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: Bernard Chanticleer, called "Big Boy" by his parents, is 19 but still lives with his overbearing, clinging mother and his commanding, disapproving father, who is Curator of Incunabula at the New York Public Library. Bernard also works as a low-level assistant at the library, where his father is constantly monitoring and admonishing him. His father decides it's time he grew up and moved out of the family home in Great Neck and into his own Manhattan apartment. His mother is not happy about letting him go, but acquiesces to her husband and arranges for Bernard to live in a rooming house run by nosy, prudish Miss Nora Thing.  Miss Thing inherited the building on the condition that her late brother's aggressive pet rooster be allowed to occupy the fifth floor, which Bernard must pass to get to his room. Miss Thing reassures Bernard's mother that the rooster only attacks girls, especially young pretty girls, to which Bernard's mother responds that her son isn't interested in girls yet, but arranges that Miss Thing will spy on Bernard and report any "female" activity. Bernard's mother also constantly mails locks of her hair to Bernard at his new residence. 
Question: Who is said to not like girls?

Output: Bernard Chanticleer.


Input: Consider Input: Passage: Hundreds of songs and performers have entered Melodifestivalen since its debut. Although songwriters living outside Sweden were once not allowed to enter Melodifestivalen, the 2012 contest marked the first time foreign songwriters could submit entries, provided that they collaborated with a Swedish songwriter. To be eligible, songwriters and performers must be at least sixteen years of age on the day of the first Eurovision semi-final.Until 2001, participation in the festival was limited to a single night. The number of contestants ranged from five to twelve. A two-round system was used intermittently between 1981 and 1998, in which all but five of the contestants were eliminated in a first round of voting. Failure to reach the second round under this system was seen as a major failure for a prominent artist; when Elisabeth Andreassen failed to qualify in 1984, it almost ended her career. The introduction of weekly semi-finals in 2002 increased the number of contestants to thirty-two. At least ten of the contestants must perform in Swedish. A CD of each year's competing songs has been released since 2001, and a DVD of the semi-finals and final since 2003.
Melodifestivalen has been the launch-pad for the success of popular local acts, such as Anne-Lie Rydé, Tommy Körberg, and Lisa Nilsson. The competition has played host to performers from outside Sweden, including Baccara, Alannah Myles, Katrina Leskanich, and Cornelis Vreeswijk. Melodifestivalen participants have also represented—and unsuccessfully tried to represent—other countries at Eurovision. While local success for Melodifestivalen winners is common, most contestants return to obscurity and few have major international success. The impact that the competition makes on the Swedish charts means an artist need not win the competition to earn significant domestic record sales. For example, the song which finished last at Melodifestivalen 1990, "Symfonin" by Loa Falkman, topped the Swedish singles chart. The most recent occurrence was 2016 with Samir & Viktor's song "Bada Nakna". In 2007, twenty-one participants reached Sverigetopplistan. The week after the 2008 final, songs from the festival made up the entire top fifteen on the domestic singles chart. 
Question: In what year did the Swedish domestic singles chart have 15 songs from the festival that recently allowed foreign entrants in 2012?

Output: 2008.


Input: Consider Input: Passage: Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London. 
Question: What is the full name of the person whose sister had some involvement in the 1999 recording sessions?


Output: Kim Deal.