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: Music critic J. D. Considine noted "on albums, Jackson's sound isn't defined by her voice so much as by the way her voice is framed by the lush, propulsive production of Jimmy Jam and Terry Lewis." Wendy Robinson of PopMatters said "the power of Janet Jackson's voice does not lie in her pipes. She doesn't blow, she whispers ... Jackson's confectionary vocals are masterfully complemented by gentle harmonies and balanced out by pulsing rhythms, so she's never unpleasant to listen to."Matthew Perpetus of Fluxblog suggested Jackson's vocal techniques as a study for indie rock music, considering it to possess "a somewhat subliminal effect on the listener, guiding and emphasizing dynamic shifts without distracting attention from its primal hooks." Perpetus added: "Her voice effortlessly transitions from a rhythmic toughness to soulful emoting to a flirty softness without overselling any aspect of her performance ... a continuum of emotions and attitudes that add up to the impression that we're listening to the expression of a fully-formed human being with contradictions and complexities."Jackson's music has encompassed a broad range of genres. Her records from the 1980s have been described as being influenced by Prince, as her producers are ex-members of the Time. Sal Cinquemani wrote that in addition to defining Top 40 radio, she "gave Prince's Minneapolis sound a distinctly feminine—and, with songs like 'What Have You Done for Me Lately?,' 'Nasty,' 'Control,' and 'Let's Wait Awhile,' a distinctly feminist—spin."On Control, Richard J. Ripani documented that she, Jam and Lewis had "crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility." Author Rickey Vincent stated that she has often been credited for redefining the standard of popular music with the industrial-strength beats of the album. She is considered a trendsetter in pop balladry, with Richard Rischar stating "the black pop ballad of the mid-1980s had been dominated by the vocal and production style that was smooth and polished, led by singers Whitney Houston, Janet Jackson, and James Ingram."Jackson continued her musical development by blending pop and urban music with elements of hip-hop in the nineties. This included a softer representation, articulated by lush, soulful ballads and up-tempo dance beats. She is described by music critic Greg Kot as "an artist who has reshaped the sound and image of rhythm and blues" within the first decade of her career. Critic Karla Peterson remarked that "she is a sharp dancer, an appealing performer, and as 'That's the Way Love Goes' proves—an ace pop-song writer." Selected material from the following decade has been viewed less favorably, as Sal Cinquemani comments "except for maybe R.E.M., no other former superstar act has been as prolific with such diminishing commercial and creative returns."Jackson has changed her lyrical focus over the years, becoming the subject of analysis in musicology, African American studies, and gender studies. David Ritz compared Jackson's musical style to Marvin Gaye's, stating, "like Marvin, autobiography seemed the sole source of her music. Her art, also like Marvin's, floated over a reservoir of secret pain." Much of her success has been attributed to "a series of powerful, metallic grooves; her chirpy, multi-tracked vocals; and a lyrical philosophy built on pride and self-knowledge." Ritz also stated, "The mystery is the low flame that burns around the perimeters of Janet Jackson's soul. The flame feeds off the most highly combustible elements: survival and ambition, caution and creativity, supreme confidence and dark fear."During the 1980s, her lyrics embodied self-actualization, feminist principles, and politically driven ideology. Gillian G. Gaar described Control as "an autobiographical tale about her life with her parents, her first marriage, and breaking free." Jessie Carney Smith wrote "with that album, she asserted her independence, individuality, and personal power. She challenged audiences to see her as a transformed person, from an ingénue to a grow-up, multi-talented celebrity." Referring to Rhythm Nation 1814 as an embodiment of hope, Timothy E. Scheurer wrote "It may remind some of Sly Stone prior to There's a Riot Going On and other African-American artists of the 1970s in its tacit assumption that the world imagined by Dr. King is still possible, that the American Dream is a dream for all people."On Janet, Jackson began focusing on sexual themes. Shayne Lee wrote that her music over the following decade "brand[ed] her as one of the most sexually stimulating vocalists of the 1990s." Lilly J. Goren observed "Jackson's evolution from politically aware musician to sexy diva marked the direction that society and the music industry were encouraging the dance-rock divas to pursue." The Washington Post declared Jackson's public image over the course of her career had shifted "from innocence to experience, inspiring such carnal albums as 1993's 'Janet' and 1997's 'The Velvet Rope', the latter of which explored the bonds—figuratively and literally—of love and lust."The song "Free Xone" from The Velvet Rope, which portrays same-sex relationships in a positive light, is described by sociologist Shayne Lee as "a rare incident in which a popular black vocalist explores romantic or sensual energy outside the contours of heteronormativity, making it a significant song in black sexual politics." During promotion for Janet, she stated "I love feeling deeply sexual—and don't mind letting the world know. For me, sex has become a celebration, a joyful part of the creative process."Upon the release of Damita Jo, Jackon stated "Beginning with the earlier albums, exploring—and liberating—my sexuality has been an ongoing discovery and theme," adding "As an artist, that's not only my passion, it's my obligation." Stephen Thomas Erlewine has found Jackson's consistent inclusion of sex in her music lacking ingenuity, especially in comparisons to other artists such as Prince, stating "while sex indisputably fuels much great pop music, it isn't an inherently fascinating topic for pop music—as with anything, it all depends on the artist.". 
