Answer the question at the end by quoting:

William Roy "Link" Lyman (November 30, 1898 - December 28, 1972), also sometimes known as Roy Lyman, was an American football player and coach. Lyman was born in Nebraska and raised in Kansas. He played college football for the Nebraska Cornhuskers football team in 1918, 1919, and 1921. He played professional football as a tackle in the National Football League (NFL) for the Canton/Cleveland Bulldogs (1922-1925), the Frankford Yellow Jackets (1925), and the Chicago Bears (1926-1928, 1930-1932, and 1933-1934).
In September 1922, Lyman left Lincoln, Nebraska, to play professional football for the Canton Bulldogs. The Bulldogs were coached by Guy Chamberlin, an All-American out of Nebraska, who invited Lyman to join the team. With Lyman and Pete Henry as its star tackles, the 1922 Canton Bulldogs compiled a 10-0-2 record, shut out nine of twelve opponents, outscored all opponents 184 to 15, and won the NFL championship.  Lyman returned to the Bulldogs the following year. The 1923 team had another undefeated season (11-0-1), shut out eight of twelve opponents, outscored all opponents by a combined total of 246 to 19, and won its second consecutive NFL championship. After the season, Lyman was selected as a first-team All-Pro player by the Canton Daily News and a second-team All-Pro by Collyer's Eye magazine.  In August 1924, Cleveland jeweler Samuel Deutsch bought the Canton Bulldogs and moved the team to Cleveland where they became the Cleveland Bulldogs during the 1924 NFL season. The Bulldogs compiled a 7-1-1 record, outscored opponents by a total of 229 to 60, and won their third consecutive NFL championship. After the 1924 season, Lyman was selected as a first-team All-Pro by Collyer's Eye and a second-team All-Pro by the Green Bay Press-Gazette.  In July 1925, Lyman and four of his teammates (Pete Henry, Rudy Comstock, Ben Jones, and Harry Robb) bought the team for $3,500 and moved it back to Canton. Lyman played seven games for the 1925 Bulldogs and then finished the season playing four games for the Frankford Yellow Jackets. Lyman was reunited with Guy Chamberlain who was then Frankford's head coach. After the 1925 season, Lyman was selected as a first-team All-Pro on the team selected by NFL Commissioner Joseph Carr; he was also selected as a second-team All-Pro by Collyer's Eye.

When did Link LYman join the Canton/Cleveland Bulldogs?

In September 1922, Lyman left Lincoln, Nebraska, to play professional football for the Canton Bulldogs.



Answer the question at the end by quoting:

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.

Why was he more critical?
thereby differentiating the second cycle of tone poems from the first.