input: Lesh was an innovator in the new role that the electric bass developed during the mid-1960s. Contemporaries such as Casady, Bruce, James Jamerson and Paul McCartney adopted a more melodic, contrapuntal approach to the instrument; before this, bass players in rock had generally played a conventional timekeeping role within the beat of the song, and within (or underpinning) the song's harmonic or chord structure. While not abandoning these aspects, Lesh took his own improvised excursions during a song or instrumental. This was a characteristic aspect of the so-called San Francisco Sound in the new rock music. In many Dead jams, Lesh's bass is, in essence, as much a lead instrument as Garcia's guitar.  Lesh was not a prolific composer or singer with the Grateful Dead, although some of the songs he did contribute--"New Potato Caboose", "Box of Rain", "Unbroken Chain", and "Pride of Cucamonga"--are among the best-known in the band's repertoire. Lesh's high tenor voice contributed to the Grateful Dead's three-part harmony sections in their group vocals in the early days of the band, until he largely relinquished singing high parts to Donna Godchaux (and thence Brent Mydland and Vince Welnick) in 1976 due to vocal cord damage from improper singing technique. In 1985, he resumed singing lead vocals on select songs as a baritone. Throughout the Grateful Dead's career, his interest in avant-garde music remained a crucial influence on the group.  In 1994, he was inducted into The Rock and Roll Hall of Fame as a member of the Grateful Dead.

Answer this question "what was his first published album"
output: 

input: 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.

Answer this question "What was the name of another?"
output: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Thus Spoke Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898),

input: Criticism by Bruce Bawer and Barbara Kay  During the course of his career, some of Galtung statements and views have drawn criticism, most notably his criticism of western countries during and after the Cold War and what his critics perceived as a positive attitude to the Soviet Union, Cuba and Communist China. A 2007 article by Bruce Bawer published in City Journal magazine and a subsequent article in February 2009 by Barbara Kay in the National Post criticised some of Galtung's statements. Both authors criticized Galtung's opinion that while Communist China was "repressive in a certain liberal sense", Mao Zedong was "endlessly liberating when seen from many other perspectives that liberal theory has never understood" because China showed that "the whole theory about what an 'open society' is must be rewritten, probably also the theory of 'democracy'--and it will take a long time before the West will be willing to view China as a master teacher in such subjects." The authors also criticized Galtung's opposition to Hungarian resistance against the Soviet invasion in 1956 and his description in 1974 of Aleksandr Solzhenitsyn and Andrei Sakharov as "persecuted elite personages".  Statements on Israeli influence on U.S. politics  The Israeli newspaper Haaretz accused Galtung in May 2012 of antisemitism for: (1) suggesting the possibility of a link between the 2011 Norway attacks and Israel's intelligence agency Mossad; (2) maintaining that "six Jewish companies" control 96% of world media; (3) identifying what he contends are ironic similarities between the banking firm Goldman Sachs and the conspiratorial antisemitic forgery The Protocols of the Elders of Zion; and (4) theorizing that although not justified, antisemitism in post-World War I Germany was a predictable consequence of German Jews holding influential positions. As a result of such statements, in May 2012 TRANSCEND International, an organisation co-founded by Galtung, released a statement attempting to clarify his opinions. On August 8, 2012, the World Peace Academy in Basel, Switzerland announced it was suspending Galtung from its organization, citing what it posited were his "reckless and offensive statements to questions that are specifically sensitive for Jews." Galtung himself has vehemently repudiated the above attacks as "smearing and libel" in a published statement and a public lecture at the end of the year 2012.

Answer this question "How did he respond to the criticism?"
output:
" Galtung himself has vehemently repudiated the above attacks as "smearing and libel"