input: Sandilands landed his first radio job in 1992, at age 21, at 4TO Townsville where he was employed to drive the station's promotional vehicle. Within weeks he had declared his willingness to do whatever it took to get ahead: to work anywhere, in any time slot. He took gigs in Cairns, and then Darwin, before joining Austereo's Triple M in a Brisbane station by using a false resume to impress one of the station's executives. In 1999, he moved to Sydney, and commenced at 2Day FM as host of the Hot30 Countdown, replacing "Ugly Phil O'Neil", a former husband of Henderson (Jackie O). Sandilands attributes his radio career taking off to being told by then Group Program Director Jeff Allis to "do whatever you want, just win". Sandilands revealed he was paid $255,000 per year while working on the Hot30.  Much media coverage of Sandilands has focused on the negative aspects of his personality and behaviour, notably his widely publicised clashes with and criticism of other media figures, his intemperate on-air outbursts and his alleged "out of control" ego. In September 2006, Sandilands was named the most hated Australian identity in a Zoo Weekly article, although on 14 October 2006, Sandilands and Henderson were named "Best On-Air Team" at the Australian Commercial Radio Awards. Sandilands and Jackie O were again named "Best On-Air Team" at the Australian Commercial Radio Awards in 2007, 2011, and 2015.  In August 2009, The Kyle and Jackie O Show was put into "indefinite recess" by the Austereo network as a result of a controversial on-air stunt on his morning show on 29 July 2009. He returned to his radio show on 18 August 2009 but was suspended on 9 September 2009 due to on-air comments relating to Magda Szubanski. In the same year he was again named the most hated by Zoo Weekly. Sandilands and Henderson were the hosts of the nationally syndicated chart show The Hot Hits, before swapping host roles with Andrew Gunsberg in December 2009, who had previously hosted Take40 Australia, but left the show at the end of 2011.

Answer this question "What else is notable about this time?"
output: He returned to his radio show on 18 August 2009 but was suspended on 9 September 2009 due to on-air comments relating to Magda Szubanski.

input: Upon the single's release, Derek Johnson of the NME wrote: "The intriguing features of 'Hey Jude' are its extreme length and the 40-piece orchestral accompaniment - and personally I would have preferred it without either!" While he viewed the track overall as "a beautiful, compelling song", and the first three minutes as "absolutely sensational", Johnson rued the long coda's "vocal improvisations on the basically repetitive four-bar chorus". Time magazine described the coda as "a fadeout that engagingly spoofs the fadeout as a gimmick for ending pop records". The same reviewer contrasted "Hey Jude" with its B-side, "Revolution", saying that "The other side of the new disk urges activism of a different sort", due to McCartney "liltingly exhort[ing] a friend to overcome his fears and commit himself in love". Rolling Stone also attributed the song's meaning as a message from McCartney to Lennon to end his negative relationships with women: "to break the old pattern; to really go through with love". Other commentators interpreted "Hey Jude" as being directed at Bob Dylan, then semi-retired in Woodstock.  Writing in 1971, Robert Christgau of The Village Voice called it "one of [McCartney's] truest and most forthright love songs" and was critical of its omission from the album The Beatles. In their 1975 book The Beatles: An Illustrated Record, critics Roy Carr and Tony Tyler wrote that "Hey Jude" "promised great things" for the ill-conceived Apple enterprise and described the song as "the last great Beatles single recorded specifically for the 45s market". They noted also that "the epic proportions of the piece" encouraged many imitators, yet these other artists "[failed] to capture the gentleness and sympathy of the Beatles' communal feel".  Among more recent commentators, Alan Pollack admires "Hey Jude" as "such a good illustration of two compositional lessons - how to fill a large canvas with simple means, and how to use diverse elements such as harmony, bassline, and orchestration to articulate form and contrast." Pollack considers that the song's long coda provides "an astonishingly transcendental effect", while AllMusic's Richie Unterberger similarly opines: "What could have very easily been boring is instead hypnotic because McCartney varies the vocal with some of the greatest nonsense scatting ever heard in rock ..." In his book Revolution in the Head, Ian MacDonald wrote that the "pseudo-soul shrieking in the fade-out may be a blemish" but he praised the song as "a pop/rock hybrid drawing on the best of both idioms". MacDonald concluded: "'Hey Jude' strikes a universal note, touching on an archetypal moment in male sexual psychology with a gentle wisdom one might properly call inspired." Lennon said the song was "one of [McCartney's] masterpieces".

Answer this question "When originally released what did the critics say?"
output: The intriguing features of 'Hey Jude' are its extreme length and the 40-piece orchestral accompaniment - and personally I would have preferred it without either!"

input: Apart from Shakespeare, Richard appears in many other works of literature. Two other plays of the Elizabethan era predated Shakespeare's work. The Latin-language drama Richardus Tertius (first known performance in 1580) by Thomas Legge is believed to be the first history play written in England. The anonymous play The True Tragedy of Richard III (c. 1590), performed in the same decade as Shakespeare's work, was probably an influence on Shakespeare. Neither of the two plays places any emphasis on Richard's physical appearance, though the True Tragedy briefly mentions that he is "A man ill shaped, crooked backed, lame armed" adding that he is "valiantly minded, but tyrannous in authority". Both portray him as a man motivated by personal ambition, who uses everyone around him to get his way. Ben Jonson is also known to have written a play Richard Crookback in 1602, but it was never published and nothing is known about its portrayal of the king.  Marjorie Bowen's 1929 novel Dickon set the trend for pro-Ricardian literature. Particularly influential was The Daughter of Time (1951) by Josephine Tey, in which a modern detective concludes that Richard III is innocent in the death of the Princes. Other novelists such as Valerie Anand in the novel Crown of Roses (1989) have also offered alternative versions to the theory that he murdered them. Sharon Kay Penman, in her historical novel The Sunne in Splendour, attributes the death of the Princes to the Duke of Buckingham. In the mystery novel The Murders of Richard III by Elizabeth Peters (1974) the central plot revolves around the debate as to whether Richard III was guilty of these and other crimes. A sympathetic portrayal of Richard III is given in The Founding, the first volume in The Morland Dynasty series by Cynthia Harrod-Eagles.  One film adaptation of Shakespeare's play Richard III is the 1955 version directed and produced by Laurence Olivier, who also played the lead role. Also notable are the 1995 film version starring Ian McKellen, set in a fictional 1930s fascist England, and Looking for Richard, a 1996 documentary film directed by Al Pacino, who plays the title character as well as himself. The play has been adapted for television on several occasions.

Answer this question "Who did he murder?"
output:
death of the Princes.