In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

Example Input: Passage: Marty is a high-powered single literary agent in Manhattan. Marie (also Moore) is a widow in Provence with two daughters and a peaceful life. Marty has been seeing a therapist to deal with her vivid dreams of Marie's life; when Marie falls asleep she dreams Marty's life, but is much less disturbed by it. Each woman is convinced that the other is a figment of her imagination. When Marty meets Aaron they become friends and eventually lovers; terrified that her vivid other life means that she's losing her mind, Marty does not want to tell Aaron about it but finally does. Marie, meanwhile, has met William; she too is reluctant to tell William about her dreams, particularly since she (as Marty) is falling in love with Aaron, but realizes that she cannot keep such an important part of her life a secret.
The two men react very differently: William is jealous, while Aaron is skeptical but not at all threatened, and wants only for Marty to be happy. Dreams and real life begin to merge when Marie goes on holiday with William to Paris, and Marty wakes up with an ashtray from the hotel on her night stand. Eventually Marty/Marie must come to terms with reality and choose which life is real and which is illusion.
Example Output: Who has dreams about Moore's life?

Example Input: Passage: In 1952 the LPO negotiated a five-year contract with Decca Records, which was unusually rewarding for the orchestra, giving it a 10 per cent commission on most sales. On top of this, Boult always contributed his share of the recording fees to the orchestra's funds. In the same year, the LPO survived a crisis when Russell was dismissed as its managing director. He was an avowed member of the Communist party; when the cold war began some influential members of the LPO felt that Russell's private political affiliations compromised the orchestra, and pressed for his dismissal. Boult, as the orchestra's chief conductor, stood up for Russell, but when matters came to a head Boult ceased to protect him. Deprived of that crucial support, Russell was forced out. Kennedy speculates that Boult's change of mind was due to a growing conviction that the orchestra would be "seriously jeopardized financially" if Russell remained in post.  A later writer, Richard Witts, suggests that Boult sacrificed Russell because he believed doing so would enhance the LPO's chance of being appointed resident orchestra at the Royal Festival Hall.In 1953 Boult once again took charge of the orchestral music at a coronation, conducting an ensemble drawn from UK orchestras at the coronation of Elizabeth II. During the proceedings, he conducted the first performances of Bliss's Processional and Walton's march Orb and Sceptre.  In the same year he returned to the Proms after a three-year absence, conducting the LPO. The notices were mixed: The Times found a Brahms symphony "rather colourless, imprecise and uninspiring", but praised Boult and the orchestra's performance of The Planets. In the same year the orchestra celebrated its 21st birthday, giving a series of concerts at the Festival Hall and the Royal Albert Hall in which Boult was joined by guest conductors including Paul Kletzki, Jean Martinon,  Hans Schmidt-Isserstedt, Georg Solti, Walter Susskind and Vaughan Williams.In 1956 Boult and the LPO visited Russia. Boult had not wished to go on the tour because flying hurt his ears, and long land journeys hurt his back. The Soviet authorities threatened to cancel the tour if he did not lead it, and he felt obliged to go. The LPO gave nine concerts in Moscow and four in Leningrad.  Boult's assistant conductors were Anatole Fistoulari and George Hurst. Boult's four Moscow programmes included Vaughan Williams's Fourth and Fifth Symphonies, Holst's The Planets, Walton's Violin Concerto (with Alfredo Campoli as soloist), and Schubert's Great C major Symphony. While in Moscow, Boult and his wife visited the Bolshoi Opera and were guests at the composer Dmitri Shostakovich's 50th birthday party.After the Russian tour, Boult told the LPO that he wished to step down from the principal conductorship. He continued to be the orchestra's main conductor until his successor William Steinberg took up the post in 1959.  After the sudden resignation of Andrzej Panufnik from the City of Birmingham Symphony Orchestra (CBSO), Boult returned as principal conductor of the CBSO for the 1959–60 season. That was his last chief conductorship, though he remained closely associated with the LPO as its president and a guest conductor until his retirement.
Example Output: What is the name of the orchestra to whose funds Bould always contributed his share of the recording fees?

Example Input: Passage: The "State Anthem of the Russian Federation" (Russian: Госуда́рственный гимн Росси́йской Федера́ции, tr. Gosudarstvennyj gimn Rossijskoj Federacii, IPA: [ɡəsʊˈdarstvʲɪnɨj ˈɡʲimn rɐˈsʲijskəj fʲɪdʲɪˈratsɨj])  is the name of the official national anthem of Russia. It uses the same music as the "State Anthem of the Soviet Union", composed by Alexander Alexandrov, and new lyrics by Sergey Mikhalkov, who had collaborated with Gabriel El-Registan on the original anthem.  From 1944, that earliest version replaced "The Internationale", as a new, more Soviet-centric, and Russia-centric Soviet anthem.  The same melody, but without lyrics mentioning dead Stalin by name, was used after 1956. A second version of the lyrics was written by Mikhalkov in 1970 and adopted in 1977, placing less emphasis on World War II and more on the victory of communism.
The Russian SFSR was the only constituent republic of the Soviet Union without its own regional anthem. The lyric-free "Patrioticheskaya Pesnya", composed by Mikhail Glinka, was officially adopted in 1990 by the Supreme Soviet of Russia and confirmed in 1993, after the dissolution of the Soviet Union, by the President of the Russian Federation, Boris Yeltsin. This anthem proved to be unpopular with the Russian public and with many politicians and public figures, because of its tune and lack of lyrics, and consequently its inability to inspire Russian athletes during international competitions. The government sponsored contests to create lyrics for the unpopular anthem, but none of the entries were adopted.
Glinka's anthem was replaced soon after Yeltsin's successor as President of the Russian Federation, Vladimir Putin, first took office on 7 May 2000. The federal legislature established and approved the music of the National Anthem of the Soviet Union, with newly written lyrics, in December 2000, and it became the second anthem used by Russia after the dissolution of the Soviet Union. The government sponsored a contest to find lyrics, eventually settling upon a new composition by Mikhalkov; according to the government, the lyrics were selected to evoke and eulogize the history and traditions of Russia. Yeltsin criticized Putin for supporting the reintroduction of the Soviet-era national anthem even though opinion polls showed that many Russians favored this decision.Public perception of the anthem is mixed among Russians. A 2009 poll showed that 56% of respondents felt proud when hearing the national anthem, and that 25% liked it.
Example Output:
What is the full name of the person who criticized Putin for supporting the reintroduction of the Soviet-era national anthem?