instruction:
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.
question:
Passage: As Greeneville ascended to periscope depth, Waddle checked the sonar displays and the fire control station monitors, but reported later that he heard and saw nothing to suggest that the previously detected vessels in the area were now any closer to the submarine's position than had been reported before the submarine began the high speed maneuvers. Because the AVSDU was not working, Greeneville's executive officer, Lieutenant Commander Gerald K. Pfeifer, entered the sonar room and observed the contacts on the sonar screens.  Pfeifer then stood in the doorway between the sonar and control rooms, but did not communicate any updated sonar information to Waddle in the control room.  At 13:34, sonar gained a new contact, designated S-14.  Because Greeneville had not maintained a steady, slow course for a sufficient amount of time, the sonar data available to the Fire Control Technician of the Watch did not allow  accurate determination on Ehime Maru's range or course.  Also, due to time constraints placed by Waddle, the ship did not perform normal maneuvers which would be used to obtain accurate course and range information on the sonar contacts prior to proceeding to periscope depth.At 13:38, Greeneville reached periscope depth (about 60 feet (18 m) below the surface).  At this time, Ehime Maru was about 2,315 yards (2.117 km) or 1.14 nautical miles (2.1 km) away from the submarine and heading in her direction.  Although sonar data began to more accurately depict Ehime Maru's true range and bearing at this point, this was not evident to the sonar operators.  Lieutenant, Junior Grade Michael J. Coen, the officer of the deck, conducted an initial low  magnification periscope search of the area and sighted no nearby ships.  
Waddle then took the periscope before Coen could complete the normal high magnification search.  Since waves were washing over the periscope, Waddle ordered the submarine to go up another few feet to increase the distance the periscope can view.  Waddle then looked through the periscope at the area where he believed the reported surface contacts to be (possibly in error).  Although Ehime Maru was at this point heading toward Greeneville's location, Waddle failed to see the ship.  Regulations mandated that Waddle conduct a three-minute, 360-degree periscope scan before executing the emergency main ballast blow maneuver.  Waddle, however, aware that they were still behind schedule, conducted a short scan, searching primarily in the sector where he believed
the known contacts were located, noted that the haze was still present, and saw no ships in the vicinity.  At the end of his scan, Waddle announced to the control room crew, "I hold no visual contacts." Waddle later explained how he conducted his periscope search:. 
Question: What is the first name of the person who didn't finish the normal high magnification search before Waddle took the periscope?
answer:
Michael.


question:
Passage: In the late 1970s Tippett produced three single-movement instrumental works: the Symphony No. 4 (1977), the String Quartet No. 4 (1978), and the Triple Concerto for violin, viola and cello (1979).  The symphony, written in the manner of the tone poem or symphonic fantasia exemplified by Sibelius, represents what Tippett describes as a birth-to-death cycle, beginning and ending with the sounds of breathing. This effect was initially provided by a wind machine, although other means have been tried, with mixed results—according to Bowen "the sounds emitted can turn out to be redolent of a space-fiction film or a bordello".   The Fourth String Quartet, Tippett explains, is an exercise in "finding a sound" that he first encountered in the incidental music to a television programme on Rembrandt. In the Triple Concerto, which is thematically related to the Fourth Quartet and quotes from it, the three solo instruments  perform individually rather than as a formal grouping. The work acknowledges Tippett's past with quotations from The Midsummer Marriage.
 
Tippett described the longest and most ambitious of his late works, the oratorio The Mask of Time (1982), as "a pageant of sorts  with an ultimately lofty message". Mellers called the work "a mind-boggling cosmic history of the universe".   Paul Driver, who had been a critic of Tippett's new style, wrote that the Mask  revealed "the authentic early Tippett", with a return to the lyricism of The Midsummer Marriage and multiple acknowledgements of his early compositions.Tippett had intended The Ice Break to be his final opera, but in 1985 he began work on New Year.  Bowen saw this work as a summary of ideas and images that had attracted Tippett throughout his working life. Donal Henahan was dismissive of the music: "... the score generally natters along in the numbing, not-quite-atonal but antimelodic style familiar from other Tippett works." In Byzantium (1990), Tippett set the five stanzas of W. B. Yeats's poem, with added orchestral interludes. By this time he was professing little interest in his own work beyond its creation; performance and reception had become irrelevant to him. In 1996 he told an interviewer: "I'm outside the music I've made, I have no interest in it". After the String Quartet No. 5 (1991), which connects thematically with earlier works, Tippett closed his main output with The Rose Lake (1993), described in Tippett's Daily Telegraph obituary as "of luminous beauty ... a worthy ending to a remarkable career". 
Question: What was the name of the instrumental works by Tippett that was written in a manner of the tone poem or symphonic fantasia exemplified by Sibelius?
answer:
Symphony No. 4.


question:
Passage: Frusciante continued to collaborate with his friend Omar Rodríguez-López. Along with providing guitar work to The Mars Volta's studio albums, The Bedlam In Goliath and Octahedron, and Rodríguez-López's solo albums Se Dice Bisonte, No Búfalo and Calibration (Is Pushing Luck and Key Too Far), he functioned as executive producer for Rodríguez-López's directorial film debut, The Sentimental Engine Slayer. The film debuted at the Rotterdam Film Festival in February 2010. Along with work on the film, Frusciante and Rodríguez-López have released two collaborative records in May 2010. The first is the album Omar Rodriguez-Lopez & John Frusciante, an album with just the two of them, the other a quartet record, Sepulcros de Miel, consisting of Rodríguez-López, Frusciante, Juan Alderete and Marcel Rodríguez-López.
Frusciante also contributed music to the documentary film, Little Joe, based upon Joe Dallesandro. In 2009, Frusciante appeared in the documentary, "The Heart is a Drum Machine." His full-length, forty-five-minute interview is available in the special features of the DVD release.On December 7, 2011, the Red Hot Chili Peppers were named 2012 inductees for the Rock And Roll Hall Of Fame. In an interview that same day, Anthony Kiedis talked about Frusciante and if he would attend the ceremony. Kiedis stated, "It would be a guess on my behalf on whether or not he'll come. I can't imagine that he would, but it's a 'you never know' kind of thing. I haven't talked to him in quite a while. I don't know where he's at these days. He'll obviously be more than welcome, and embraced if he does. If he doesn't, that's cool too." Flea also spoke about Frusciante by saying "He left us so many great gifts. He's a phenomenal musician and songwriter who gave so much to our band. All the feelings I have for him not being in the band any more ... He really took us to a higher level." Frusciante eventually declined to be present for the Red Hot Chili Peppers' induction into the Rock and Roll Hall of Fame in April. 
Question: What is the full name of the person that has a full-length, forty-five-minute interview in the special features of the DVD release?
answer:

John Frusciante.