Question: What is the first of the person who, according to Smith, "challenged audiences to see her as a transformed person, from an ingénue to a grow-up, multi-talented celebrity"?
Example Output: Janet.

Example Input: Passage: Ash Mattley, a doctor in a small village deep in the jungles of Borneo, is approached by another scientist, Carl Wessinger regarding his studies of an enzyme found in a rare beetle. With the aid of Mattley and a group of natives, Wessinger secures several of the beetles, but then betrays his team and leaves them behind in a cave. Later, Wessinger uncovers a fossil in the jungle, but the natives in his new team fall in fear and worship before the deceased creature, which they call "Balakai."
Two years later, Mattley's clinic is beset by a series of gruesome murders in the jungle. The natives attribute the killings to Balakai, who is an ancient myth in the area. Mattley is enlisted by Claire Sommers, a CIA agent, to find Wessinger. The government had been monitoring Wessinger's activities in the jungle after he began working for them, but the doctor had recently fallen off radar, and Sommers reveals she has been sent to track him down. Together with Matzu, a boy whose sister was one of the victims, they set out into the jungle. Mattley does not initially believe that Balakai is real, but Sommers eventually tells him that the CIA was funding Wessinger's research into the fossil, leading him to change his mind. 
Question: What is the full name of the person whose team worships a creature?
Example Output: Carl Wessinger.

Example Input: Passage: Although Victorian painting styles went out of fashion soon after Watts's death, Hope has remained extremely influential. Mark Bills, curator of the Watts Gallery, described Hope as "the most famous and influential" of all Watts's paintings and "a jewel of the late nineteenth-century Symbolist movement". In 1889 socialist agitator John Burns visited Samuel and Henrietta Barnett in Whitechapel, and  saw a photograph of Hope among their possessions. After Henrietta explained its significance to him, efforts were made by the coalition of workers' groups which were to become the Labour Party to recruit Watts. Although determined to stay outside of politics, Watts wrote in support of striking busmen in 1891, and in 1895 donated a chalk reproduction of Hope to the Missions to Seamen in Poplar in support of London dock workers. (This is believed to be the red chalk version of Hope now in the Watts Gallery.) The passivity of Watts's depiction of Hope drew criticism from some within the socialist movement, who saw her as embodying an unwillingness to commit to action. The prominent art critic Charles Lewis Hind also loathed this passivity, writing in 1902 that "It is not a work that the robust admire, but the solitary and the sad find comfort in it. It reflects the pretty, pitiable, forlorn hope of those who are cursed with a low vitality, and poor physical health".Henry Cameron's platinotype reproductions of the first version of Hope had circulated since the painting's exhibition, but were slow to produce and expensive to buy. From the early 1890s photographer Frederick Hollyer produced large numbers of cheap platinotype reproductions of the second version, particularly after Hollyer formalised his business relationship with Watts in 1896. Hollyer sold the reproductions both via printsellers around the country and directly via catalogue, and the print proved extremely popular. 
Question: Who did some within the socialist movement see as embodying an unwillingness to commit to action?
Example Output:
Hope.