Question: The British Band was a mixed-nation group of Native Americans commanded by the Sauk leader Black Hawk, which fought against Illinois and Michigan Territory militias during the 1832 Black Hawk War. The band was composed of about 1,500 men, women, and children from the Sauk, Meskwaki, Fox, Kickapoo, Potawatomi, Ho-Chunk, and Ottawa nations; about 500 of that number were warriors. Black Hawk had an alliance with the British that dated from the War of 1812, giving them their colloquial name. The band crossed the Mississippi River from Iowa into Illinois in an attempt to reclaim their homeland and in violation of several treaties.

Sauk warrior Black Hawk, the leader of a band of Sauks near Rock Island at Saukenuk, was always in opposition to ceding Native American lands to white settlers and their governments. Black Hawk supported the invalidity of the Treaty of St. Louis (1804) of both the Sauk and Fox nations negotiated with the then Indiana Territory Governor William Henry Harrison. The treaty ceded territory, including Black Hawk's birthplace Saukenuk, to the United States. The Sauk are a consensus decision making society. Their representatives exceeded the authorization of merely taking under consideration what terms the United States government might put forth, bring them back to reach a consensus and then return with their treaty terms. The lack of the tribe discussing the treaty prior to being made official made it invalid by Black Hawk and other members of the tribe. The representatives never had the tribal authorization to unilaterally cede its lands. During the War of 1812 between the United Kingdom and the United States, Colonel Robert Dickson, an English fur trader, amassed a sizable force of Native Americans at Green Bay to assist the British in operations around the Great Lakes. Most of the warriors Dickson assembled were from the Potawatomi, Ho-Chunk, Kickapoo and Ottawa tribes. Dickson bestowed the rank of brevet Brigadier General on Black Hawk. He was given command of all Native Americans gathered at Green Bay, including the 200 Sauk warriors under Black Hawk's control. Black Hawk was then presented with a silk flag, a medal, and a written certificate of good behavior and alliance with the British. The certificate would be found 20 years later, after the Battle of Bad Axe, carefully preserved along with a flag similar to the one Dickson gave to Black Hawk. During the 1812 war, Black Hawk and his warriors fought in several engagements with Henry Procter on the borders of Lake Erie. He returned home to Saukenuk to find his rival Keokuk had become the tribe's war chief. After the war ended, Black Hawk signed a peace treaty in May 1816 that re-affirmed the treaty of 1804, a provision Black Hawk later protested ignorance of.

Using a quote from the above article, answer the following question: Why did they believe the treaty was invalid?
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Answer: The treaty ceded territory, including Black Hawk's birthplace Saukenuk, to the United States.

Question: Richard Georg Strauss (11 June 1864 - 8 September 1949) was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include Der Rosenkavalier, Elektra, Die Frau ohne Schatten and Salome; his Lieder, especially his Four Last Songs; his tone poems, including Don Juan, Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony; and other instrumental works such as Metamorphosen and his Oboe Concerto. Strauss was also a prominent conductor in Western Europe and the Americas, enjoying quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire.

Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration. The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Thus Spoke Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911-1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra." James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first.

Using a quote from the above article, answer the following question: What was the name of another?
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Answer:
Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Thus Spoke Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898),