Question: Bill Laswell (born February 12, 1955, Salem, Illinois, and raised in Albion, Michigan) is an American bassist, producer and record label owner. Laswell has been involved in hundreds of recordings with many collaborators from all over the world. Laswell's music draws upon many different genres, most notably funk, various world music, jazz, dub and ambient styles. He has also played or produced music from the noisier, more aggressive end of the rock spectrum, such as hardcore punk and metal.

Always one to be courting controversy due to his alleged radical treatment of music, Laswell released two albums of remixes from dead artists - Bob Marley's Dreams of Freedom on Axiom and Miles Davis Panthalassa. The first contained airy, ambient dub translations of some of Marley's Island catalog, largely sans Marley's voice. Chris Blackwell, largely the man responsible for bringing Marley to the masses in the 1970s, requested the album as part of a planned series of remix albums by various producers who were rooted in the reggae/dub tradition. Blackwell's departure from Island killed any further albums. For Panthalassa, Laswell took the tapes from Miles' "electric period" and re-imagined them, the impetus for the project being that the original releases were just mixes made by Teo Macero from long in-studio sessions. Nothing originally released was necessarily exactly what was done in the studio, but rather a cut-up and remix to begin with. Needless to say, critic and fan responses varied wildly, with Laswell and Macero conducting a public feud in the media. The late 1990s saw two other major changes. As noted before, Chris Blackwell left Island Records. Although he took the Axiom imprint with him to his new Palm Pictures label, the back catalog stayed with Island. Many of the albums are now out of print, and efforts to obtain master recordings and new distribution have been unsuccessful. The other change came in the form of studio space. Laswell, seeing that Greenpoint had turned into a sort of living space for hangers-on, moved his studio to West Orange, New Jersey, calling it Orange Music Sound Studios.

Using a quote from the above article, answer the following question: what did he do in the late 1990s?
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Answer: Laswell released two albums of remixes from dead artists - Bob Marley's Dreams of Freedom on Axiom and Miles Davis Panthalassa.

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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Answer:
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.