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.
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Question: Passage: Both Surfer Rosa and Steve Albini's production of the album have been influential on alternative rock, and on grunge in particular. Nirvana's Kurt Cobain cited Surfer Rosa as the basis for Nevermind's songwriting. When he first heard the album, Cobain discovered a template for the mix of heavy noise and pop he was aiming to achieve. He remarked in 1992 that he "heard songs off of Surfer Rosa that I'd written but threw out because I was too afraid to play them for anybody." Cobain hired Albini to produce Nirvana's 1993 album In Utero, primarily due to his contribution to Surfer Rosa. The Smashing Pumpkins' Billy Corgan described Surfer Rosa as "the one that made me go, 'holy shit'. It was so fresh. It rocked without being lame." Corgan was impressed by the album's drum sound, and acknowledged that The Smashing Pumpkins used to study the record for its technical elements. Musician PJ Harvey said that Surfer Rosa "blew my mind," and that she "immediately went to track down Steve Albini." Cobain listed Surfer Rosa as number 2 of the top 50 albums he thought were most influential to Nirvana's sound in his journal in 1993.People connected with the band were impressed by the record. Ivo Watts-Russell recalled: "I remember when I first heard Surfer Rosa thinking, 'I didn't know the Pixies could sound like The Fall.' That was my immediate reaction, in other words, incredibly raw." Gary Smith, who at the time was in a disagreement with the band, admitted he "was really happy that they had made such a forceful, aggressive, record." Dinosaur Jr.'s J Mascis, comparing the record to the later Pixies albums Bossanova and Trompe le Monde, said he thought that Steve Albini's production "sounded way better than the other ones."In 1991, as Pixies were recording Trompe le Monde, Albini described his impressions of Pixies during the recording of Surfer Rosa to the fan magazine Forced Exposure: "A patchwork pinch loaf from a band who at their top dollar best are blandly entertaining college rock. Their willingness to be 'guided' by their manager, their record company and their producers is unparalleled. Never have I seen four cows more anxious to be led around by their nose rings." Albini later apologized for his remarks, saying, "to this day I regret having done it. I don't think that I regarded the band as significantly as I should have.".
Question: What is the first name of the person who was hired for their work with Surfer Rosa?

Answer: Steve.

Question: Passage: The story begins with a view of the city, lowering to a view of the ground underneath. Deep under the docks, several large wires are connected to the bedrock. Following the wires away from the coast along the ocean floor, it is shown that they all converge in a strange underwater capsule. An elevator-like object emerges from the top and rises to an abandoned fishing house infested with rats. A man exits the elevator and heads toward the city in a motorboat.

Later, at the Daily Planet, a Native American man warns Lois Lane, Clark Kent, and Perry White that they must run a report that Manhattan belongs to his people and should be given back to them. The Planet crew judges him to be crazy, and his threats to be empty... at least, everyone but Lois, who follows him to his motorboat. Hiding in the back, Lois is taken to the deserted fishing house on the water and sees his elevator. The man catches her watching him in the elevator's reflection, and calmly invites her to follow him, promising an amazing story. Lois follows.
The elevator lowers into the underwater capsule, and the man offers her a seat, then pushes a button which pins her arms and legs to the chair. Stepping up to the controls, he starts up his earthquake machine, sending a powerful surge of electricity through one of the wires and into the bedrock under the city. The large explosion causes the entire city to shake, and runs a large crack through the Daily Planet building. Clark takes advantage of the commotion to change into his Superman costume.
In one leap, Superman dives into the ocean and notices the several wires embedded in the rock. He pulls one of them out only to have it explode in his face, flinging him the ground and piling him with bedrock. He pushes the rock away and pulls at a few more, only to have the wires writhe with electric current and wind around him. At one point, Superman comes up for air only to have one of the wires wind around his neck and pull him down.
Question: What are the names of the two people of the Planet crew who judge the Native American man as crazy?

Answer: Clark Kent.

Question: Passage: In October, MacDonald introduced Thomson to Dr. James MacCallum. A frequent visitor to the Ontario Society of Artists' (OSA) exhibitions, MacCallum was admitted to the Arts and Letters Club in January 1912. There, he met artists such as John William Beatty, Arthur Heming, MacDonald and Harris. MacCallum eventually persuaded Thomson to leave Rous and Mann and start a painting career. In October 1913, MacCallum introduced Thomson to A. Y. Jackson, later a founder of the Group of Seven. MacCallum recognized Thomson's and Jackson's talents and offered to cover their expenses for one year if they committed themselves to painting full time. MacCallum and Jackson both encouraged Thomson to "take up painting seriously, [but] he showed no enthusiasm. The chances of earning a livelihood by it did not appear to him promising. He was sensitive and independent, and feared he might become an object of patronage." MacCallum wrote that when he first saw Thomson's sketches, he recognized their "truthfulness, their feeling and their sympathy with the grim fascinating northland ... they made me feel that the North had gripped Thomson as it had gripped me since I was eleven when I first sailed and paddled through its silent places." He described Thomson's paintings as "dark, muddy in colour, tight and not wanting in technical defects". After Thomson's death, MacCallum helped preserve and advocate for his work.Thomson accepted MacCallum's offer under the same terms offered to Jackson. He travelled around Ontario with his colleagues, especially to the wilderness of Ontario, which was to become a major source of inspiration. Regarding Algonquin Park, he wrote in a letter to MacCallum: "The best I can do does not do the place much justice in the way of beauty." He ventured to rural areas near Toronto and tried to capture the surrounding nature. He may have worked as a fire ranger on the Mattagami reserve. Addison and Little suggest that he guided fishing tours, although Hill finds this unlikely since Thomson had only spent a few weeks in the Park the previous year. Thomson became as familiar with logging scenes as with nature in the Park and painted them both.While returning to Toronto in November 1912, Thomson stopped in Huntsville. The visit was possibly to meet with Winfred Trainor, a woman whose family owned a cottage on Canoe Lake in Algonquin Park. Trainor was later rumoured to have been engaged to Thomson with a wedding planned for the late 1917, although little is known about their relationship.Thomson first exhibited with the OSA in March 1913, selling his painting Northern Lake (191213) to the Ontario Government for $250 (equivalent to CAD$5,600 in 2018). The sale afforded him time to paint and sketch through the summer and fall of 1913.
Question: What is the name of the person that was sensitive and independent, and feared he might become an object of patronage?

Answer:
Thomson.