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.

[Q]: Passage: Brought up in poverty, hotel manicurist Regi Allen wants to marry a rich husband. Her new client, wheelchair-using hotel guest Allen Macklyn is immediately attracted to her and becomes her confidant. Despite his obvious wealth, Regi does not view him as a potential husband, and has no qualms about telling him about her goal in life.
Exiting his penthouse suite, she encounters a man playing hop-scotch in the hallway, and declines his invitation to join him.  He makes an appointment for a manicure as Theodore Drew III, scion of a socially prominent family. Unaware that the Drews were bankrupted by the Great Depression, she accepts his invitation to dinner.
They have a good time, but Ted drinks too much and tells Regi that he is engaged to Vivian Snowden, heiress to a pineapple fortune. When Regi is unable to wake him from his drunken slumber, she lets him sleep on her sofa. He explains to her that he was supposed to sail to Bermuda last night (a trip paid for by his future father-in-law) and that he has nowhere to stay and no money.  Regi reluctantly lets him live in her apartment until his boat returns from Bermuda, at which time he can return to sponging off of Vivian.  Ted and Regi confess to each other that they intend to marry for money.
Ted and Regi play fun pranks on each other.  In the first one, Ted frightens away Regi's date by pretending to be her abusive husband.  Later, in order to convince Vivian that he is in Bermuda, Ted persuades Regi to telephone Vivian while posing as a Bermuda telephone operator. When Regi repeatedly interrupts in a nasally voice, Ted hangs up to avoid laughing in his fiancee's hearing. However, this backfires, as Vivian discovers that the call came from New York when she tries to reconnect. She hires private investigators to find out what is going on. 
Question: Who does the manicurist not see as someone she would marry?
[A]: Allen Macklyn.


[Q]: Passage: Despite the grandeur of Florence, Etty was severely depressed, writing to his brother on 5 October that "I feel so lonely, it is impossible for me to be happy" and complaining of "the vermin in the bed, the dirt and the filth" which he considered "such as no Englishman can have any idea of, who has not witnessed it". His emotional state made it impossible for him to study, and within a month of his arrival in Italy, he began the journey back to England, stopping in Paris on 26 October 1816. There he enrolled in the atelier of Jean-Baptiste Regnault but found the atmosphere rowdy and the studio too full of Frenchmen, and he left after a week. While in Paris he also attended the Académie des Beaux-Arts, and amassed a large quantity of prints from the art shops of Paris. Still homesick, Etty left Paris, returning to London in November.Notwithstanding his unhappiness, Etty appears to have developed as a painter during his travels. For the first time, his two paintings exhibited at the 1817 Summer Exhibition (Bacchanalians: a Sketch and Cupid and Euphrosyne) attracted a favourable review in the press, in this case from William Paulet Carey writing in the Literary Gazette who considered Bacchanalians "a fine classical invention" and Cupid as showing "splendid promise". Carey was later to take great pride in being the first critic to recognise Etty's potential, and continued to champion him throughout his career. In 1818 Etty entered a copy of Damiano Mazza's The Rape of Ganymede—at the time thought to be by Titian—in one of the Royal Academy's painting competitions. Easily the most accomplished entry in the competition, Etty was due to win until two of the other contestants complained that he had technically breached RA rules by briefly removing the painting from Academy premises to work on it at home; they further complained that Etty was technically a professional artist and thus ineligible for the contest despite his still being a student. Etty was disqualified from the competition, but the high quality of his work further raised his prestige within the Academy. Although his income was still low and he was surviving on gifts from his brother, at some point by 1818 Etty hired an assistant, George Henry Franklin. 
Question: Where did Etty enroll in the atelier of Jean-Baptiste Regnault?
[A]: Paris.


[Q]: Passage: Presley's physical attractiveness and sexual appeal were widely acknowledged. "He was once beautiful, astonishingly beautiful", in the words of critic Mark Feeney. Television director Steve Binder, no fan of Presley's music before he oversaw the '68 Comeback Special, reported, "I'm straight as an arrow and I got to tell you, you stop, whether you're male or female, to look at him. He was that good looking. And if you never knew he was a superstar, it wouldn't make any difference; if he'd walked in the room, you'd know somebody special was in your presence." His performance style, as much as his physical beauty, was responsible for Presley's eroticized image. Writing in 1970, critic George Melly described him as "the master of the sexual simile, treating his guitar as both phallus and girl". In his Presley obituary, Lester Bangs credited him as "the man who brought overt blatant vulgar sexual frenzy to the popular arts in America". Ed Sullivan's declaration that he perceived a soda bottle in Presley's trousers was echoed by rumors involving a similarly positioned toilet roll tube or lead bar.While Presley was marketed as an icon of heterosexuality, some cultural critics have argued that his image was ambiguous. In 1959, Sight and Sound's Peter John Dyer described his onscreen persona as "aggressively bisexual in appeal". Brett Farmer places the "orgasmic gyrations" of the title dance sequence in Jailhouse Rock within a lineage of cinematic musical numbers that offer a "spectacular eroticization, if not homoeroticization, of the male image". In the analysis of Yvonne Tasker, "Elvis was an ambivalent figure who articulated a peculiar feminised, objectifying version of white working-class masculinity as aggressive sexual display."Reinforcing Presley's image as a sex symbol were the reports of his dalliances with various Hollywood stars and starlets, from Natalie Wood in the 1950s to Connie Stevens and Ann-Margret in the 1960s to Candice Bergen and Cybill Shepherd in the 1970s. June Juanico of Memphis, one of Presley's early girlfriends, later blamed Parker for encouraging him to choose his dating partners with publicity in mind. Presley never grew comfortable with the Hollywood scene, and most of these relationships were insubstantial. 
Question: What is the first name of the person who was credited as "the man who brought overt blatant vulgar sexual frenzy to the popular arts in America in his obituary?
[A]:
Elvis.