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.

Input: Consider 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.

Output: What is the name of the orchestra to whose funds Bould always contributed his share of the recording fees?


Input: Consider Input: Passage: The term "Gadget" was a laboratory euphemism for a bomb, from which the laboratory's weapon physics division, "G Division", took its name in August 1944. At that time it did not refer specifically to the Trinity Test device as it had yet to be developed, but once it was, it became the laboratory code name. The Trinity Gadget was officially a Y-1561 device, as was the Fat Man used a few weeks later in the bombing of Nagasaki. The two were very similar, with only minor differences, the most obvious being the absence of fuzing and the external ballistic casing. The bombs were still under development, and small changes continued to be made to the Fat Man design.To keep the design as simple as possible, a near solid spherical core was chosen rather than a hollow one, although calculations showed that a hollow core would be more efficient in its use of plutonium. The core was compressed to prompt super-criticality by the implosion generated by the high explosive lens. This design became known as a "Christy Core" or "Christy pit" after physicist Robert F. Christy, who made the solid pit design a reality after it was initially proposed by Edward Teller. Along with the pit, the whole physics package was also informally nicknamed "Christy['s] Gadget".Of the several allotropes of plutonium, the metallurgists preferred the malleable δ phase. This was stabilized at room temperature by alloying it with gallium. Two equal hemispheres of plutonium-gallium alloy were plated with silver, and designated by serial numbers HS-1 and HS-2. The 6.19-kilogram (13.6 lb) radioactive core generated 15 W of heat, which warmed it up to about 100 to 110 °F (38 to 43 °C), and the silver plating developed blisters that had to be filed down and covered with gold foil; later cores were plated with nickel instead. The Trinity core consisted of just these two hemispheres. Later cores also included a ring with a triangular cross-section to prevent jets forming in the gap between them.

Output: What is the code name of the device that was developed after it had a code name?


Input: Consider Input: Passage: Willow has been cut and used on the Levels since mankind moved into the area. Fragments of willow basket were found near the Glastonbury Lake Village, and it was used in the construction of several Iron Age causeways. The willow was harvested using traditional methods of pollarding, where a tree would be cut back to the main stem. New shoots of willow, called "withies", would grow out of the trunk and these would be cut periodically for use.During the 1930s, over 9,000 acres (36 km2) of willow were being grown commercially on the Levels. Largely because of the replacement of baskets by plastic bags and cardboard boxes, the industry has severely declined since the 1950s. By the end of the 20th century only about 350 acres (1.4 km2) were grown commercially, near the villages of Burrowbridge, Westonzoyland, and North Curry. The Somerset Levels is now the only area in the UK where basket willow is grown commercially. For weaving, the species Salix triandra (almond willow, black maul) is grown, while Salix viminalis (common osier) is ideal for handles, bases, and the structural members in furniture and hurdles. Historically willow was used to make salmon traps or "putchers". Products including baskets, eel traps (kypes), lobster pots, and furniture were widely made from willow throughout the area in the recent past. Among the more unusual products still made are passenger baskets for hot air balloons, the frames inside the Bearskins worn by the regiments of the Grenadier Guards, and an increasing number of willow coffins.Another use of willow has been found by the Coate family, who make artists' charcoals in Stoke St Gregory. It has become in 30 years the leading artists' charcoal manufacturer in Europe, producing most of the natural charcoals sold under different art-material brands.The industry is celebrated in the form of the Willow Man (sometimes known as the Angel of the South), a willow sculpture, 40 feet (12.2 m) tall, produced by artist Serena de la Hey in September 2000 that can be seen from the railway and the M5 motorway to the north of Bridgwater. At Stoke St Gregory there is also a Willows and Wetlands Visitor Centre.


Output: What is the name of the family that is the leading artists' charcoal manufacturer in Europe?