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.

[EX Q]: Passage: Detroit techno is an offshoot of Chicago house music which developed in the early and mid-1980s. One of the earliest hits was "Big Fun" by Inner City. Detroit techno developed as the DJ The Electrifying Mojo did his radio program, which fused eclectic sounds into the signature Detroit techno sound. This sound, also influenced by European electronica (Kraftwerk, Art of Noise), Japanese synthpop (Yellow Magic Orchestra), early B-boy (breakdancing) Hip-Hop (Man Parrish, Soul Sonic Force) and Italo disco (Doctor's Cat, Ris, Klein M.B.O.), was further pioneered by Juan Atkins, Derrick May, and Kevin Saunderson, known as the Belleville Three.
Derrick May a.k.a. "MAYDAY" and Thomas Barnett released "Nude Photo" in 1987 on May's label "Transmat Records", which helped start the Detroit techno music scene. This record was played on Chicago's Hot Mix 5 Radio DJ mix show and in Chicago clubs. A year later, Transmat released "Strings of Life". Transmat Records also released such as 1988's "Wiggin". As well, Derrick May had releases on Kool Kat Records and many remixes for underground and mainstream recording artists. Kevin Saunderson's company KMS Records contributed many releases that were as much house music as they were techno. These tracks were well received in Chicago and played on Chicago radio and in clubs.Blake Baxter's 1986 recording, "When we Used to Play / Work your Body", 1987's "Bounce Your Body to the Box" and "Force Field", "The Sound / How to Play our Music" and "the Groove that Won't Stop" and a remix of "Grooving Without a Doubt". In 1988, as house music became more popular among general audiences, Kevin Saunderson's group Inner City with Paris Gray released the 1988 hits "Big Fun" and "Good Life", which eventually were picked up by Virgin Records. Each EP / 12 inch single sported remixes by Mike "Hitman" Wilson and Steve "Silk" Hurley of Chicago and Derrick "Mayday" May and Juan Atkins of Detroit. In 1989, KMS had another hit release of "Rock to the Beat" which was a theme in Chicago dance clubs.The Detroit Techno scene was also met with some conflict. Reynold's "A Tale of Three Cities" discussed the acceptance and inclusion of marginalized groups within each genre of Techno, House, and Garage. Detroit turned out to be where wealthier black youth tried to discourage ghetto youth from enjoying Techno. Comparing that to the religious sanctuary that House provided, Chicago became a true "house" to the black, Hispanic, and gay communities in Chicago.
Question: What type of music was "Big Fun"?
[EX A]: Detroit techno.

[EX Q]: Passage: With the encouragement of his parents, Ravel applied for entry to France's most important musical college, the Conservatoire de Paris. In November 1889, playing music by Chopin, he passed the examination for admission to the preparatory piano class run by Eugene Anthiome. Ravel won the first prize in the Conservatoire's piano competition in 1891, but otherwise he did not stand out as a student. Nevertheless, these years were a time of considerable advance in his development as a composer. The musicologist Arbie Orenstein writes that for Ravel the 1890s were a period "of immense growth ... from adolescence to maturity."
In 1891 Ravel progressed to the classes of Charles-Wilfrid de Beriot, for piano, and Emile Pessard, for harmony. He made solid, unspectacular progress, with particular encouragement from Beriot but, in the words of the musical scholar Barbara L. Kelly, he "was only teachable on his own terms". His later teacher Gabriel Faure understood this, but it was not generally acceptable to the conservative faculty of the Conservatoire of the 1890s. Ravel was expelled in 1895, having won no more prizes. His earliest works to survive in full are from these student days: Serenade grotesque, for piano, and "Ballade de la Reine morte d'aimer", a melodie setting a poem by Roland de Mares (both 1893).Ravel was never so assiduous a student of the piano as his colleagues such as Vines and Cortot were. It was plain that as a pianist he would never match them, and his overriding ambition was to be a composer. From this point he concentrated on composition. His works from the period include the songs "Un grand sommeil noir" and "D'Anne jouant de l'espinette" to words by Paul Verlaine and Clement Marot, and the piano pieces Menuet antique and Habanera (for four-hands), the latter eventually incorporated into the Rapsodie espagnole. At around this time, Joseph Ravel introduced his son to Erik Satie, who was earning a living as a cafe pianist. Ravel was one of the first musicians Debussy was another who recognised Satie's originality and talent. Satie's constant experiments in musical form were an inspiration to Ravel, who counted them "of inestimable value".
Question: What are the names of the two colleagues who it was plain that Ravel, as a pianist, would never match?
[EX A]: Vines.

[EX Q]: Passage: Kozelsk and Starobelsk were used mainly for military officers, while Ostashkov was used mainly for Polish Scouting, gendarmes, police officers, and prison officers. Some prisoners were members of other groups of Polish intelligentsia, such as priests, landowners, and law personnel. The approximate distribution of men throughout the camps was as follows: Kozelsk, 5000; Ostashkov, 6570; and Starobelsk, 4000. They totalled 15,570 men.According to a report from 19 November 1939, the NKVD had about 40,000 Polish POWs: 8,000-8,500 officers and warrant officers, 6,000-6,500 officers of police, and 25,000 soldiers and non-commissioned officers who were still being held as POWs. In December, a wave of arrests resulted in the imprisonment of additional Polish officers. Ivan Serov reported to Lavrentiy Beria on 3 December that "in all, 1,057 former officers of the Polish Army had been arrested". The 25,000 soldiers and non-commissioned officers were assigned to forced labor (road construction, heavy metallurgy).Once at the camps, from October 1939 to February 1940, the Poles were subjected to lengthy interrogations and constant political agitation by NKVD officers, such as Vasily Zarubin. The prisoners assumed they would be released soon, but the interviews were in effect a selection process to determine who would live and who would die. According to NKVD reports, if a prisoner could not be induced to adopt a pro-Soviet attitude, he was declared a "hardened and uncompromising enemy of Soviet authority".On 5 March 1940, pursuant to a note to Joseph Stalin from Beria, six members of the Soviet Politburo Stalin, Vyacheslav Molotov, Lazar Kaganovich, Kliment Voroshilov, Anastas Mikoyan, and Mikhail Kalinin signed an order to execute 25,700 Polish "nationalists and counterrevolutionaries" kept at camps and prisons in occupied western Ukraine and Belarus. The reason for the massacre, according to the historian Gerhard Weinberg, was that Stalin wanted to deprive a potential future Polish military of a large portion of its talent:
It has been suggested that the motive for this terrible step [the Katyn massacre] was to reassure the Germans as to the reality of Soviet anti-Polish policy. This explanation is completely unconvincing in view of the care with which the Soviet regime kept the massacre secret from the very German government it was supposed to impress. [] A more likely explanation is that [the massacre] should be seen as looking forward to a future in which there might again be a Poland on the Soviet Union's western border. Since he intended to keep the eastern portion of the country in any case, Stalin could be certain that any revived Poland would be unfriendly. Under those circumstances, depriving it of a large proportion of its military and technical elite would make it weaker.
Question: What is the name of the massacre kept secret by the Soviet regime from the very German government it was supposed to impress?
[EX A]:
Katyn massacre.