Question: Elbridge Gerry was born on July 17, 1744, in Marblehead, Massachusetts. His father, Thomas Gerry, was a merchant operating ships out of Marblehead, and his mother, Elizabeth (Greenleaf) Gerry, was the daughter of a successful Boston merchant. Gerry's first name came from John Elbridge, one of his mother's ancestors. Gerry's parents had eleven children in all, although only five survived to adulthood.

Gerry was from an early time a vocal opponent of Parliamentary efforts to tax the colonies after the French and Indian War ended in 1763. In 1770 he sat on a Marblehead committee that sought to enforce importation bans on taxed British goods. He frequently communicated with other Massachusetts opponents of British policy, including Samuel Adams, John Adams, Mercy Otis Warren, and others. In May 1772 he won election to the Great and General Court of the Province of Massachusetts Bay (its legislative assembly). There he worked closely with Samuel Adams to advance colonial opposition to Parliamentary colonial policies. He was responsible for establishing Marblehead's committee of correspondence, one of the first to be set up after that of Boston. However, an incident of mob action prompted him to resign from the committee the next year. Gerry and other prominent Marbleheaders had established a hospital for performing smallpox inoculations on Cat Island; because the means of transmission of the disease were not known at the time, fears amongst the local population led to protests which escalated into violence that wrecked the facilities and threatened the proprietors' other properties. Gerry reentered politics after the Boston Port Act closed that city's port in 1774, and Marblehead became a port to which relief supplies from other colonies could be delivered. As one of the town's leading merchants and Patriots, Gerry played a major role in ensuring the storage and delivery of supplies from Marblehead to Boston, interrupting those activities only to care for his dying father. He was elected as a representative to the First Continental Congress in September 1774, but refused, still grieving the loss of his father.

Using a quote from the above article, answer the following question: Why was he so opposed to taxes?
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Question: Mary Violet Leontyne Price (born February 10, 1927) is an American soprano. Born and raised in Laurel, Mississippi, she rose to international acclaim in the 1950s and 1960s, and was the first African American to become a leading artist at the Metropolitan Opera. One critic characterized Price's voice as "vibrant", "soaring" and "a Price beyond pearls", as well as "genuinely buttery, carefully produced but firmly under control", with phrases that "took on a seductive sinuousness." Time magazine called her voice "Rich, supple and shining, it was in its prime capable of effortlessly soaring from a smoky mezzo to the pure soprano gold of a perfectly spun high C." A lirico spinto (Italian for "pushed lyric") soprano, she was considered especially well suited to the roles of Giuseppe Verdi and Giacomo Puccini, as well as several in operas by Wolfgang Amadeus Mozart.

Price's career climaxed on September 16, 1966, when she sang Cleopatra in Antony and Cleopatra by American composer Samuel Barber and conducted by Thomas Schippers, commissioned to open the Met's new house at Lincoln Center. The role of Cleopatra was written especially for Price. Since their early collaborations, Price and Barber had remained close friends and colleagues, and the composer tailored Cleopatra's music to Price's warm middle register and soaring top. In the performances, although Price's singing was praised, especially in a powerful death scene, the opera as a whole was widely considered a failure. Director Franco Zeffirelli was blamed for burying the music under heavy costumes and huge scenery. Bing admitted he had underestimated the challenge of mounting nine new productions that season (three in the first week), and relying heavily on untested high-tech equipment. (In rehearsals, an expensive turntable broke down and, in the dress rehearsal, another mechanical failure left Price trapped briefly inside a giant pyramid.) The pressures and many of the glitches were chronicled by cameras for a Bell Telephone Hour special documentary, directed by Robert Drew. Still others complained that Barber's score was difficult to grasp because of the dense Shakespearean verse, and lacked satisfying set pieces (apart from the death scene). The opera was never revived at the Met. However, with the help of Gian Carlo Menotti, Barber later reworked the score for successful productions at the Juilliard School and the Spoleto Festival in Charleston, where it received praise. Barber also prepared a concert suite of Cleopatra's arias, which Price premiered in Washington in 1968 and subsequently recorded. Price lobbied Kurt Herbert Adler to have it produced in San Francisco, but did not succeed.

Using a quote from the above article, answer the following question: Did they make any changes because of the complaints?
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However, with the help of Gian Carlo Menotti, Barber later reworked the score for successful productions at the Juilliard School and the Spoleto Festival in Charleston, where it received praise.