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.

Q: Passage: Sir John Barbirolli, CH (2 December 1899 29 July 1970), ne Giovanni Battista Barbirolli, was a British conductor and cellist. He is remembered above all as conductor of the Halle Orchestra in Manchester, which he helped save from dissolution in 1943 and conducted for the rest of his life. Earlier in his career he was Arturo Toscanini's successor as music director of the New York Philharmonic, serving from 1936 to 1943. He was also chief conductor of the Houston Symphony from 1961 to 1967, and was a guest conductor of many other orchestras, including the BBC Symphony Orchestra, London Symphony Orchestra, the Philharmonia, the Berlin Philharmonic and the Vienna Philharmonic, with all of which he made recordings.
Born in London of Italian and French parentage, Barbirolli grew up in a family of professional musicians. After starting out as a cellist, he was given the chance to conduct, from 1926 with the British National Opera Company, and then with Covent Garden's touring company. On taking up the conductorship of the Halle he had less opportunity to work in the opera house, but in the 1950s he conducted productions of works by Verdi, Wagner, Gluck, and Puccini at Covent Garden with such success that he was invited to become the company's permanent musical director, an invitation he declined. Late in his career he made several recordings of operas, of which his 1967 set of Puccini's Madama Butterfly for EMI is probably the best known.
Both in the concert hall and on record, Barbirolli was particularly associated with the music of English composers such as Elgar, Delius and Vaughan Williams. His interpretations of other late romantic composers, such as Mahler and Sibelius, as well as of earlier classical composers, including Schubert, are also still admired.

A: What was the name of the company that Barbirolli declined an invitation to become the music director?
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Q: Passage: Donald Duck is doing some camouflage painting on a cannon with yellow, green, and red stripes and black dots (based on the colors of the Flag of Lithuania with bullet holes in it). Sergeant Pete sees it and scolds Donald, explaining that it needs to painted so it can't be seen. Pete then demands that Donald re-paint the cannon to make it "hard to see". Obliging to the sergeant's orders, Donald walks to the "Experimental Laboratory: Camouflage Corps", disregarding the 'keep out' sign, and walks in. He finds some "invisible paint", which he tests with his finger, and uses it to paint the cannon.
When Pete returns, he is shocked to find the cannon seemingly gone, believing it to be stolen. But of course it isn't stolen, as the sergeant finds out the hard way by bonking his head on the underside of the cannon and discovering Donald inside. Angered that Donald painted the cannon too invisible to see, Pete blows hard into one end of the barrel, sending Donald out the other end and into the bucket of invisible paint. When Donald runs away, Pete finds out Donald has become invisible after seeing Donald's footprints on the ground. Donald then swims across a lake, but the invisible paint doesn't come off.
Pete continues to chase Donald through a field of flowers, until he accidentally throws some of the flowers on Donald, revealing his outline. Pete spots Donald and tries to catch him, but he gets away again. However, this gives Pete an idea to find Donald. When the General drives up, Pete's antics, including jumping around a tree while singing "Here We Go Round The Mulberry Bush" and throwing flowers, convinces the General that he is acting odd, especially after he asks the General "did you see a little guy that you can't see?" The invisible Donald then puts a cactus down Pete's pants, making him scream in pain and jump around like a madman, making the General wonder what is going on with Pete.

A: Who hits his head on the cannon?
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Q: Passage: In early 1970, Lennon and the Beatles' manager, Allen Klein, turned over the recordings to American producer Phil Spector with the hope of salvaging an album, which was then titled Let It Be. McCartney had become estranged from his bandmates at this time, due to his opposition to Klein's appointment as manager. Several weeks were lost before McCartney replied to messages requesting his approval for Spector to begin working on the recordings. Spector chose to return to the same 26 January recording of "The Long and Winding Road".Spector made various changes to the songs. His most dramatic embellishments occurred on 1 April 1970, the last ever Beatles recording session, when he added orchestral overdubs to "The Long and Winding Road", "Across the Universe" and "I Me Mine" at Abbey Road Studios. The only member of the Beatles present was Starr, who played drums with the session musicians to create Spector's characteristic "Wall of Sound". Already known for his eccentric behaviour in the studio, Spector was in a peculiar mood that day, according to balance engineer Peter Bown: "He wanted tape echo on everything, he had to take a different pill every half hour and had his bodyguard with him constantly. He was on the point of throwing a wobbly, saying 'I want to hear this, I want to hear that. I must have this, I must have that.'" The orchestra became so annoyed by Spector's behaviour that the musicians refused to play any further; at one point, Bown left for home, forcing Spector to telephone him and persuade him to come back after Starr had told Spector to calm down.Spector succeeded in overdubbing "The Long and Winding Road", using eight violins, four violas, four cellos, three trumpets, three trombones, two guitars, and a choir of 14 women, which makes 38 musicians altogther. The orchestra was scored and conducted by Richard Hewson, a young London arranger who had worked with Apple artists Mary Hopkin and James Taylor. This lush orchestral treatment was in direct contrast to the Beatles' stated intentions for a "real" recording when they began work on Get Back.On 2 April, Spector sent each of the Beatles an acetate of the completed album with a note saying: "If there is anything you'd like done to the album, let me know and I'll be glad to help ... If you wish, please call me about anything regarding the album tonight." All four of the band members sent him their approval by telegram.

A:
What is the full name of the man who conducted the lush orchestral treatment was in direct contrast to the Beatles' stated intentions?
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