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: Like Green, who made particular mention of Beiderbecke's "amount of teaching," the jazz historian Ted Gioia also has emphasized Beiderbecke's lack of formal instruction, suggesting that it caused him to adopt "an unusual, dry embouchure" and "unconventional fingerings," which he retained for the rest of his life. Gioia points to "a characteristic streak of obstinacy" in Beiderbecke that provokes "this chronic disregard of the tried-and-true." He argues that this stubbornness was behind Beiderbecke's decision not to switch from cornet to trumpet when many other musicians, including Armstrong, did so. In addition, Gioia highlights Beiderbecke's precise timing, relaxed delivery, and pure tone, which contrasted with "the dirty, rough-edged sound" of King Oliver and his protégé Armstrong, whose playing was often more energetic and whose style held more sway early in the 1920s than Beiderbecke's.
Beiderbecke's playing - both as a cornetist and a pianist - had a profound effect on a number of his contemporaries. Eddie Condon, for instance, described Beiderbecke's cornet playing as "like a girl saying yes" and also wrote of being amazed by Beiderbecke's piano playing: "All my life I had been listening to music […] But I had never heard anything remotely like what Beiderbecke played. For the first time I realized music isn't all the same, it had become an entirely new set of sounds" "I tried to explain Bix to the gang," Hoagy Carmichael wrote, but "[i]t was no good, like the telling of a vivid, personal dream […] the emotion couldn't be transmitted."Mezz Mezzrow described Beiderbecke's tone as being "pickled in alcohol […] I have never heard a tone like he got before or since. He played mostly open horn, every note full, big, rich and round, standing out like a pearl, loud but never irritating or jangling, with a powerful drive that few white musicians had in those days."Some critics have highlighted "Jazz Me Blues", recorded with the Wolverines on February 18, 1924, as being particularly important to understanding Beiderbecke's style. Although it was one of his earliest recordings, the hallmarks of his playing are evident. "The overall impression we get from this solo, as in all of Bix at his best," writes the trumpeter Randy Sandke, "is that every note is spontaneous yet inevitable." Richard Hadlock describes Beiderbecke's contribution to "Jazz Me Blues" as "an ordered solo that seems more inspired by clarinetists Larry Shields of the ODJB and Leon Roppolo of the NORK than by other trumpet players." He goes on to suggest that clarinetists, by virtue of their not being tied to the melody as much as cornetists and trumpet players, could explore harmonies.

A: What is the first name of the person who highlights Beiderbecke's precise timing, relaxed delivery, and pure tone?
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Q: Passage: Bloc Party confirmed a preliminary track list of 13 songs in August 2006; this included future bonus tracks "England" and "We Were Lovers". A low-quality rip of A Weekend in the City was leaked in November and showed a track list of 11 songs. Wichita Recordings did not comment, but the band members were quoted as being worried about a reduction in the potential impact of the album's content and sales. Bloc Party started a promotional tour of North America the same month with Panic! at the Disco, but cut it short after three concerts when Tong suffered a collapsed lung. The focus was changed to interviews throughout the world to explain the album's stylised lyrics and composition in the run-up to its release.Final tweaks on the album were completed in December 2006 in London. A high-quality version was leaked in January 2007 and its contents were confirmed by Okereke. Journalists who obtained an official copy of the album's final mix suggested that it featured electronically tampered rock soundscapes in the vein of Radiohead, New Order, and Björk. Bloc Party previewed A Weekend in the City in its entirety on 24 January 2007 at the Bournemouth Old Firestation, a performance which coincided with the Japanese release of the album. The first single, "The Prayer", was released on 29 January. The band performed at a special BBC Radio 1 showcase at Maida Vale Studios on 30 January as a precursor to a February promotional tour of the UK.The album was released in the rest of the world in the first week of February. The title comes as a tangent to the central theme of the album, "the living noise of a metropolis". The cover art is part of A Modern Project by German photographer Rut Blees Luxemburg, famous for her night cityscapes of London and for the cover art of The Streets' Original Pirate Material. The photograph is an aerial image of London's Westway, which shows the road and the adjacent sports pitches lit by the sodium glow of street lamps, and was chosen because the band believed "it was important we captured London breathing". Luxemburg has explained that "in this picture you can see how intricately and optimistically public space in the city is shared".

A:
Whose members were quoted as being worried about a reduction in the potential impact of the album's content and sales?
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