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.

[Q]: Passage: During the latter half of 2002, Sasha collaborated with big beat artist Junkie XL on the single "Breezer". Junkie XL, along with Charlie May, also assisted Sasha on his second album of original material, Airdrawndagger. Airdrawndagger took several years to produce due to Sasha's desire for the album to be "as near to perfection as possible." That March, Sasha suffered a perforated eardrum in a traffic accident, further delaying the album's production. Though the accident temporarily impaired his hearing, he drew inspiration for the album from his ordeal. Airdrawndagger was finally released, in August 2002, to much fanfare. However, the album was "received with a lot of head scratching", according to Sasha, which he attributed to its unexpected mix of genres. The album did not feature the heavier "club sound" of Sasha's previous mix albums, bearing a closer resemblance to ambient music. Airdrawndagger generally received favorable reviews, though critics noted that it was not as consistent and well produced as his DJ mixes. Sasha himself described it as "a selfish, slightly self-indulgent record", though he maintains that he is "happy with it to this day". Some critics, however, called it "sleepy"; E!Online described it as being "more in league with Yanni than Moby". To encourage listeners' interest, Sasha held an amateur remix contest for the album's single, "Wavy Gravy". Due to the contest's success, Sasha released all the tracks from Airdrawndagger on his website, so that fans could download and create their own versions.After the release of Airdrawndagger, Sasha took the young DJ James Zabiela "under his wing". He introduced Zabiela to the CDJ1000 turntable, and signed Zabiela to the Excession talent agency. The two toured the United States together, which extended Sasha's influence to already-popular American DJs such as Kimball Collins.
In 2004, Sasha signed with Global Underground to produce another mix album. However, he found the process of creating a standard mix album unrewarding, and decided to apply his production and DJing skills to a mix compilation that resembled a "real" albumthat is, one featuring original material. Sasha's next studio album, Involver, was "a fusion of mix album and production record", consisting entirely of Sasha's reworkings of tracks by other artists. "I tried to take all the separate sounds to all the tracks [and recombine them]", he later explained, "and it allowed me to mix the tracks together on a much deeper level." He accomplished this by sequencing the album using Ableton Live and Logic Pro. Ableton Live is a music loop-based software package that Sasha uses to engineer tracks in real-time, whereas he used Logic Pro primarily for premeditated edits to audio tracks.
Question: What is the name of the person whose hearing was temporarily impaired?
[A]: Sasha.

[Q]: Passage: On 12 June 2008, while Johnston was travelling with the Britain's Got Talent Live Tour, it was announced that Johnston had signed a record deal with Syco Music, a division of Sony BMG, and that his first album would be produced after the tour. The deal was reportedly for 1 million. After signing with Syco, Johnston made public appearances, including performing at Andrew Lloyd Webber's birthday celebrations on 14 September, and at Carlisle United's Brunton Park.Johnston's debut album, One Voice, was released on 29 September 2008. It includes a cover of "Walking in the Air", performed with Faryl Smith. The album was recorded over a six-week period in London, and the track listing was chosen by Cowell. Johnston described the recording process as "brilliant", and that it was "really good just to be in a recording studio and meet the different people". The album debuted in the British charts at number five, and finished the week at number four. The album was later certified gold, having sold 100,000 copies, and Johnston was presented a gold disc by daytime television presenter Penny Smith. Critics responded positively to the album, with Kate Leaver, writing for the Korea JoongAng Daily, saying Johnston "has truer talent than hordes of his musical elders" and that "the vulnerability" of Johnston's performance on the album "makes for a haunting musical experience". In Music Week, the album was described as "highly-anticipated", and Johnston was called "exceptionally-talented".After the album's release, Johnston became involved in the Sing Up campaign, appearing in schools around the country to encourage other young people to join choirs. In December 2008, Johnston made a guest appearance at Whitehaven's Christmas fair, and performed at a carol service in Bradford. Johnston was also invited to turn on the Carlisle Christmas lights and perform at the celebrations. Mike Mitchelson, of Carlisle City Council, described Johnston as "one of our local heroes".
Question: What city's fair did the person who signed with Syco Music appear at in December 2008?
[A]: Whitehaven.

[Q]: Passage: Before the first gramophone disc recordings of The Rite were issued in 1929, Stravinsky had helped to produce a pianola version of the work for the London branch of the Aeolian Company. He also created a much more comprehensive arrangement for the Pleyela, manufactured by the French piano company Pleyel, with whom he signed two contracts in April and May 1921, under which many of his early works were reproduced on this medium. The Pleyela version of The Rite of Spring was issued in 1921; the British pianolist Rex Lawson first recorded the work in this form in 1990.In 1929 Stravinsky and Monteux vied with each other to conduct the first orchestral gramophone recording of The Rite. While Stravinsky led L'Orchestre des Concerts Straram in a recording for the Columbia label, at the same time Monteux was recording it for the HMV label. Stokowski's version followed in 1930. Stravinsky made two more recordings, in 1940 and 1960. According to the critic Edward Greenfield, Stravinsky was not technically a great conductor but, Greenfield says, in the 1960 recording with the Columbia Symphony Orchestra the composer inspired a performance with "extraordinary thrust and resilience". In conversations with Robert Craft, Stravinsky reviewed several recordings of The Rite made in the 1960s. He thought Herbert von Karajan's 1963 recording with the Berlin Philharmonic, was good, but "the performance is ... too polished, a pet savage rather than a real one". Stravinsky thought that Pierre Boulez, with the Orchestre National de France (1963), was "less good than I had hoped ... very bad tempi and some tasteless alterations". He praised a 1962 recording by The Moscow State Symphony Orchestra for making the music sound Russian, "which is just right", but Stravinsky's concluding judgement was that none of these three performances was worth preserving.As of 2013 there were well over 100 different recordings of The Rite commercially available, and many more held in library sound archives. It has become one of the most recorded of all 20th century musical works.
Question: What is the name of the person who praised a 1962 recording of The Moscow State Symphony Orchestra for making the music sound Russian?
[A]:
Stravinsky.