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: The film begins in a parking lot in which a teenage filmmaker named Eric is attempting to document the faux-gangsta lifestyle enjoyed by Allison Lang and her boyfriend Toby's (Mike Vogel) gang of white upper-class teenagers living in the Pacific Palisades neighborhood. A brawl ensues between Toby's gang and another gang, which ends with both sides fleeing just before police arrive. Later that night, Toby's gang goes to a party at Eric's house, and Allison's relationship with Toby as well as her other friends Emily and Sam is further revealed. At the end of the party, Allison performs oral sex on her boyfriend.
The next day, Allison meets with her father, Stuart, at work to discuss family problems, the awkward conversation revealing the virtually non-existent relationship Allison has with her parents. Afterwards, she and her friends drive downtown into East LA, intent on buying marijuana, eventually encountering Mexican drug dealer Hector and his crew. Toby and Hector make a deal, but Toby believes that Hector did not sell him enough for what he paid, and attempts to confront Hector, who pulls a gun on him, humiliating him in front of his friends. Allison persuades Hector to leave Toby alone. 
Question: Where do the gangs have a brawl?

SOLUTION: parking lot.

PROBLEM: Passage: The name Spiderland originates from McMahan's younger brother, who thought that the record sounded "spidery". The album's black-and-white cover photograph, which depicts the members of the band (Brashear, McMahan, Walford and Pajo, from left to right) treading water in the lake of an abandoned quarry, was taken by Will Oldham. An article in The Stranger credited the cover for creating a mystique surrounding Slint, noting "[m]ost people only had seen Slint as four heads floating in a Kentucky quarry on Spiderland's cover. Listeners pondered the band's sparsely adorned black-and-white covers as if they were runes bearing secrets." Chris Gaerig of the Michigan Daily wrote, "the cover of Slint's masterful Spiderland captures the joyous fear and violence of the album so precisely it shakes souls. The group—submerged in a lake to their chins with deranged smiles—seems to be stalking you, hovering out of the black-and-white façade." Several other promotional images have been taken from the same photo session with Oldham.A photo of a spider taken by Noel Saltzman is used on the back cover, reflecting the album's title. The inside sleeve contains the message "interested female vocalists write 1864 douglas blvd. louisville, ky. 40205". McMahan confirmed that this message was serious, and said "We did get some responses and we did listen to CDs and tapes. We didn't end up doing anything immediately, so that idea of adding someone sort of fell by the wayside." The message "this recording is meant to be listened to on vinyl" is printed on some CD issues of Spiderland, demonstrating Slint's preference of analog audio devices. 
Question: What is the name of the band whose sparsely adorned black-and-white covers listeners pondered?

SOLUTION: Slint.

PROBLEM: Passage: Interest in Monteverdi revived in the late 18th and early 19th centuries among music scholars in Germany and Italy, although he was still regarded as essentially a historical curiosity. Wider interest in the music itself began in 1881, when Robert Eitner published a shortened version of the Orfeo score. Around this time Kurt Vogel scored the madrigals from the original manuscripts, but more critical interest was shown in the operas, following the discovery of the L'incoronazione manuscript in 1888 and that of Il ritorno in 1904. Largely through the efforts of Vincent d'Indy, all three operas were staged in one form or other, during the first quarter of the 20th century: L'Orfeo in May 1911, L'incoronazione in February 1913 and Il ritorno in May 1925.The Italian nationalist poet Gabriele D'Annunzio lauded Monteverdi and in his novel Il fuoco (1900) wrote of "il divino Claudio ... what a heroic soul, purely Italian in its essence!" His vision of Monteverdi as the true founder of Italian musical lyricism was adopted by musicians who worked with the regime of Benito Mussolini (1922–1945), including Francesco Malipiero, Luigi Dallapiccola, and Mario Labroca, who contrasted Monteverdi with the decadence of the music of Richard Strauss, Claude Debussy and Igor Stravinsky.In the years after the Second World War the operas began to be performed in the major opera houses, and eventually were established in the general repertory. The resuscitation of Monteverdi's sacred music took longer; he did not benefit from the Catholic Church's 19th-century revival of Renaissance music in the way that Palestrina did, perhaps, as Carter suggests, because Monteverdi was viewed chiefly as a secular composer. It was not until 1932 that the 1610 Vespers were published in a modern edition, followed by Redlich's revision two years later. Modern editions of the Selva morales and Missa e Salmi volumes were published respectively in 1940 and 1942. 
Question: What is the last name of the person who wrote the Orfeo score?

SOLUTION:
Monteverdi.