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.

[EX Q]: Passage: In 1982, Waters suggested a new musical project with the working title Spare Bricks, originally conceived as the soundtrack album for Pink Floyd – The Wall. With the onset of the Falklands War, Waters changed direction and began writing new material. He saw Margaret Thatcher's response to the invasion of the Falklands as jingoistic and unnecessary, and dedicated the album to his late father. Immediately arguments arose between Waters and Gilmour, who felt that the album should include all new material, rather than recycle songs passed over for The Wall. Waters felt that Gilmour had contributed little to the band's lyrical repertoire. Michael Kamen, a contributor to the orchestral arrangements of The Wall, mediated between the two, also performing the role traditionally occupied by the then-absent Wright. The tension within the band grew. Waters and Gilmour worked independently; however, Gilmour began to feel the strain, sometimes barely maintaining his composure. After a final confrontation, Gilmour's name disappeared from the credit list, reflecting what Waters felt was his lack of songwriting contributions.Though Mason's musical contributions were minimal, he stayed busy recording sound effects for an experimental Holophonic system to be used on the album. With marital problems of his own, he remained a distant figure. Pink Floyd did not use Thorgerson for the cover design, Waters choosing to design the cover himself. Released in March 1983, The Final Cut went straight to number one in the UK and number six in the US. Waters wrote all the lyrics, as well as all the music on the album. Gilmour did not have any material ready for the album and asked Waters to delay the recording until he could write some songs, but Waters refused. Gilmour later commented: "I'm certainly guilty at times of being lazy ... but he wasn't right about wanting to put some duff tracks on The Final Cut." Rolling Stone magazine gave the album five stars, with Kurt Loder calling it "a superlative achievement ... art rock's crowning masterpiece". Loder viewed The Final Cut as "essentially a Roger Waters solo album".
[EX A]: What is the last name of the band member that designed the cover of the 1983 album?

[EX Q]: Passage: Despite Anthony Field's expressed dislike of the term, preferring to refer to it as "preserving the good name of The Wiggles", the group has stressed the importance of their brand and were protective of it.  They remained as independent as possible, and retained full creative control and ownership of every aspect of their business.  As Field stated, The Wiggles Pty Ltd was "not your regular 'corporate culture'".  They made decisions by consensus and made business decisions based upon their experience as performers and their knowledge of early childhood education.  They made careful decisions regarding their endorsements of toys and other products, and avoided over-extending their brand by only licensing products that correlated with their image.  They had high expectations regarding the behaviour and attitude of everyone associated with the group.The Wiggles became formally consolidated in 2005. The group's board of directors consisted of the original three members, Paul Field, who has been general manager of operations since the group was formed and their manager since the mid-1990s, and Mike Conway, who had worked for Ernst & Young in England and become their general manager in 2001.  In 2009, the Australian rock band AC/DC knocked The Wiggles, who earned A$45 million, from the top of Business Review Weekly's  (BRW) list of top entertainment earners for the first time in four years.  In 2011, the worldwide recession hit The Wiggles, as it had done for many Australian entertainers; they earned A$28 million, but they still appeared second on the BRW's list that year.  By 2012, founding members Anthony Field, Cook, and Fatt retained 30% ownership of their brand, and Paul Field and Conway each owned 5%.  It was reported that as part owner of The Wiggles, Page was given a A$20 million payout when he left the group in 2006.  Other ventures of The Wiggles Pty Ltd included franchising their concept to South America, Taiwan, and other countries, opening "Wiggles World" sections in theme parks, and online offerings.
[EX A]: What is the last name of the part owner of the brand that made decisions by consensus that got a A$20 million payout when he left?

[EX Q]: Passage: From the time of his earliest recordings in the 1960s, Bowie employed a wide variety of musical styles. His early compositions and performances were strongly influenced by rock and rollers like Little Richard and Elvis Presley, and also the wider world of show business. He particularly strove to emulate the British musical theatre singer-songwriter and actor Anthony Newley, whose vocal style he frequently adopted, and made prominent use of for his 1967 debut release, David Bowie (to the disgust of Newley himself, who destroyed the copy he received from Bowie's publisher). Bowie's music hall fascination continued to surface sporadically alongside such diverse styles as hard rock and heavy metal, soul, psychedelic folk, and pop.Musicologist James Perone observes Bowie's use of octave switches for different repetitions of the same melody, exemplified in his commercial breakthrough single, "Space Oddity", and later in the song "Heroes", to dramatic effect; Perone notes that "in the lowest part of his vocal register ... his voice has an almost crooner-like richness."Voice instructor Jo Thompson describes Bowie's vocal vibrato technique as "particularly deliberate and distinctive". Schinder and Schwartz call him "a vocalist of extraordinary technical ability, able to pitch his singing to particular effect." Here, too, as in his stagecraft and songwriting, the singer's role playing is evident: historiographer Michael Campbell says that Bowie's lyrics "arrest our ear, without question. But Bowie continually shifts from person to person as he delivers them ... His voice changes dramatically from section to section." In a 2014 analysis of 77 "top" artists' vocal ranges, Bowie was 8th, just behind Christina Aguilera and just ahead of Paul McCartney. In addition to the guitar, Bowie also played a variety of keyboards, including piano, Mellotron, Chamberlin, and synthesizers; harmonica; alto and baritone saxophones; stylophone; viola; cello; koto (in the Heroes track "Moss Garden"); thumb piano; drums (on the Heathen track "Cactus"), and various percussion instruments.
[EX A]:
What is the first name of the person who employed a wide variety of musical styles from the time of his earliest recordings?