Problem: Background: 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.
Context: Despite opposition by Keokuk and the US authorities, Black Hawk's band returned to Saukenuk in 1830 following their winter hunt. A year later they returned again, and Illinois Governor John Reynolds proclaimed it an "invasion of the state."  Responding to Illinois Governor John Reynolds' call, General Edmund Pendleton Gaines brought his federal troops from St. Louis, Missouri to Saukenuk to insist on Black Hawk's immediate departure. Black Hawk left but soon returned to the west side of the Mississippi, threatened by Gaines' troops and an additional 1,400 militia called up by Reynolds on 25 June 1831. On 30 June, Black Hawk and the chiefs of the British Band were forced to sign a surrender agreement in which they promised to remain west of the Mississippi.  At the end of 1831, stories spread throughout the settlements of the Upper Mississippi River Valley that the British planned to aid Black Hawk in the event of a war with the white settlers. According to U.S. Indian Agent Felix St. Vrain, a known ne'er-do-well named Billy Caldwell had delivered a message to the Sauk which reported the alleged British intentions. The New Galenian of Galena reported that Black Hawk's band would receive aid and ammunition from the British, and the tale was widely believed. The militia commander at Fort Armstrong, Major John Bliss, informed General Henry Atkinson of the rumor, and said a follower of Keokuk had reported to him that Black Hawk and Neapope were holding talks with bands of Potawatomi, Kickapoo, and Ho-Chunk. The talks mentioned the promises of the British, as well as word that the French Canadians intended to assist them. These events, combined with Black Hawk's 1812 alliance with the British, and occasional visits to Canada, attributed to his 1832 band becoming known by the moniker British Band. The term British Band was used frequently by American, Sauk, and Fox observers alike and served to distinguish Black Hawk's group from the rest of the tribes.
Question: What did they do as a result of the message?
Answer: The New Galenian of Galena reported that Black Hawk's band would receive aid and ammunition from the British, and the tale was widely believed.

Problem: Background: Ian Michael Chappell (born 26 September 1943) is a former cricketer who played for South Australia and Australia. He captained Australia between 1971 and 1975 before taking a central role in the breakaway World Series Cricket organisation. Born into a cricketing family--his grandfather and brother also captained Australia--Chappell made a hesitant start to international cricket playing as a right-hand middle-order batsman and spin bowler. He found his niche when promoted to bat at number three.
Context: A string of big scores and a record number of catches during the 1968-69 season earned Chappell the Australian Cricketer of the Year award. Against the touring West Indies, Chappell hit 188 not out, 123, 117, 180 and 165 before the New Year. Two of these centuries came in the Test series, when Chappell's average for 548 runs was 68.50. Chappell was elevated to number three in the batting order and became a less-frequent bowler; he was also appointed vice-captain of the team.  Following up with a successful tour of India in late 1969, Chappell demonstrated his fluency against spin bowling by compiling Test innings of 138 at Delhi and 99 at Kolkata. His ability against both fast and slow bowling earned high praise, including from his captain Bill Lawry. When the Australians arrived in South Africa in early 1970, following their victory over India, Lawry told the local media that Chappell was the best all-round batsman in the world. His appraisal looked misguided when Chappell managed just 92 runs (at 11.5 average), with a top score of 34, as Australia lost 0-4.  On this tour, Chappell clashed with cricket administrators over pay and conditions for the first time. The South African authorities requested that an extra Test be added to the fixture and the Australian Board of Control consented. Incensed that the players were not consulted about the change, Chappell led a group of his teammates in a demand for more money to play the proposed game. Eventually the match was cancelled after Chappell and his supporters refused to back down.
Question: what was he promoted to number three?
Answer: Chappell was elevated to number three in the batting order and became a less-frequent bowler; he was also appointed vice-captain of the team.

Problem: Background: Paul Frederic Bowles (; December 30, 1910 - November 18, 1999) was an American expatriate composer, author, and translator. He became associated with Tangier, where he settled in 1947 and lived for 52 years to the end of his life. Following a cultured middle-class upbringing in New York City, during which he displayed a talent for music and writing, Bowles pursued his education at the University of Virginia before making several trips to Paris in the 1930s. He studied music with Aaron Copland, and in New York wrote music for theatrical productions, as well as other compositions.
Context: Paul Bowles is considered one of the artists to have shaped 20th-century literature and music. In his "Introduction" to Bowles' Collected Stories (1979,) Gore Vidal ranked the short stories as "among the best ever written by an American", writing: "the floor to this ramshackle civilization that we have built cannot bear much longer our weight. It was Bowles's genius to suggest the horrors which lie beneath that floor, as fragile, in its way, as the sky that shelters us from a devouring vastness".  Critics have described his music, in contrast, "as full of light as the fiction [is] of dark...almost as if the composer were a totally different person from the writer." During the early 1930s, Bowles studied composition (intermittently) with Aaron Copland; his music from this period "is reminiscent of Satie and Poulenc." Returning to New York in the mid-30s, Bowles became one of the preeminent composers of American theater music, producing works for William Saroyan, Tennessee Williams, and others, "show[ing] exceptional skill and imagination in capturing the mood, emotion, and ambience of each play to which he was assigned." Bowles said that such incidental music allowed him to present "climaxless music, hypnotic music in one of the exact senses of the word, in that it makes its effect without the spectator being made aware of it." At the same time he continued to write concert music, assimilating some of the melodic, rhythmic, and other stylistic elements of African, Mexican, and Central American music.  In 1991 Paul Bowles was awarded the annual Rea Award for the Short Story. The jury gave the following citation: "Paul Bowles is a storyteller of the utmost purity and integrity. He writes of a world before God became man; a world in which men and women in extremis are seen as components in a larger, more elemental drama. His prose is crystalline and his voice unique. Among living American masters of the short story, Paul Bowles is sui generis."  The Library of America published Bowles' works in 2002. (It prepares scholarly editions of American literary classics and keeps them permanently in print.)
Question: What achievements did he have?
Answer:
Paul Bowles is considered one of the artists to have shaped 20th-century literature and music.