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: The first eruptions of Nevado del Ruiz occurred about 1.8 million years ago at the beginning of the Pleistocene epoch. Three primary eruption periods in the history of the massif have been identified: ancestral, older and present. During the ancestral period between one million to two million years ago, a complex of large stratovolcanoes was created. Between 1.0 million and 0.8 million years ago, they partially collapsed, forming large (5–10 km wide) calderas. During the older period, which lasted from 0.8 million to 0.2 million years ago, a new complex of large stratovolcanoes developed (including Older Ruiz, Tolima, Quindio, and Santa Isabel). Once again explosive summit calderas formed from 0.2 million to 0.15 million years ago.The present period began about 150,000 years ago and involved the development of the present volcanic edifice through the emplacement of lava domes made of andesite and dacite (igneous rocks) inside older calderas. During the past 11,000 years, Nevado del Ruiz passed through at least 12 eruption stages, which included multiple slope failures (rock avalanches), pyroclastic flows and lahars leading to partial destruction of the summit domes. During the past several thousand years, eruptions of the volcanoes in the Ruiz–Tolima massif have mostly been small, and the pyroclastic flow deposits have been much less voluminous than during the Pleistocene. Since the volcano's earlier eruptions are not recorded, volcanologists have used tephrochronology to date them.During recorded history, eruptions have consisted primarily of a central vent eruption (in the caldera) followed by an explosive eruption, then lahars. Ruiz's earliest identified Holocene eruption was about 6660 BC, and further eruptions occurred in 1245 BC ± 150 years (dated through radiocarbon dating), about 850 BC, 200 BC ± 100 years, 350 AD ± 300 years, 675 AD ± 50 years, in 1350, 1541 (perhaps), 1570, 1595, 1623, 1805, 1826, 1828 (perhaps),[b] 1829, 1831, 1833 (perhaps),[b] 1845, 1916, December 1984 – March 1985, September 1985 – July 1991, and possibly in April 1994.[b] Many of these eruptions involved a central vent eruption, a flank vent eruption, and a phreatic (steam) explosion. Ruiz is the second-most active volcano in Colombia after Galeras.

A: What partially collapsed, forming large (5–10 km wide) calderas?
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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: The painting was referred to in the earliest inventories as La Familia ("The Family"). A detailed description of Las Meninas, which provides the identification of several of the figures, was published by Antonio Palomino ("the Giorgio Vasari of the Spanish Golden Age") in 1724. Examination under infrared light reveals minor pentimenti, that is, there are traces of earlier working that the artist himself later altered. For example, at first Velázquez's own head inclined to his right rather than his left.The painting has been cut down on both the left and right sides. It was damaged in the fire that destroyed the Alcázar in 1734, and was restored by court painter Juan García de Miranda (1677–1749). The left cheek of the Infanta was almost completely repainted to compensate for a substantial loss of pigment. After its rescue from the fire, the painting was inventoried as part of the royal collection in 1747–48, and the Infanta was misidentified as Maria Theresa, Margaret Theresa's older half-sister, an error that was repeated when the painting was inventoried at the new Madrid Royal Palace in 1772. A 1794 inventory reverted to a version of the earlier title, The Family of Philip IV, which was repeated in the  records of 1814. The painting entered the collection of the Museo del Prado on its foundation in 1819. In 1843, the Prado catalogue listed the work for the first time as Las Meninas.In recent years, the picture has suffered a loss of texture and hue. Due to exposure to pollution and crowds of visitors, the once-vivid contrasts between blue and white pigments in the costumes of the meninas have faded. It was last cleaned in 1984 under the supervision of the American conservator John Brealey, to remove a "yellow veil" of dust that had gathered since the previous restoration in the 19th century. The cleaning provoked, according to the art historian Federico Zeri, "furious protests, not because the picture had been damaged in any way, but because it looked different". However, in the opinion of López-Rey, the "restoration was impeccable". Due to its size, importance, and value, the painting is not lent out for exhibition.

A:
What is the full name of the man who supervised the cleaning of the picture provoked "furious protests"?
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