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: On New Year's Eve 1938, lawyer Billy Cooper notices stranded English showgirl Jennie Carr gazing hungrily at other diners' plates and offers to buy her a meal. However, the restaurant is all out of food, so he invites her to his apartment. Before they arrive, Abel, another equally hungry and unemployed person, sneaks in for a chicken leg. Hearing them coming, he hides in a bedroom. When Jennie enters the room to remove her coat, he begs her not to cause trouble. She sympathizes with his plight and says nothing to Billy.
Just then, Hugo Brant, Billy's gangster employer, and his men barge in. They make Jennie leave. When Billy admits that he is quitting, Brant shoots him dead. To get rid of loose ends, Hugo sends Harrigan aboard the ocean liner bound for Southampton with Jennie. He frames Jennie for robbery.
Meanwhile, Abel, who was caught by the building watchman as he tried to sneak out, is tried and sentenced to death for Cooper's murder. The woman he insists can exonerate him is in HM Prison Holloway, unaware of his plight. Hugo and gang member Mortimer travel to England to deal with Jennie.
When Jennie gets out of prison, her mother introduces her to her new tenant, a priest named Mr. Mortimer. After reading in the newspaper about Abel's impending execution, she goes to Scotland Yard, despite Mortimer's warning that she might herself become a suspect. She finds that other women have turned up, all claiming to be the missing witness. Inspector Jim Grant is skeptical, and that turns into certainty when Mortimer shows up and totally discredits her. 
Question: What is the last name of the person who is framed for robbery?

Output: Carr.


Input: Consider Input: Passage: Too Much Too Soon received positive reviews from contemporary critics. Reviewing for Rolling Stone in 1974, Dave Marsh hailed the New York Dolls as the leading hard rock band in the US and noted what he felt was Nolan's competent drumming, Johansen's ability to add depth to his characters, and Thunders's innovative guitar playing. Marsh especially praised his playing on "Chatterbox", calling it "a classic", and believed even the most brazen songs sounded successful because Morton's production highlighted the group's more unrefined musical qualities. Writing for Creem magazine, Christgau said the polished sound reproduction preserved the band's raw qualities, especially in the case of Johansen's vocals and Nolan's drumming, and remarked that Rundgren "should be ashamed—Shadow Morton has gotten more out of the Dolls than they can give us live on any but their best nights." Robert Hilburn from the Los Angeles Times felt Too Much Too Soon was a better-produced album that proved the band to be "the real thing", calling it the best record of derisive punk rock since Exile on Main St. by the Rolling Stones in 1972. In The New Yorker, Ellen Willis wrote that she learned to appreciate Too Much Too Soon more than New York Dolls after seeing the band perform songs from the former album in concert, particularly "Human Being" and "Puss 'n' Boots", while Ron Ross from Phonograph Record magazine said the group's "easy going ironic sensibility" was expressed "far more amusingly and accessibly" here than on their debut album.Some reviewers were critical of Too Much Too Soon for what they felt was a poorly recorded and overproduced sound. In a negative review for NME, Nick Kent said it sounded cluttered and "shot through with unfulfilled potential", while Circus magazine panned the record as "cut after cut of annoying screeching". It was nonetheless voted the tenth best album of 1974 in the Pazz & Jop, an annual poll of American critics nationwide, published in The Village Voice. Willis, one of the critics polled, listed it as her fifth favorite record of the year. Christgau, the poll's creator and supervisor, named it third best, and in a decade-end list for The Village Voice, he named it the fourth best album of the 1970s. Los Angeles Times critic Richard Cromelin included it in his list of favorite records from the decade and wrote that Morton's production made it slightly better than New York Dolls. 
Question: What did Christgau, the poll's creator and supervisor, name third best?

Output: Too Much Too Soon.


Input: Consider Input: Passage: After graduation, Shostakovich initially embarked on a dual career as concert pianist and composer, but his dry style of playing was often unappreciated (his American biographer, Laurel Fay, comments on his "emotional restraint" and "riveting rhythmic drive"). He nevertheless won an "honorable mention" at the First International Chopin Piano Competition in Warsaw in 1927. He attributed the disappointment at the competition to suffering from appendicitis and the jury being all-Polish. He had his appendix removed in April 1927. After the competition Shostakovich met the conductor Bruno Walter, who was so impressed by the composer's First Symphony that he conducted it at its Berlin premiere later that year. Leopold Stokowski was equally impressed and gave the work its U.S. premiere the following year in Philadelphia and also made the work's first recording.
Shostakovich concentrated on composition thereafter and soon limited his performances primarily to those of his own works. In 1927 he wrote his Second Symphony (subtitled To October), a patriotic piece with a great pro-Soviet choral finale. Owing to its experimental nature, as with the subsequent Third Symphony, it was not critically acclaimed with the enthusiasm given to the First.
1927 also marked the beginning of Shostakovich's relationship with Ivan Sollertinsky, who remained his closest friend until the latter's death in 1944. Sollertinsky introduced the composer to the music of Mahler, which had a strong influence on his music from the Fourth Symphony onwards.
While writing the Second Symphony, Shostakovich also began work on his satirical opera The Nose, based on the story by Nikolai Gogol. In June 1929, against the composer's own wishes, the opera was given a concert performance; it was ferociously attacked by the Russian Association of Proletarian Musicians (RAPM). Its stage premiere on 18 January 1930 opened to generally poor reviews and widespread incomprehension among musicians.In the late 1920s and early 1930s, Shostakovich worked at TRAM, a proletarian youth theatre. Although he did little work in this post, it shielded him from ideological attack. Much of this period was spent writing his opera, Lady Macbeth of the Mtsensk District, which was first performed in 1934. It was immediately successful, on both popular and official levels. It was described as "the result of the general success of Socialist construction, of the correct policy of the Party", and as an opera that "could have been written only by a Soviet composer brought up in the best tradition of Soviet culture".Shostakovich married his first wife, Nina Varzar, in 1932. Initial difficulties led to a divorce in 1935, but the couple soon remarried when Nina became pregnant with their first child, Galina. 
Question: What is the name of the composer who was introduced to the music of Mahler by Sollertinsky?


Output: Shostakovich.