Background: "Hey Jude" is a song by the English rock band the Beatles, written by Paul McCartney and credited to Lennon-McCartney. The ballad evolved from "Hey Jules", a song McCartney wrote to comfort John Lennon's son, Julian, during his parents' divorce. "Hey Jude" begins with a verse-bridge structure incorporating McCartney's vocal performance and piano accompaniment; further instrumentation is added as the song progresses. After the fourth verse, the song shifts to a fade-out coda that lasts for more than four minutes. "
Context: 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".
Question: Besides Pollack did anyone else think favorably?
Answer: 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

Background: Clemens was born in Dayton, Ohio, the fifth child of Bill and Bess (Lee) Clemens. He is of German descent, his great-grandfather Joseph Clemens having immigrated in the 1880s. Clemens's parents separated when he was an infant. His mother soon married Woody Booher, whom Clemens considers his father.
Context: Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and 3 runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular season appearance was a start against the Red Sox at Fenway Park, in which he allowed 2 hits and 1 unearned run in 6 innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6-6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone.
Question: Why was he forced to leave
Answer:
a hamstring injury.