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: Altar 1 is found at the base of Stela 1. It is rectangular in shape with carved molding on its side.Altar 2 is of unknown provenance, having been moved to outside the administrator's house on the San Isidro Piedra Parada plantation. It is 1.59 metres (63 in) long, about 0.9 metres (35 in) wide and about 0.5 metres (20 in) high. It represents an animal variously identified as a toad and a jaguar. The body of the animal was sculptured to form a hollow 85 centimetres (33 in) across and 26 centimetres (10 in) deep. The sculpture was broken into three pieces.Altar 3 is a roughly worked flat, circular altar about 1 metre (39 in) across and 0.3 metres (12 in) high. It was probably associated originally with a stela but its original location is unknown, it was moved near to the manager's house on the San Isidro Piedra Parada plantation.Altar 5 is a damaged plain circular altar associated with Stela 2.Altar 7 is near the southern edge of the plaza on Terrace 3, where it is one of five monuments in a line running east-west.Altar 8 is a plain monument associated with Stela 5, positioned on the west side of Structure 12.Altar 9 is a low four-legged throne placed in front of Structure 11.Altar 10 was associated with Stela 13 and was found on top of the large offering of ceramics associated with that stela and the royal tomb in Structure 7A. The monument was originally a throne with cylindrical supports that was reused as an altar in the Classic period.Altar 12 is carved in the early Maya style and archaeologists consider it to be an especially early example dating to the first part of the Late Preclassic. Because of the carvings on the upper face of the altar, it is supposed that the monument was originally erected as a vertical stela in the Late Preclassic, and was reused as a horizontal altar in the Classic. At this time 16 hieroglyphs were carved around the outer rim of the altar. The carving on the upper face of the altar represents a standing human figure portrayed in profile, facing left. The figure is flanked by two vertical series of four glyphs. A smaller profile figure is depicted facing the first figure, separated from it by one of the series of glyphs. The central figure is depicted standing upon a horizontal band representing the earth, the band is flanked by two earth monsters. Above the figure is a celestial band with part of the head of a sacred bird visible in the centre. The 16 glyphs on the rim of the monument are formed by anthropomorphic figures mixed with other elements. 
Question: What is carved on the outer rim of Altar 12 and are formed by anthropomorphic figures mixed with other elements?
[A]: 16 hieroglyphs.


[Q]: Passage: Sons of Soul bridged the gap between commercial and critical success for Tony! Toni! Toné!, helping them become one of the most popular acts in R&B at the time. Its success exemplified the genre's commercial resurgence during the early 1990s, when hip hop became the predominant African-American music genre in the mainstream. In 1994, Greg Kot of the Chicago Tribune attributed its resurgence to younger artists' blend of live instrumentation and hip hop production values, and cited Sons of Soul as "the most accomplished merger of hip-hop attitude with a '70s R&B aesthetic." The Atlanta Journal-Constitution hailed it as "a gentle reminder of those glory days" and felt that the group having both vocal and musical talents is most indicative of a return to early R&B's aesthetics. Furthermore, they garnered mainstream attention in a year of several high-profile controversies with R&B and hip hop artists such as Michael Jackson and Snoop Dogg. David W. Brown of The Harvard Crimson wrote that Tony! Toni! Toné! is "known primarily for the quality of its music, not its extracurricular reputation, unlike other groups such as Jodeci who rely on a playa-gangsta-mack image to sell-records."Along with acts such as Mint Condition and R. Kelly, Tony! Toni! Toné! played live instruments that complemented their hip hop sensibilities. Their concerts featured visual elements such as incense smoke and kaleidoscopic stage lighting, the group's eccentric wardrobe, and additional instrumentalists, including another guitarist, two drummers, two keyboardists, a violinist, a trumpeter, and a saxophonist. The Charlotte Observer remarked on the group in 1994: "[T]heir use of live instruments on record and onstage makes them an anomaly in the synthesized and sampled world of modern R&B." With the group's reliance on traditional soul and R&B values of songwriting and instrumentation, Sons of Soul was a precursor to the neo soul movement of the 1990s. Matt Weitz of The Dallas Morning News wrote in 1993 that the group had distinguished themselves from their New jack swing contemporaries with Sons of Soul and found them aesthetically akin to acts such as Prince and P.M. Dawn. Raphael Wiggins said of their success with the album:
"We've been very blessed to be able to be a group that writes our own songs and people have accepted us from both sides, hip hop and the R&B crowd or whatever you might want to say. I feel very fortunate to be able to do that here in 1993–94, because like you know, it was starting to be a dying thing that was happening. But I guess we were like the bridge between hip hop and soul and R&B, and being a little bit commercial also helped us. A lot of humor, a lot of nice slow songs and being able to play kind of brought us a foundation.". 
Question: What is the name of the group that Weitz said was aesthetically akin to acts such as Prince and P.M. Dawn?
[A]: Tony! Toni! Toné!.


[Q]: Passage: On 7 May 1896, Sir Humphrey Francis de Trafford put the 1,183-acre (4,790,000 m2) estate up for auction, but it failed to reach its reported reserve price of £300,000 (£34.1 million as of 2019). There was much public debate, before and after the abortive sale, as to whether Manchester Corporation ought to buy Trafford Park, but the corporation could not agree terms quickly enough, and so on 23 June Ernest Terah Hooley became the new owner of Trafford Park, for the sum of £360,000 (£40.9 million as of 2019).On 17 August, Hooley formed Trafford Park Estates Ltd, transferring his ownership of the park to the new company – of which he was the chairman and a significant shareholder – at a substantial profit. The initial plans for the estate included a racetrack, exclusive housing and a cycle works, along with the development of the ship canal frontage for "all types of trade including timber". By that time the ship canal had been open for two years, but the predicted traffic had yet to materialise. Hooley met with Marshall Stevens, the general manager of the Ship Canal Company, and both men recognised the benefit that the industrial development of Trafford Park could offer to the ship canal, and the ship canal to the estate. In January 1897 Stevens became the managing director of Trafford Park Estates. He remained with the company, latterly as its joint chairman and managing director, until 1930.
The company initially chose not to construct buildings for letting, and instead leased land for development. But by the end of June 1897 less than one per cent of the park had been leased, and so the park's existing assets were put to use until more tenants could be found. Trafford Hall was opened as a hotel in 1899, to serve prospective industrialists considering a move to the park, along with their key employees. It had 40 bedrooms, available to "Gentlemen only". The hall's stables and some other outbuildings were used for stock auctions and the sale of horses, from 1900 to 1902, and the ornamental lake was leased to William Crooke and Sons, for use as a boating lake, initially on a five-year lease. A polo ground was set up in the park in 1902, and 80 acres (320,000 m2) of land near the hall were leased to the Manchester Golf Club, who laid out a three-mile (4.8 km) long course. The club moved from Trafford Park to a new site at Hopwood Park in 1912. All of the open-field land uses were subsequently pushed out by industry. 
Question: What is the full name of the person who remained with Trafford Park Estates until 1930?
[A]:
Marshall Stevens.


