Background: Sir Pelham Grenville Wodehouse (; 15 October 1881 - 14 February 1975) was an English author and one of the most widely read humorists of the 20th century. Born in Guildford, the son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school, he was employed by a bank but disliked the work and turned to writing in his spare time.
Context: A third milestone in Wodehouse's life came towards the end of 1915: his old songwriting partner Jerome Kern introduced him to the writer Guy Bolton, who became Wodehouse's closest friend and a regular collaborator. Bolton and Kern had a musical, Very Good Eddie, running at the Princess Theatre in New York. The show was successful, but they thought the song lyrics weak and invited Wodehouse to join them on its successor. This was Miss Springtime (1916), which ran for 227 performances--a good run by the standards of the day. The team produced several more successes, including Leave It to Jane (1917), Oh, Boy! (1917-18) and Oh, Lady! Lady!! (1918), and Wodehouse and Bolton wrote a few more shows with other composers. In these musicals Wodehouse's lyrics won high praise from critics as well as fellow lyricists such as Ira Gershwin. Unlike his original model, Gilbert, Wodehouse preferred the music to be written first, fitting his words into the melodies. Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years: they fit the music perfectly, but do not stand on their own in verse form as Gilbert's do. Nonetheless, Donaldson adds, the book and lyrics for the Princess Theatre shows made the collaborators an enormous fortune and played an important part in the development of the American musical. In the Grove Dictionary of American Music Larry Stempel writes, "By presenting naturalistic stories and characters and attempting to integrate the songs and lyrics into the action of the libretto, these works brought a new level of intimacy, cohesion, and sophistication to American musical comedy." The theatre writer Gerald Bordman calls Wodehouse "the most observant, literate, and witty lyricist of his day". The composer Richard Rodgers wrote, "Before Larry Hart, only P.G. Wodehouse had made any real assault on the intelligence of the song-listening public." In the years after the war, Wodehouse steadily increased his sales, polished his existing characters and introduced new ones. Bertie and Jeeves, Lord Emsworth and his circle, and Ukridge appeared in novels and short stories; Psmith made his fourth and last appearance; two new characters were the Oldest Member, narrating his series of golfing stories, and Mr Mulliner, telling his particularly tall tales to fellow patrons of the bar at the Angler's Rest. Various other young men-about-town appeared in short stories about members of the Drones Club. The Wodehouses returned to England, where they had a house in London for some years, but Wodehouse continued to cross the Atlantic frequently, spending substantial periods in New York. He continued to work in the theatre. During the 1920s he collaborated on nine musical comedies produced on Broadway or in the West End, including the long-running Sally (1920, New York), The Cabaret Girl (1922, London) and Rosalie (1928, New York). He also wrote non-musical plays, including The Play's the Thing (1926), adapted from Ferenc Molnar, and A Damsel in Distress (1928), a dramatisation of his 1919 novel. Though never a naturally gregarious man, Wodehouse was more sociable in the 1920s than at other periods. Donaldson lists among those with whom he was on friendly terms writers including A.A. Milne, Ian Hay, Frederick Lonsdale and E. Phillips Oppenheim, and stage performers including George Grossmith, Jr., Heather Thatcher and Dorothy Dickson.
Question: Did critics like his work?
Answer: Donaldson suggests that this is the reason why his lyrics have largely been overlooked in recent years:

Background: The Buggles were an English new wave band formed in London, England in 1977 by singer and bassist Trevor Horn and keyboardist Geoffrey Downes. They are best known for their 1979 debut single "Video Killed the Radio Star" that topped the UK Singles Chart and reached number one in 15 other countries. The duo released their first album, The Age of Plastic, in January 1980 with "Video Killed the Radio Star" as its lead single. Soon after the album's release, Horn and Downes joined the progressive rock band
Context: Downes claimed the group's name derived as a pun on the rock band the Beatles, saying: "It was originally called the Bugs ... studio insects--imaginary creatures who lived in recording studios creating havoc. Then somebody said as a joke that the Bugs would never be as big as The Beatles. So we changed it to the Buggles." Horn later spoke of its name: "I know the name's awful, but at the time it was the era of the great punk thing. I'd got fed up of producing people who were generally idiots but called themselves all sorts of clever names like the Unwanted, the Unwashed, the Unheard ... when it came to choosing our name I thought I'd pick the most disgusting name possible. In retrospect I have frequently regretted calling myself Buggles, but in those days I never really thought much about packaging or selling myself, all that really concerned me was the record." Horn began his career producing jingles and punk rock groups. Downes was a keyboardist in She's French and graduated from Leeds College of Music in 1975, after which he moved to London for keyboard work. The two first met in 1976 at auditions for Tina Charles' backing band and worked with her producer, Biddu, whose backing tracks had an influence on their early work as the Buggles. Horn met musician Bruce Woolley while playing the bass guitar in the house band at the Hammersmith Odeon. Both expressed an interest in Kraftwerk and Daniel Miller, leading them to read Crash by J.G. Ballard. Said Horn, ""We had this idea that at some future point there'd be a record label that didn't really have any artists--just a computer in the basement and some mad Vincent Price-like figure making the records ... One of the groups this computer would make would be the Buggles, which was obviously a corruption of the Beatles, who would just be this inconsequential bunch of people with a hit song that the computer had written ... and would never be seen." In 1977, Horn, Downes and Woolley got together and began recording a selection of demos in a small room above a stonemason shop in Wimbledon, south west London, including "Video Killed the Radio Star", "Clean, Clean" and "On TV". Though unsure on what they wished to do with them, Downes remembered that "we knew even then ... there was some distant goal that had to be reached", and proceeded to re-record the songs at a 16-track recording studio in north London. Initial searches for the right record label to record and release an album failed, but Horn, having begun a relationship with Jill Sinclair, a co-founder of Sarm East Studios, managed to secure plans for a potential deal. However, the demo of "Video Killed the Radio Star" caught the attention of producer Chris Blackwell of Island Records and, on the day Horn and Downes were due to sign with Sarm East, Blackwell offered them a more lucrative deal, which they accepted. Downes claimed Island rejected them three times before a final deal was agreed upon.
Question: Did they collaborate with anyone else?
Answer:
Blackwell offered them a more lucrative deal, which they accepted. Downes claimed Island rejected them three times before a final deal was agreed upon.