The Detroit Techno scene was also met with some conflict. Reynold's "A Tale of Three Cities" discussed the acceptance and inclusion of marginalized groups within each genre of Techno, House, and Garage. Detroit turned out to be where wealthier black youth tried to discourage ghetto youth from enjoying Techno. Comparing that to the religious sanctuary that House provided, Chicago became a true "house" to the black, Hispanic, and gay communities in Chicago. 
Question: What type of music was "Big Fun"?
[A]: Detroit techno.


[Q]: Passage: In Sweden, juries are uncommon; the public is represented in the courts by means of lay judges (nämndemän). However, the defendant has the right to a jury trial in the lower court (tingsrätt) when accused of an offense against the fundamental laws on freedom of expression and freedom of the press. If a person is accused of e.g. libel or incitement to ethnic or racial hatred, in a medium covered by the fundamental laws (e.g. a printed paper or a radio programme), she has the right to have the accusation tried by a jury of nine jurors. This applies also in civil (tort) cases under the fundamental laws. A majority of at least six jurors must find that the defendant has committed the alleged crime. If it does not, the defendant is acquitted or, in a civil case, held not liable. If such a majority of the jurors hold that said crime has in fact been committed, this finding is not legally binding for the court; thus, the court (three judges) can still acquit the defendant or find him/her not liable. A jury acquittal may not be overruled after appeal. In Swedish civil process, the "English rule" applies to court costs. Earlier, a court disagreeing with a jury acquittal could, when deciding on the matter of such costs, set aside the English rule, and instead use the American rule, that each party bears its own expense of litigation. This practice was declared to violate the rule of presumption of innocence according to article 6.2. of the European Convention on Human Rights, by the Supreme Court of Sweden, in 2012. 
Question: Who has the right to have the accusation tried by a jury of nine jurors?
[A]: the defendant.


[Q]: Passage: Bennett was born in Sheffield, Yorkshire, the third child and only son of Robert Bennett, the organist of Sheffield parish church, and his wife Elizabeth, née Donn. In addition to his duties as an organist, Robert Bennett was a conductor, composer and piano teacher; he named his son after his friend William Sterndale, some of whose poems the elder Bennett had set to music. His mother died in 1818, aged 27, and his father, after remarrying, died in 1819. Thus orphaned at the age of three, Bennett was brought up in Cambridge by his paternal grandfather, John Bennett, from whom he received his first musical education. John Bennett was a professional bass, who sang as a lay clerk in the choirs of King's, St John's and Trinity colleges. The young Bennett entered the choir of King's College Chapel in February 1824 where he remained for two years. In 1826, at the age of ten, he was accepted into the Royal Academy of Music (RAM), which had been founded in 1822. The examiners were so impressed by the child's talent that they waived all fees for his tuition and board.Bennett was a pupil at the RAM for the next ten years. At his grandfather's wish his principal instrumental studies were at first as a violinist, under Paolo Spagnoletti and later Antonio James Oury. He also studied the piano under W. H. Holmes, and after five years, with his grandfather's agreement, he took the piano as his principal study. He was a shy youth and was diffident about his skill in composition, which he studied under the principal of the RAM, William Crotch, and then under Cipriani Potter, who took over as principal in 1832. Amongst the friends Bennett made at the Academy was the future music critic J. W. Davison. Bennett did not study singing, but when the RAM mounted a student production of The Marriage of Figaro in 1830, Bennett, aged fourteen, was cast in the mezzo-soprano role of the page boy Cherubino (usually played by a woman en travesti). This was among the few failures of his career at the RAM. The Observer wryly commented, "of the page ... we will not speak", but acknowledged that Bennett sang pleasingly and to the satisfaction of the audience. The Harmonicon, however, called his performance "in every way a blot on the piece".Among Bennett's student compositions were a piano concerto (No. 1 in D minor, Op. 1), a symphony and an overture to The Tempest. The concerto received its public premiere at an orchestral concert in Cambridge on 28 November 1832, with Bennett as soloist. Performances soon followed in London and, by royal command, at Windsor Castle, where Bennett played in April 1833 for King William IV and Queen Adelaide. The RAM published the concerto at its own expense as a tribute. A further London performance was given in June 1833. The critic of The Harmonicon wrote of this concert:. 
Question: What is the last name of the person whose mother died in 1818?
[A]:
Bennett.