TASK DEFINITION: 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.
PROBLEM: 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?

SOLUTION: Too Much Too Soon.

PROBLEM: Passage: Based on Andrea Yates and her family, the five children being drowned in the family bathroom by their mother.
In the film itself, which is set in a secluded family farm, the mother suffers a psychotic break down due to postpartum depression and after her husband, a truck driver, hits the road again after only being home a day. It's all too much for her and she snaps, begins to break things in the middle of dinner. She then calmly walks away with the baby to the upstairs bedroom.
Jimmy, the eldest son, trying to keep his younger brother and sister calm, starts cleaning up, but soon he decides to check on his mother and discovers the horrible truth. His baby brother is dead, and she's preparing to take care of the rest of her kids. Now hope for the family's survival rests on the shoulder of Jimmy, the eldest son and surrogate man of the house. After his mother tries to drown his sister and he knocks her out, Jimmy gets his brother onto a bike and tells him to ride for help while trying to get his sister to safety.
Using his wits and intricate knowledge of the farm, Jimmy must try to protect his siblings while fending off the woman he has always known and loved as his mother. Only one of the children survives as the mother stalks a further two of them down and kills them in typical slasher style. Jimmy manages to survive up until his father arrives back after hearing him on a radio transmission. The film then cuts to a hospital and Jimmy is set to come home. His father then tells Jimmy that his mother is also coming home, much to Jimmy's surprise. We are then shown the mother, stood pregnant and singing rock-a-bye baby. 
Question: What is the full name of the person whose husband is a truck driver?

SOLUTION: Andrea Yates.

PROBLEM: Passage: Virgin and Child with Saints, a drawing in Stockholm's Nationalmuseum, is believed to be a study of a portion of the original altarpiece by a follower of van der Weyden, who possibly may have been the Master of the Coburger Rundblätter. The drawing has a loosely sketched background and shows, from left to right: an unidentified bishop saint with mitre and crosier making a blessing gesture; a narrow gap with a few wavy vertical lines suggesting a start at the outline of a further kneeling figure; a barefoot bearded figure in a rough robe identified as Saint John the Baptist; a seated Virgin holding on her lap the Christ Child who leans to the right, looking at a book; and holding the book, a kneeling beardless male identified as John the Evangelist. The drawing stops at the end of John's robe, at about the point on the London panel where Joseph's walking stick meets John and the Magdalene's robes. This suggests that the Magdalene panel was the first to be cut from the larger work.
At an unknown point before 1811, the original altarpiece was broken into at least three pieces, possibly due to damage, although The Magdalen fragment is in good condition. The black overpaint was likely added after the early 17th century when Netherlandish painting had fallen from favour and was unfashionable. Campbell believes that after the removal of the background detail "it looked sufficiently like a genre piece to hang in a well-known collection of Dutch seventeenth-century paintings". From the size of three surviving panels in relation to the drawing, it is estimated that the original was at least 1 m high by 1.5 m wide; the bishop and the Magdalene seem to clearly mark the horizontal extremities, but the extent of the picture above and below the surviving elements and the drawing cannot be judged. Such a size is comparable with smaller altarpieces of the period. The background was overpainted with a thick layer of black/brown pigment until it was cleaned in 1955; it was only after the layer's removal that it was linked to the upper body and head of Joseph from the Lisbon piece. These two works were not recorded in inventory until 1907, when they appear in the collection of Léo Lardus in Suresnes, France.The London panel shows much of the clothing of two other figures from the original altarpiece. To the left of the Magdalene is the red robe of what appears to be a kneeling figure. The figure and robe, and less precisely the background, match a kneeling Saint John the Evangelist. Behind the Magdalen is a standing figure in blue and red robes, with linear rosary beads in one hand and a walking stick in the other. A panel at the Museu Calouste Gulbenkian in Lisbon shows the head of a figure believed to be the Saint Joseph; the background and clothes match with those of the figure behind the Magdalen on the London panel. 
Question: What is the name of the original that was estimated to be at least 1 m high by 1.5 m wide?

SOLUTION:
Virgin and Child with Saints.