Question: What periodical does Jon Dolan compose writings for?
About the article "Take Care (album)", section "Lyrics".

Candidate passages:
With a background in radio, Dolan has stayed close to the medium in which his career began.
Alongside the aforementioned C4 radio show, Dolan is a regular presenter on LBC radio and BBC London, as well as being a panellist on a wide variety of Radio 4 comedy shows including "The Personality Test" and the "Jon Ronson Show".
Dolan has lent his voice to a range of television and radio programmes, including commercials.
Dolan is currently developing "I'm Here To Help!"
for TV, and recently finished the third series of "Balls of Steel". 
Abovian wrote novels, stories, descriptions, plays, scientific and artistic compositions, verses and fables.
He was the first Armenian writer to compose literature for children. 
Middle school history teacher Tom Robinson (Wes Bentley) lives in Las Vegas with beloved wife Elizabeth (Emmanuelle Vaugier).
On a horse riding trip out in the desert one day, Elizabeth comes across a human trafficking deal gone bad, with gangster Jimmy Dolan (Christian Slater) executing a man.
Elizabeth is seen, however, and narrowly escapes Dolan's thugs firing at her.
She drops her phone, which the thugs find and use to identify her.
Soon after Elizabeth finds in her home a scary message (in the form of a corpse with sewn lips) telling her to keep silent.
The Robinsons go to the authorities, and an official (Al Sapienza) admits them into the Witness Protection program.
Not long later, Elizabeth wakes up suddenly during the night as she needs to vomit, which she takes as a sign that she is pregnant.
Believing her dream has come true, she gets excited and rushes out of their hotel to buy pregnancy tests, Tom following after her.
When she tries to start their car, it explodes in front of Tom, killing Elizabeth.
Devastated, Tom begins drinking, and eventually decides to seek revenge against Dolan.
He purchases a handgun, a massive Smith & Wesson Model 500, and follows Dolan around town, eventually going after him one night.
But before he can take the shot, a rival business of Dolan's pulls a drive-by, which fails because Dolan's Cadillac is revealed to be bulletproof.
Robinson continues to follow Dolan, who soon notices and learns his identity.
The two meet at a Rest Stop in the Nevada desert, ending with a confrontation in which Dolan allows Robinson to live (albeit beaten up), believing life to be more painful for Robinson than death.
Undeterred, Robinson gets a job with a construction crew working on the roads Dolan often travels.
After strenuous preparation, Robinson sets his trap: a giant pothole deep in the road, large enough to trap a car but not so large as to allow Dolan to escape by opening the doors.
When Dolan's car falls into the hole, the driver is killed and another passenger (Greg Bryk) is injured.
Dolan shoots him as a mercy killing and out of annoyance, as both his legs were broken and he constantly screamed in agony.
Once Dolan has been trapped, Robinson makes his presence known, telling Dolan that he is a motorist who witnessed what had happened.
Dolan, however, eventually realizes that the motorist is, in fact, Robinson, and begins to beg Robinson to let him go.
Robinson begins to fill up the pot hole with dirt, continuing to taunt Dolan with possibilities of his escape, none of which come to fruition.
The official from the Witness Protection program soon calls Robinson to tell him that Dolan had been on his way to a major transaction involving child sex trafficking, a crime that would have destroyed Dolan.
Robinson does not care, however, and finishes filling the hole up.
Robinson lays concrete blocks over the Cadillac, while Dolan screams from within the hole.
The official calls back and tells Robinson they now have enough for a conviction.
Robinson drops the phone and laughs maniacally. 
Kevin Barber from Consequence of Sound was positive with the song, by saying that: "“Like It’s Her Birthday” is a little off-color from what the album is trying to accomplish.
It does not shy away from the dance-y, mall-pop type of music that they were trying to avoid, but it is a catchy single that lets the public know that Good Charlotte is back.
Barber also said that: "It will be a guilty pleasure that some will try to ignore, but most will succumb to."
Ian Drew from "US Magazine" considerate it a "downright danceable fun".
Jon Dolan from "Rolling Stone" ironically said: "Like It's Her Birthday" sets a man's problem ("She said she only had a meeting/But she is dressed for something/Something that is no good") to a bubblegum groove that a 14-year-old could throw a fist to."
Eric Sundermann from Spin positively reviewed the track, saying: "The track blends a combination of old and new Good Charlotte: It's a fast paced party song, but rather than "The Anthem"-style distorted electric guitars, the group uses synthesizers to create the upbeat sound."
Moltisanti met Dolan while both were in rehab recovering from heroin addiction.
In the episode "In Camelot" (5x07), their friendship was complicated when Christopher introduced J. T. to the underground world of high-stakes poker games, inadvertently giving the writer a new outlet for his addictive personality.
Dolan rapidly found himself $60,000 in debt, and soon wound up back in rehab at Moltisanti's prompting.
The film itself originated in "Mayham" (6x03), when Moltisanti offered Dolan a way to clear his debts: write a screenplay for a digital slasher film based on a concept by Christopher.
But the story had its genesis long before, when Christopher began his quest to write a screenplay in "The Legend of Tennessee Moltisanti" (1x08).
After struggling through 19 pages, Moltisanti became disillusioned and slipped into a depression, throwing away his work.
He later had an affair with studio vice-president Amy Safir in "D-Girl" (2x07); through her he met "Swingers" and "Made" scribe Jon Favreau, with whom he discussed his film concept.
In "Kaisha" (6x12), he discussed the similarities between Sally Boy and Anthony Soprano with Julianna Skiff, describing both as men who think that everything belongs to them — a notion crystallized by Sally Boy in "Cleaver"'s finale when he tells Michael: "What you have belongs to me" because "what's mine is mine; what's yours is mine."