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: William "Bill" Boss, a psychopathic prison warden, watches the end of The Human Centipede 2 (Full Sequence) with his accountant, Dwight Butler. Bill says that he hates the films as his feet are massaged by his secretary, Daisy. Daisy replies that she enjoyed them. In response, Bill sucks his finger and inserts it into Daisy's vagina, telling her that women should not be allowed to voice their opinions. Dwight interrupts, attempting to pitch a "brilliant idea" to fix the prison's horrible retention and violence rates, but he is interrupted by a phone call.
Bill and Dwight are then summoned to the scene of an assault within the prison. One of the officers has been stabbed by an inmate. As punishment, Bill decides to stomp on the arm of the prisoner, exposing the bone and causing immense pain. He promises to do it again when his bones are healed.
Back in the Warden's office, Bill receives a mysterious package. After Dwight asks what it contains, Bill reveals that it is a jar of specially imported, dried African clitorises which he eats "for strength." After eating a few, he receives a threatening prank phone call from one of the inmates. Bill waterboards him with three buckets of boiling water, horribly disfiguring him. The inmate tells Bill that he has lost his soul.
Governor Hughes arrives immediately afterwards, ordering Bill and Dwight to put a stop to the violence and promising that they will both be fired otherwise. In anger and retaliation, Bill orders a 'mass castration' of the inmates, and castrates one of the prisoners himself. He covers his face in the blood of the inmate and later eats the cooked testicles for lunch, calling it "Energy Food." Daisy is forced to perform fellatio on Bill while Dwight is in the room. Upon completing the act, Daisy eats one of the dried clitorises, mistaking them for candy. 
Question: What is the last name of the person who is interrupted by a phone call?
Example Output: Butler.

Example Input: Passage: Bellette and Haefliger returned to Australia just before the outbreak of World War II. Shortly after her arrival, Bellette held an exhibition at Sydney's Macquarie Galleries. The couple became influential members of the Sydney Art Group, a network of "fashionable" moderns whose membership included William Dobell and Russell Drysdale. Bellette painted and held regular shows – "a solo show every second year and a group show every year at the Macquarie Galleries". Her husband served as art critic for The Sydney Morning Herald for a decade and a half.In 1942, Bellette won the Sir John Sulman Prize with For Whom the Bell Tolls. She won it again in 1944 with her painting Iphigenia in Tauris, inspired by Euripides' play. The composition is set in a dry, open landscape, with several riders on horses whose appearance suggests "the Australian present, rather than Greek antiquity". The judge awarding the prize actually preferred another of her entries, Electra, depicting the sister of Iphigenia also prominent in Greek tragedy – but it failed to meet the size requirements. Both Iphigenia in Tauris and Electra were among the many works created by Bellette in the 1940s that were inspired by the tragedies of Euripides, Sophocles and Homer. Her choice of subject matter and approach placed her at odds with mainstream modernism, while she seemed to shun explicit links between the classical and the Australian. Bellette reasoned that she preferred to choose her palette and the spatial arrangements of her compositions to evoke a place's atmosphere. Critics identified the influence of European modernists Aristide Maillol and Giorgio de Chirico, as well as Italian Quattrocento painters Masaccio and Piero della Francesca, about some of whom Bellette wrote articles in the journal Art in Australia.The most distinctive feature of the artist's work was this choice of classical subjects. In 1946, Bellette's paintings were hung in at least four separate exhibitions. Reviewers commented on her synthesis of "the impulsiveness of romanticism and the deliberateness of classicism", and her "romantically classical" approach. Despite the generally positive views, there were some reservations, particularly that the artist might be at risk of settling upon, and then repeating, a formula in her work. Bellette's treatment of classical subjects extended beyond conventional painting; in 1947 she created a textile design, titled "myths and legends", and in 1948 she created the sets for a production of Shakespeare's Pericles, Prince of Tyre. Her "vigorous imaginativeness" was well reviewed, though the acting was not. 
Question: Whose "vigorous imaginativeness" was commented upon?
Example Output: Bellette.

Example Input: Passage: Sons of Soul bridged the gap between commercial and critical success for Tony! Toni! Toné!, helping them become one of the most popular acts in R&B at the time. Its success exemplified the genre's commercial resurgence during the early 1990s, when hip hop became the predominant African-American music genre in the mainstream. In 1994, Greg Kot of the Chicago Tribune attributed its resurgence to younger artists' blend of live instrumentation and hip hop production values, and cited Sons of Soul as "the most accomplished merger of hip-hop attitude with a '70s R&B aesthetic." The Atlanta Journal-Constitution hailed it as "a gentle reminder of those glory days" and felt that the group having both vocal and musical talents is most indicative of a return to early R&B's aesthetics. Furthermore, they garnered mainstream attention in a year of several high-profile controversies with R&B and hip hop artists such as Michael Jackson and Snoop Dogg. David W. Brown of The Harvard Crimson wrote that Tony! Toni! Toné! is "known primarily for the quality of its music, not its extracurricular reputation, unlike other groups such as Jodeci who rely on a playa-gangsta-mack image to sell-records."Along with acts such as Mint Condition and R. Kelly, Tony! Toni! Toné! played live instruments that complemented their hip hop sensibilities. Their concerts featured visual elements such as incense smoke and kaleidoscopic stage lighting, the group's eccentric wardrobe, and additional instrumentalists, including another guitarist, two drummers, two keyboardists, a violinist, a trumpeter, and a saxophonist. The Charlotte Observer remarked on the group in 1994: "[T]heir use of live instruments on record and onstage makes them an anomaly in the synthesized and sampled world of modern R&B." With the group's reliance on traditional soul and R&B values of songwriting and instrumentation, Sons of Soul was a precursor to the neo soul movement of the 1990s. Matt Weitz of The Dallas Morning News wrote in 1993 that the group had distinguished themselves from their New jack swing contemporaries with Sons of Soul and found them aesthetically akin to acts such as Prince and P.M. Dawn. Raphael Wiggins said of their success with the album:
"We've been very blessed to be able to be a group that writes our own songs and people have accepted us from both sides, hip hop and the R&B crowd or whatever you might want to say. I feel very fortunate to be able to do that here in 1993–94, because like you know, it was starting to be a dying thing that was happening. But I guess we were like the bridge between hip hop and soul and R&B, and being a little bit commercial also helped us. A lot of humor, a lot of nice slow songs and being able to play kind of brought us a foundation.". 
Question: What is the name of the group that Weitz said was aesthetically akin to acts such as Prince and P.M. Dawn?
Example Output:
Tony! Toni! Toné!.