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: Colour lies at the heart of Messiaen's music. He believed that terms such as "tonal", "modal" and "serial" are misleading analytical conveniences. For him there were no modal, tonal or serial compositions, only music with or without colour. He said that Claudio Monteverdi, Mozart, Chopin, Richard Wagner, Mussorgsky and Stravinsky all wrote strongly coloured music.In some of Messiaen's scores, he notated the colours in the music (notably in Couleurs de la cité céleste and Des canyons aux étoiles...)—the purpose being to aid the conductor in interpretation rather than to specify which colours the listener should experience. The importance of colour is linked to Messiaen's synaesthesia, which he said caused him to experience colours when he heard or imagined music (he said that he did not perceive the colours visually). In his multi-volume music theory treatise Traité de rythme, de couleur, et d'ornithologie ("Treatise of Rhythm, Colour and Birdsong"), Messiaen wrote descriptions of the colours of certain chords. His descriptions range from the simple ("gold and brown") to the highly detailed ("blue-violet rocks, speckled with little grey cubes, cobalt blue, deep Prussian blue, highlighted by a bit of violet-purple, gold, red, ruby, and stars of mauve, black and white. Blue-violet is dominant").When asked what Messiaen's main influence had been on composers, George Benjamin said, "I think the sheer ... colour has been so influential, ... rather than being a decorative element, [Messiaen showed that colour] could be a structural, a fundamental element, ... the fundamental material of the music itself.". 
Question: What is the name of the person who said Monteverdi, Mozart, Chopin, Wagner, Mussorgsky, and Stravinsky all wrote strongly coloured music?

Output: Messiaen.


Input: Consider Input: Passage: After her husband Martin completes a four-year prison sentence for insider trading, Emily Taylor drives into a wall in an apparent suicide attempt. Jonathan Banks, her assigned psychiatrist, prescribes a series of antidepressants, but none work. Jonathan contacts Emily's previous psychiatrist, Victoria Siebert, who suggests an experimental new drug, Ablixa. The drug seems to help Emily, but gives her sleepwalking episodes as a side effect.
One night, Emily stabs Martin to death while sleepwalking. Jonathan fights for Emily's acquittal in court. She pleads insanity and is declared not guilty on the condition that she stays in a psychiatric hospital until cleared by Jonathan. The publicity destroys Jonathan's reputation, and his colleagues assume negligence on his part.
Jonathan discovers evidence that Emily is lying; she was not depressed and faked her suicide attempts. He also discovers someone may have profited from Ablixa's fall in stock value. He interviews Emily after administering what he claims is a truth serum that will make her drowsy. Though the serum is actually saline water, she feigns drowsiness, confirming Jonathan's suspicion that she is deceiving him. When he confronts Victoria with his findings, she mails photographs to his wife Deirdre implying he had an affair with Emily. Deirdre leaves him, taking her son with her. 
Question: What is the full name of the person who begins sleepwalking?

Output: Emily Taylor.


Input: Consider Input: Passage: In Bad, Jackson's concept of the predatory lover is seen on the rock song "Dirty Diana". The lead single "I Just Can't Stop Loving You" is a traditional love ballad, and "Man in the Mirror" is a ballad of confession and resolution. "Smooth Criminal" is an evocation of bloody assault, rape and likely murder. AllMusic's Stephen Thomas Erlewine states that Dangerous presents Jackson as a paradoxical person. The first half of the record is dedicated to new jack swing, including songs like "Jam" and "Remember the Time". It was the first Jackson album in which social ills became a primary theme; "Why You Wanna Trip on Me", for example, protests world hunger, AIDS, homelessness and drugs. Dangerous contains sexually charged songs such as "In the Closet". The title track continues the theme of the predatory lover and compulsive desire. The second half includes introspective, pop-gospel anthems such as "Will You Be There", "Heal the World" and "Keep the Faith". In the ballad "Gone Too Soon", Jackson gives tribute to Ryan White and the plight of those with AIDS.HIStory creates an atmosphere of paranoia. In the new jack swing-funk rock tracks "Scream" and "Tabloid Junkie", and the R&B ballad "You Are Not Alone", Jackson retaliates against the injustice and isolation he feels, and directs his anger at the media. In the introspective ballad "Stranger in Moscow", Jackson laments his "fall from grace"; "Earth Song", "Childhood", "Little Susie" and "Smile" are operatic pop songs. In the "D.S.", Jackson launched a verbal attack against the lawyer Tom Sneddon, who had prosecuted him in both child sexual abuse cases. He describes Sneddon as an antisocial white supremacist who wanted to "get my ass, dead or alive". Sneddon said he had not listened to the song. Invincible was produced by Rodney Jerkins. It includes urban soul tracks such as "Cry" and "The Lost Children", ballads such as "Speechless", "Break of Dawn", and "Butterflies" and mixes hip hop, pop, and R&B in "2000 Watts", "Heartbreaker" and "Invincible". 
Question: What is the name of the first Jackson album in which social ills became a primary theme?


Output: Dangerous.