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: Santa Anna had successfully escaped towards Vince's Bridge.  Finding the bridge destroyed, he hid in the marsh and was captured the following day. He was brought before Houston, who had been shot in the ankle and badly wounded. Texian soldiers gathered around, calling for the Mexican general's immediate execution.  Bargaining for his life, Santa Anna suggested that he order the remaining Mexican troops to stay away.  In a letter to Filisola, who was now the senior Mexican official in Texas, Santa Anna wrote that "yesterday evening [we] had an unfortunate encounter" and ordered his troops to retreat to Béxar and await further instructions.Urrea urged Filisola to continue the campaign.  He was confident that he could successfully challenge the Texian troops.  According to Hardin, "Santa Anna had presented Mexico with one military disaster; Filisola did not wish to risk another."  Spring rains ruined the ammunition and rendered the roads almost impassable, with troops sinking to their knees in mud.  Mexican troops were soon out of food, and began to fall ill from dysentery and other diseases.  Their supply lines had completely broken down, leaving no hope of further reinforcements. Filisola later wrote that "Had the enemy met us under these cruel circumstances, on the only road that was left, no alternative remained but to die or surrender at discretion".For several weeks after San Jacinto, Santa Anna continued to negotiate with Houston, Rusk, and then Burnet.  Santa Anna suggested two treaties, a public version of promises made between the two countries, and a private version that included Santa Anna's personal agreements.  The Treaties of Velasco required that all Mexican troops retreat south of the Rio Grande and that all private property—code for slaves—be respected and restored.  Prisoners-of-war would be released unharmed, and Santa Anna would be given passage to Veracruz immediately.  He secretly promised to persuade the Mexican Congress to acknowledge the Republic of Texas and to recognize the Rio Grande as the border between the two countries.When Urrea began marching south in mid-May, many families from San Patricio who had supported the Mexican army went with him.  When Texian troops arrived in early June, they found only 20 families remaining.  The area around San Patricio and Refugio suffered a "noticeable depopulation" in the Republic of Texas years.  Although the treaty had specified that Urrea and Filisola would return any slaves their armies had sheltered, Urrea refused to comply. Many former slaves followed the army to Mexico, where they could be free.  By late May the Mexican troops had crossed the Nueces.  Filisola fully expected that the defeat was temporary and that a second campaign would be launched to retake Texas.

A: What is the name of the person who secretly promised to persuade the Mexican Congress to acknowledge the Republic of Texas and to recognize the Rio Grande as the border between the two countries?
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Q: Passage: As Opeth's primary songwriter and lyricist, vocalist/guitarist Mikael Åkerfeldt heads the direction of Opeth's sound. He was influenced at a young age by the 1970s progressive rock bands King Crimson, Yes, Genesis, Camel, P.F.M., Hawkwind, and Gracious, and by heavy metal bands such as Iron Maiden, Slayer, Death, Black Sabbath, Deep Purple, Celtic Frost, King Diamond, Morbid Angel, Voivod, and, most importantly, Judas Priest. Åkerfeldt considers Judas Priest's Sad Wings of Destiny (1976) the best metal album of all time, and notes that there was a time when he listened only to Judas Priest. While warming up before Opeth concerts, Åkerfeldt frequently sings "Here Come the Tears" from Judas Priest's third album Sin After Sin (1977). Åkerfeldt later discovered progressive rock and folk music, both of which had a profound impact on the sound of the band.Opeth's distinct sound mixes death metal with progressive rock. Steve Huey of AllMusic refers to Opeth's "epic, progressive death metal style". Ryan Ogle of Blabbermouth described Opeth's sound as incorporating "the likes of folk, funk, blues, '70s rock, goth and a laundry list of other sonic oddities into their trademark progressive death style." In his review of Opeth's 2001 album Blackwater Park, AllMusic's Eduardo Rivadavia wrote, "Tracks start and finish in seemingly arbitrary fashion, usually traversing ample musical terrain, including acoustic guitar and solo piano passages, ambient soundscapes, stoner rock grooves, and Eastern-tinged melodies—any of which are subject to savage punctuations of death metal fury at any given moment." Åkerfeldt commented on the diversity of Opeth's music:
I don't see the point of playing in a band and going just one way when you can do everything. It would be impossible for us to play just death metal; that is our roots, but we are now a mishmash of everything, and not purists to any form of music. It's impossible for us to do that, and quite frankly I would think of it as boring to be in a band that plays just metal music. We're not afraid to experiment, or to be caught with our pants down, so to speak. That's what keeps us going.
More recently, Opeth have abandoned their death metal sound resulting in a mellower progressive rock sound. When talking about Heritage, guitarist Fredrik Åkesson stated:
In the beginning it took me a little while to get used to the new idea of the sound, not having any screaming vocals and stuff like that.  But I think the album was necessary for us to do. Maybe the band wouldn't have continued if we hadn't done Heritage.  I think the old Opeth fans understand this album. There's always going to be some haters, but you can't be loved by everyone. Opeth has always been about not repeating ourself. A lot of people don't think Heritage is metal but I think it's metal to go somewhere people don't expect. It doesn't mean we're not embracing the past sound of Opeth.

A: What is the last name of the person who was influenced at a young age by 1970s progressive rock bands?
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Q: Passage: In July, two singles were issued on the Brother imprint: "Heroes and Villains" and "Gettin' Hungry". The former peaked at number 12 on the Billboard Hot 100. The latter was not credited to the Beach Boys, but instead to Brian Wilson and Mike Love.  On September 18, 1967, Smiley Smile  was released in the US. The LP peaked at number 41 on the Billboard charts, making it their worst-selling album to that date. It spent most of its 21-week chart time bubbling under 100 and 197. When released in the UK in November, it performed better, reaching number 9 of the UK Albums Chart.Critics and fans were generally underwhelmed by the album and controversy involving whether the band was to be taken as a serious rock group ensued. A review in Hit Parader praised the album for "probably [having] more a cappella harmony than on any album since the fall of the singing-group era in the late 1950s", but that they "still like Pet Sounds better". NME wrote of the album: "By the standards which this group has set itself, it's more than a grade disappointing." Hi Fidelity said: "... they are making the psychedelic route ... perhaps in the unforgettable city of Fresno. Until they reach the San Francisco Bay Bridge or return to the shores of Malibu ... their work can only receive partial approval." Rolling Stone referred to it as a "disaster" and an "abortive attempt to match the talents of Lennon and McCartney." On December 14, 1967, the magazine's editor and co-founder Jann Wenner printed an influential article that denounced Wilson's "genius" label, which he called a "promotional shuck", and the Beach Boys themselves, which he called "one prominent example of a group that has gotten hung up on trying to catch The Beatles". He wrote that "for some reason, [Smiley Smile] just doesn't make it ... [the songs] just don't move you. Other than displaying Brian Wilson's virtuosity for production, they are pointless."The Milwaukee Sentinel praised the LP as "probably the most valuable contribution to rock since the Beatles Revolver" and for being unlike anything the Beatles had done. The magazine Cheetah gave the album a rave review, observing that "the mood is rather childlike (not childish)—the kind of innocence that shows on the album cover, with its Rousseau-like animals and forest, and the smoke from the cabin chimney spelling out the title. ... The expression that emerges from this music is very strange: it's a very personal mood." Journalist Richard Goldstein remembered his review for The New York Times: "I was struck by its fragile melodies and their relationship to sacred music; those familiar ride-the-curl voices, now 'hushed with wonder,' reminded me of the Fauré Requiem, but they were utterly American.".

A:
What was not credited to the Beach Boys?
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