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.

Example Input: Passage: Conquistadors often wore steel armour that included chainmail and helmets. The Spanish were sufficiently impressed by the quilted cotton armour of their Maya enemies that they adopted it in preference to their own steel armour. Maya weaponry was not sufficiently powerful to justify the discomfort of wearing European armour. Quilted cotton armour, although still uncomfortably hot, was flexible and weighed much less. The Maya armour was adapted by the Spanish, who used knee-length quilted cotton tunics and Spanish-style caps. Horsemen wore long quilted cotton leg protectors; their horses were also protected with padded cotton armour. After the final push to the Petén lakes in early 1697, the Spanish recorded that they left with their garrison over 50 Dutch- and French-made muskets, three 1-pound (0.45 kg) calibre light cannons (piezas) cast from iron and mounted on carriages, four iron and two bronze pedreros (2-chambered stone-launchers) and six of at least eight bronze light cannons (known as esmiriles). 
Question: Who had four iron and two bronze pedreros?
Example Output: the Spanish.

Example Input: 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?
Example Output: Giovanni.

Example Input: Passage: Murder suspect James Reid is pursued by Los Angeles police detective Dearborn to a construction site. After avoiding capture, James is hired under an alias by construction boss Pop Hansford, whose daughter Jerry helps run the business. James's skill at construction impresses the bosses, who ask worker Sam Payne to take the new man under his wing. Payne soon becomes jealous over Jerry's obvious romantic attraction to James.
Pop decides to fire James after a scaffolding accident nearly causes Payne's death, but he lends him money and reveals that Detective Dearborn had come around asking questions. James explains how he was falsely accused of his previous construction boss's murder after witnessing a welder, Frosty Davenport, flee the crime scene. Pop places an ad for a welder, hoping Frosty might apply for the job, which he does. An on-site accident leaves Pop pinned beneath a girder. James is able to save him, as well as to force a confession from Frosty and clear his name with the police. 
Question: What is the first name of the person that the construction boss hope to hire after hearing James's story?
Example Output:
Frosty.