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.

Passage: By the late 1950s, Covent Garden was gradually abandoning its policy of productions in the vernacular; such singers as Maria Callas would not relearn their roles in English. This made it easier for Tucker to point up the difference between the two London opera companies. While Covent Garden engaged international stars, Sadler's Wells focused on young British and Commonwealth performers. Colin Davis was appointed musical director in succession to Gibson in 1961. The repertoire continued to mix familiar and unfamiliar operas. Novelties in Davis's time included Pizzetti's Murder in the Cathedral, Stravinsky's Oedipus rex, Richard Rodney Bennett's The Mines of Sulphur and more Janacek. Sadler's Wells's traditional policy of giving all operas in English continued, with only two exceptions: Oedipus rex, which was sung in Latin, and Monteverdi's L'Orfeo, sung in Italian, for reasons not clear to the press. In January 1962, the company gave its first Gilbert and Sullivan opera, Iolanthe, on the day on which the Savoy operas came out of copyright and the D'Oyly Carte monopoly ended. The production was well received (it was successfully revived for many seasons until 1978) and was followed by a production of The Mikado in May of the same year.The Islington theatre was by now clearly too small to allow the company to achieve any further growth. A study conducted for the Arts Council reported that in the late 1960s the two Sadler's Wells companies comprised 278 salaried performers and 62 guest singers. The company had experience of playing in a large West End theatre, such as its 1958 sell-out production of The Merry Widow that had transferred to the 2,351-seat London Coliseum for a summer season. Ten years later, the lease of the Coliseum became available. Stephen Arlen, who had succeeded Tucker as managing director, was the primary advocate for moving the company. After intense negotiations and fund-raising, a ten-year lease was signed in 1968. One of the company's last productions at the Islington theatre was Wagner's The Mastersingers, conducted by Goodall in 1968, which 40 years later was described by Gramophone magazine as "legendary". The company left Sadler's Wells with a revival of the work with which it had re-opened the theatre in 1945, Peter Grimes. Its last performance at the Rosebery Avenue theatre was on 15 June 1968.
Question: What theatre did the Sadler's Wells company perform prior to 1968?
Islington theatre.

Passage: Is This It received widespread critical acclaim; aggregating website Metacritic reports a normalized rating of 91, based on 26 critical reviews. Joe Levy of Rolling Stone explained that the record is "the stuff of which legends are made", and summed it up as "more joyful and intense than anything else I've heard this year". Robert Christgau, writing in The Village Voice, described the Strokes as "a great groove band", and noted that "the beats implode, clashing/resolving with punky brevity and gnarly faux simplicity". In a perfect 10 review, NME reviewer John Robinson indicated that Is This It was one of the best debut LPs by a guitar band during the past 20 years. In contrast, Jon Monks of Stylus commented that its shallowness prevents it from ever being called a "classic". In his favorable A review, David Browne of Entertainment Weekly conceded that he did not know whether the Strokes would have a long-term impact, but noted that, at the time, the record "just feels right, and sometimes that's enough".Mark Lepage of Blender claimed that Is This It is similar to the works of 1970s bands the Velvet Underground, Television and the Feelies. Pitchfork's Ryan Schreiber suggested that, while the work of the Velvet Underground is an obvious inspiration for the Strokes, the band's only similarity to the other groups is the confidence with which they perform. AllMusic's Heather Phares concluded, "Granted, their high-fashion appeal and faultless influences ... have 'critics' darlings' written all over them. But like the similarly lauded Elastica and Supergrass before them, the Strokes don't rehash the sounds that inspire themthey remake them in their own image."Is This It was named the best album of 2001 by Billboard, CMJ, Entertainment Weekly, NME, Playlouder, and Time. Magnet, Q, and The New Yorker included it in their respective unnumbered shortlists of the best records issued that year. It figured highly in other end-of-year best album lists: at number two by The Herald, at number three by Mojo, at number five by The New York Times, at number eight by Rolling Stone and by USA Today, at number nine by The Boston Phoenix, and at number ten by Kludge. The record featured at number two behind Bob Dylan's Love and Theft in The Village Voice's 2001 Pazz & Jop critics' poll, which aggregated the votes of 621 prominent reviewers. In 2002, Is This It was named Best Album at the NME Awards and Best International Album at the Meteor Music Awards. It was nominated in the latter category at the Brit Awards, where the Strokes won Best International Newcomer and received a nomination in the Best International Group category. The same year, the quintet won Band Of The Year and Best New Act at the NME Awards and was nominated in the latter category at the MTV Europe Music Awards.
Question: What two categories did the Strokes win at the NME Awards?
Band Of The Year.

Passage: ABKCO Industries was formed in 1968 by Allen Klein as an umbrella company to ABKCO Records. Klein hired May Pang as a receptionist in 1969. Through involvement in a project with ABKCO, Lennon and Ono met her the following year. She became their personal assistant. In 1973, after she had been working with the couple for three years, Ono confided that she and Lennon were becoming estranged. She went on to suggest that Pang should begin a physical relationship with Lennon, telling her, "He likes you a lot." Astounded by Ono's proposition, Pang nevertheless agreed to become Lennon's companion. The pair soon left for Los Angeles, beginning an 18-month period he later called his "lost weekend". In Los Angeles, Pang encouraged Lennon to develop regular contact with Julian, whom he had not seen for two years. He also rekindled friendships with Starr, McCartney, Beatles roadie Mal Evans, and Harry Nilsson. While Lennon was drinking with Nilsson, he misunderstood something that Pang had said and attempted to strangle her. Lennon relented only after he was physically restrained by Nilsson.In June, Lennon and Pang returned to Manhattan in their newly rented penthouse apartment where they prepared a spare room for Julian when he visited them. Lennon, who had been inhibited by Ono in this regard, began to reestablish contact with other relatives and friends. By December, he and Pang were considering a house purchase, and he refused to accept Ono's telephone calls. In January 1975, he agreed to meet Ono, who claimed to have found a cure for smoking. After the meeting, he failed to return home or call Pang. When Pang telephoned the next day, Ono told her that Lennon was unavailable because he was exhausted after a hypnotherapy session. Two days later, Lennon reappeared at a joint dental appointment; he was stupefied and confused to such an extent that Pang believed he had been brainwashed. Lennon told Pang that his separation from Ono was now over, although Ono would allow him to continue seeing her as his mistress.
Question: What is the first name of the person who agreed to become Lennon's companion?
May.