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: When two grade-school boys get into a fight in the park that results in one boy, Zachary Cowan, hitting the other, Ethan Longstreet, in the face with a stick, their parents meet in a Brooklyn apartment to discuss the matter. Zachary's parents, Alan and Nancy Cowan, visit the home of Michael and Penelope Longstreet, Ethan's parents. Their meeting is initially intended to be short, but due to various circumstances, the conversation continues to draw out.
In fact, Alan and Nancy begin to leave the apartment on two occasions, but are drawn back in to further discussion.
At first, the couples are friendly to each other, but their respective comments start to hurt feelings, making everyone argue with one another. Apart from fighting among themselves, the couples blame each other about who is responsible for the fight between their sons. Nancy calls the Longstreets "superficially fair-minded" and Penelope and Michael complain about Alan's arrogant and dull attitude. Everyone also gets irritated with Alan when he accepts endless business phone calls on his BlackBerry, interrupting the discussion, and showing he has more interest in his business problems than the matter at hand. Michael also receives many phone calls from his ailing mother, to his frustration.
Nancy accuses Michael of being a murderer because he, annoyed by the constant noise it made during the night, had earlier turned his daughter Courtney's pet hamster loose in the street. Penelope becomes emotional about the hamster and with everyone arguing with each other. Other issues include a risky drug Alan is working to defend and Michael's mother has been prescribed, and the question of idealism and responsibility that is part of Penelope's current work. 
Question: Who is Courtney's father?
[A]: Michael.


[Q]: Passage: The film shows a scene of a girl being kidnapped from a charity plane by Vietnamese rebels (a U.N. supplies [as in food and medicine] plane) in Vietnam.  Then we are taken to the United States to a detention center in Los Angeles where the warden of the center and 6 of the toughest prisoners are hired to rescue the girl, whose name is Gabrielle Presscott, daughter of Jameson Prescott, CEO and billionaire.  Warden Toliver and prisoners (by last name only, their first names are never revealed) Butts and Monster (black youths), Lopez and Vasquez (Latino youths, with Vasquez being a girl), and Brophy and Lamb (white youths). The group travels to Vietnam with three days to rescue Gabrielle, spending one day to train and the rest of the days to find her.
After winning a battle the group spends the night at a village brothel and has a small celebration, with Brophy sneaking away into the night.  The group awakens to find the rebels with Brophy as a hostage and asking the villagers to hand over the rest of the Americans.  The group decides to attempt a rescue for Brophy and are successful, however, Lopez and Monster are both killed during the fight. The group runs away into the jungle and is tiredly marching along when Lamb steps on a landmine.  While Toliver is trying to disarm the mine, some rebels are slowly getting nearer and nearer to the group.  Brophy once again sneaks away but sacrifices himself, bringing another death to the group.  Toliver and his men finally arrive at the rebel base camp, with Toliver combing the camp for Gabrielle.  After he finds her he returns to the others and hands each of them a set of explosives to be detonated by a timer. 
Question: What is the name of the female prisoner?
[A]: Vasquez.


[Q]: Passage: Dylan made two important career moves in August 1962: he legally changed his name to Bob Dylan, and he signed a management contract with Albert Grossman. (In June 1961, Dylan had signed an agreement with Roy Silver. In 1962, Grossman paid Silver $10,000 to become sole manager.) Grossman remained Dylan's manager until 1970, and was notable for his sometimes confrontational personality and for protective loyalty. Dylan said, "He was kind of like a Colonel Tom Parker figure ... you could smell him coming." Tension between Grossman and John Hammond led to Hammond suggesting that Dylan work with the young African-American jazz producer, Tom Wilson, who produced several tracks for the second album without formal credit. Wilson went on to produce the next three albums Dylan recorded.Dylan made his first trip to the United Kingdom from December 1962 to January 1963. He had been invited by TV director Philip Saville to appear in a drama, Madhouse on Castle Street, which Saville was directing for BBC Television. At the end of the play, Dylan performed "Blowin' in the Wind", one of its first public performances. The film recording of Madhouse on Castle Street was destroyed by the BBC in 1968. While in London, Dylan performed at London folk clubs, including the Troubadour, Les Cousins, and Bunjies. He also learned material from UK performers, including Martin Carthy.By the time of Dylan's second album, The Freewheelin' Bob Dylan, in May 1963, he had begun to make his name as a singer-songwriter. Many songs on this album were labeled protest songs, inspired partly by Guthrie and influenced by Pete Seeger's passion for topical songs. "Oxford Town", for example, was an account of James Meredith's ordeal as the first black student to risk enrollment at the University of Mississippi.The first song on the Freewheelin' album, "Blowin' in the Wind", partly derived its melody from the traditional slave song, "No More Auction Block", while its lyrics questioned the social and political status quo. The song was widely recorded by other artists and became a hit for Peter, Paul and Mary. Another Freewheelin' song, "A Hard Rain's a-Gonna Fall" was based on the folk ballad "Lord Randall". With veiled references to an impending apocalypse, the song gained more resonance when the Cuban Missile Crisis developed a few weeks after Dylan began performing it. Like "Blowin' in the Wind", "A Hard Rain's a-Gonna Fall" marked a new direction in songwriting, blending a stream-of-consciousness, imagist lyrical attack with traditional folk form.Dylan's topical songs improved his reputation, and he came to be seen as more than just a songwriter. Janet Maslin wrote of Freewheelin': "These were the songs that established [Dylan] as the voice of his generation—someone who implicitly understood how concerned young Americans felt about nuclear disarmament and the growing Civil Rights Movement: his mixture of moral authority and nonconformity was perhaps the most timely of his attributes." Freewheelin' also included love songs and surreal talking blues. Humor was an important part of Dylan's persona, and the range of material on the album impressed listeners, including the Beatles. George Harrison said of the album, "We just played it, just wore it out. The content of the song lyrics and just the attitude—it was incredibly original and wonderful."The rough edge of Dylan's singing was unsettling to some but an attraction to others. Novelist Joyce Carol Oates wrote: "When we first heard this raw, very young, and seemingly untrained voice, frankly nasal, as if sandpaper could sing, the effect was dramatic and electrifying." Many early songs reached the public through more palatable versions by other performers, such as Joan Baez, who became Dylan's advocate as well as his lover. Baez was influential in bringing Dylan to prominence by recording several of his early songs and inviting him on stage during her concerts. "It didn't take long before people got it, that he was pretty damned special," says Baez.Others who had hits with Dylan's songs in the early 1960s included the Byrds, Sonny & Cher, the Hollies, Peter, Paul and Mary, the Association, Manfred Mann and the Turtles. Most attempted a pop feel and rhythm, while Dylan and Baez performed them mostly as sparse folk songs. The covers became so ubiquitous that CBS promoted him with the slogan "Nobody Sings Dylan Like Dylan"."Mixed-Up Confusion", recorded during the Freewheelin' sessions with a backing band, was released as a single and then quickly withdrawn. In contrast to the mostly solo acoustic performances on the album, the single showed a willingness to experiment with a rockabilly sound. Cameron Crowe described it as "a fascinating look at a folk artist with his mind wandering towards Elvis Presley and Sun Records". 
Question: What is the last name of the artist that helped bring the man who changed his name to Bob Dylan to prominence by recording her own version of some of his songs?
[A]:
Baez.