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.

Input: Consider Input: Passage: Balakirev's despotism strained the relationship between him and Tchaikovsky but both men still appreciated each other's abilities. Despite their friction, Balakirev proved the only man to persuade Tchaikovsky to rewrite a work several times, as he would with Romeo and Juliet. At Balakirev's suggestion, Tchaikovsky based the work on Balakirev's King Lear, a tragic overture in sonata form after the example of Beethoven's concert overtures. It was Tchaikovsky's idea to reduce the plot to one central conflict and represent it musically with the binary structure of sonata form. However, the execution of that plot in the music we know today came only after two radical revisions. Balakirev discarded many of the early drafts Tchaikovsky sent him and, with the flurry of suggestions between the two men, the piece was constantly in the mail between Moscow and Saint Petersburg.Tchaikovsky allowed the first version to be premiered by Nikolai Rubinstein on March 16, 1870, after the composer had incorporated only some of Balakirev's suggestions. The premiere was a disaster. Stung by this rejection, Tchaikovsky took Balakirev's strictures to heart. He forced himself to reach beyond his musical training and rewrote much of the music into the form we know it today. Romeo would bring Tchaikovsky his first national and international acclaim and become a work the kuchka lauded unconditionally. On hearing the love theme from Romeo, Stasov told the group, "There were five of you; now there are six". Such was the enthusiasm of the Five for Romeo that at their gatherings Balakirev was always asked to play it through at the piano. He did this so many times that he learned to perform it from memory.Some critics, among them Tchaikovsky biographers Lawrence and Elisabeth Hanson, have wondered what would have happened if Tchaikovsky had joined Balakirev in 1862 instead of attending the Conservatory. They suggest that he might have developed much more quickly as an independent composer, and offer as proof the fact that Tchaikovsky did not write his first wholly distinct work until Balakirev goaded and inspired him to write Romeo. How well Tchaikovsky might have developed in the long run is another matter. He owed much of his musical ability, including his skill at orchestration, to the thorough grounding in counterpoint, harmony and musical theory he received at the Conservatory. Without that grounding, Tchaikovsky might not have been able to write what would become his greatest works. 
Question: What was the first names of Tchaikovsky's two biographers?

Output: Lawrence.


Input: Consider Input: Passage: Zappa's relationship with long-time manager Herb Cohen ended in 1976. Zappa sued Cohen for skimming more than he was allocated from DiscReet Records, as well as for signing acts of which Zappa did not approve. Cohen filed a lawsuit against Zappa in return, which froze the money Zappa and Cohen had gained from an out-of-court settlement with MGM over the rights of the early Mothers of Invention recordings. It also prevented Zappa having access to any of his previously recorded material during the trials. Zappa therefore took his personal master copies of the rock-oriented Zoot Allures (1976) directly to Warner Bros., thereby bypassing DiscReet.In the mid-1970s Zappa prepared material for Läther (pronounced "leather"), a four-LP project. Läther encapsulated all the aspects of Zappa's musical styles—rock tunes, orchestral works, complex instrumentals, and Zappa's own trademark distortion-drenched guitar solos. Wary of a quadruple-LP, Warner Bros. Records refused to release it. Zappa managed to get an agreement with Phonogram Inc., and test pressings were made targeted at a Halloween 1977 release, but Warner Bros. prevented the release by claiming rights over the material. Zappa responded by appearing on the Pasadena, California radio station KROQ, allowing them to broadcast Läther and encouraging listeners to make their own tape recordings. A lawsuit between Zappa and Warner Bros. followed, during which no Zappa material was released for more than a year. Eventually, Warner Bros. issued different versions of much of the Läther material in 1978 and 1979 as four individual albums (five full-length LPs) with limited promotion.Although Zappa eventually gained the rights to all his material created under the MGM and Warner Bros. contracts, the various lawsuits meant that for a period Zappa's only income came from touring, which he therefore did extensively in 1975–77 with relatively small, mainly rock-oriented, bands. Drummer Terry Bozzio became a regular band member, Napoleon Murphy Brock stayed on for a while, and original Mothers of Invention bassist Roy Estrada joined. Among other musicians were bassist Patrick O'Hearn, singer-guitarist Ray White and keyboardist/violinist Eddie Jobson. In December 1976, Zappa appeared as a featured musical guest on the NBC television show Saturday Night Live. Zappa's song "I'm the Slime" was performed with a voice-over by SNL booth announcer Don Pardo, who also introduced "Peaches En Regalia" on the same airing. In 1978, Zappa served both as host and musical act on the show, and as an actor in various sketches. The performances included an impromptu musical collaboration with cast member John Belushi during the instrumental piece "The Purple Lagoon". Belushi appeared as his Samurai Futaba character playing the tenor sax with Zappa conducting. 
Question: What is the first name of the person who prevented Zappa having access to any of his previously recorded material during the trials?

Output: Herb.


Input: Consider Input: Passage: Now settled into Warner Bros. Records, the Chili Peppers began looking for a suitable producer. One in particular, Rick Rubin, stood out, as he was more broadminded than people the band had worked with in the past, even though Rubin had turned down the chance to produce their 1987 album The Uplift Mofo Party Plan due to the drug problems of Kiedis and guitarist Hillel Slovak (who would die of a heroin overdose a year later). Unlike the Peppers' previous producers, Rubin was someone the band felt confident in to ask for guidance and input during times of difficulty. He would often help arrange drum beats, guitar melodies and lyrics.The band sought to record the album in an unconventional setting, believing it would enhance their creative output. Rubin suggested the mansion magician Harry Houdini once lived in, to which they agreed. A crew was hired to set up a recording studio and other equipment required for production in the house in Los Angeles. The Peppers decided they would remain inside the mansion for the duration of recording, though according to Kiedis, Smith was convinced the location was haunted, and refused to stay. He would, instead, come each day by motorcycle. Smith himself disputes this account, and instead claims the real reason he did not stay at The Mansion was because he wanted to be with his wife. Frusciante, however, disagreed with Smith, and said "There are definitely ghosts in the house," and Frusciante felt they were "very friendly. We [the band] have nothing but warm vibes and happiness everywhere we go in this house."Frusciante, Kiedis, and Flea each had their own rooms in the house. When not recording with the band, Frusciante would spend his time painting, listening to music, reading and recording songs he'd written. Due to the seclusion, Kiedis ended up recording all his vocals in his room, as it was large enough to accommodate the recording equipment. For more than 30 days, the Chili Peppers worked inside the house; Kiedis felt it was an accommodating and resourceful environment which allowed him to complete the rest of the lyrics. During production, the band agreed to let Flea's brother-in-law document the creative process on film. When the album's recording was complete, the Chili Peppers released the film, titled Funky Monks. 
Question: How long did the Chili Peppers stay in Houdini's mansion working on the album documented in Funky Monks?


Output: more than 30 days.