input: Gallagher played a worn sunburst 1961 Stratocaster (Serial Number 64351) for some years. It was reputedly the first in Ireland,and was ordered from Fender by Jim Connolly, a member of The Irish Showband. In 1961, Connolly ordered a cherry red Stratocaster through Crowley's music shop of Cork's McCurtain Street. When Fender shipped a sunburst Stratocaster instead, it was put up on sale in 1963 as a second-hand instrument, which Gallagher bought in August 1963 for just under PS100. Speaking about Gallagher's purchase, his brother Donal recalled: "His dream ambition was to have a guitar like Buddy Holly... This Stratocaster was in the store as a used instrument, it was 100 pounds... in today's money you couldn't even compare you might as well say it was a million pounds... my mother was saying we'll be in debt for the rest of our lives and Rory said well actually with a guitar like this I can play both parts, rhythm and lead, we won't need a rhythm player so I can earn more money and pay it off so the Stratocaster became his partner for life if you like." The guitar was extensively modified by Gallagher. The tuning pegs and the nut were replaced, the latter interchanged a number of times. The pickguard was also changed during Gallagher's time with Taste. Only the middle pick-up is original. The final modification was the wiring: Gallagher disconnected the bottom tone pot and rewired it so he had just a master tone control along with the master volume control. He installed a 5-way selector switch in place of the vintage 3-way one. Most of the paint was removed from the guitar in 1967 or 1968 during the Taste period, as evidenced from contemporary photographs. Although the Strat was left abandoned in a rainy ditch for days after being stolen from the back of a tour van in Dublin, this is not believed to have caused any ill effect. A borrowed Telecaster was also stolen at the same time but never recovered. When the Strat was recovered two weeks later, Gallagher swore he would never sell it or paint it. The paint removal and appearance of extensive road wear was in keeping with Gallaghers public persona and image. It also had a period of time of having a replacement neck, with the original neck bowing due to the amount of moisture it absorbed during continuous touring. The neck was taken off and left to settle, and was eventually reunited with the Strat after returning to its correct shape. Other quirks include a 'hump' in the scratch plate which moves the neck pick-up closer to the neck on the bass side, and a replacement of all of the pick-ups, though this replacement was due to damage rather than the perception of a tonal inadequacy. One final point of interest is that one of the clay double-dot inlays at the 12th fret fell out and was replaced with a plastic one, which is why it is whiter than the other clay inlays. On 21 and 22 October 2011, Rory's brother Donal brought the guitar out of retirement to allow Joe Bonamassa to perform with it on his two nights at the London Hammersmith Apollo. Bonamassa opened both night's performances with his rendition of "Cradle Rock" using Gallagher's Stratocaster.

Answer this question "What type of guitar?"
output:

input: Barry was among the first professional basketball players to make a successful transition to the broadcasting profession. He began broadcasting during the 1967-68 season broadcasting Oakland Oaks games because of contractual matters that kept him off of the court. Barry continues to work in the field, a career that began with his own radio show in San Francisco and CBS while still an active player and then with TBS. While working as a CBS analyst during Game 5 of the 1981 NBA Finals, Barry made a controversial comment when CBS displayed an old photo of colleague Bill Russell, who is African-American, and Barry joked that "it looks like some fool over there with that big watermelon grin". Barry later apologized for the comment, claiming that he did not realize that a reference to watermelons would have racial overtones. Russell said that he believed Barry with regard to Barry's racial attitudes, but nonetheless, the two men are reported not to have been particularly friendly for other reasons, unrelated to that comment. CBS did not renew Barry's employment for the subsequent season, with producers later citing the overall negative tone of Barry's game commentary. The next season, Barry did some broadcasting for the Seattle SuperSonics, however a plan for permanent employment fell through when Barry insisted that his then-wife be allowed to join him when the team was on the road, which would have been contrary to team policy. The next year, Barry was featured in a lengthy Sports Illustrated article written by Tony Kornheiser in which he lamented the failure of his broadcasting career to that point, as well as the fact that he'd left a reputation within NBA circles for being an unlikable person. In a rare non-sports venture, he hosted the pilot for the mid-1980s game show Catchphrase; however, when the series debuted in the fall of 1985, game show veteran Art James replaced him (the series itself was short-lived in the US, but was brought over to the UK and is still running). In September 2001, Barry began hosting a sports talk show on KNBR-AM in San Francisco until June 2003, when KNBR paired him up with Rod Brooks to co-host a show named Rick and Rod. The show aired on KNBR until August 2006, when Barry left the station abruptly for reasons not disclosed to the public.

Answer this question "Are there any other interesting aspects about this article?"
output: While working as a CBS analyst during Game 5 of the 1981 NBA Finals, Barry made a controversial comment when CBS displayed an old photo of colleague Bill Russell,

input: Newhart became famous mostly on the strength of his audio releases, in which he played a solo "straight man". Newhart's routine was to portray one end of a conversation (usually a phone call), playing the comedic straight man and implying what the other person was saying. His 1960 comedy album, The Button-Down Mind of Bob Newhart, was the first comedy album to make number one on the Billboard charts. The album received the 1961 Grammy Award for Album of the Year. The album peaked at number two in the UK Albums Chart. Newhart also won Best New Artist. Newhart told a 2005 interviewer for PBS's American Masters that his favorite stand-up routine is "Abe Lincoln vs. Madison Avenue", which appears on this album. In the routine, a slick promoter has to deal with the reluctance of the eccentric President to agree to efforts to boost his image. The routine was suggested to Newhart by Chicago TV director and future comedian Bill Daily, who was Newhart's castmate on the 1970s The Bob Newhart Show for CBS. Newhart became known for using an intentional stammer, in service to his unique combination of politeness and disbelief at what he was supposedly hearing. Newhart has used the delivery throughout his career. The follow-up album, The Button-Down Mind Strikes Back, was released six months later and won Best Comedy Performance - Spoken Word that same year. Subsequent comedy albums include Behind the Button-Down Mind of Bob Newhart (1961), The Button-Down Mind on TV (1962), Bob Newhart Faces Bob Newhart (1964), The Windmills Are Weakening (1965), This Is It (1967), Best of Bob Newhart (1971), and Very Funny Bob Newhart (1973). Years later, he released Bob Newhart Off the Record (1992), The Button-Down Concert (1997), and Something Like This (2001), an anthology of his 1960s Warner Bros. albums. On December 10, 2015, it was revealed by publicist and comedy album collector Jeff Abraham that a "lost" Newhart track from 1965 about Paul Revere existed on a one-of-a-kind acetate, which he owns. The track made its world premiere on episode 163 of the Comedy On Vinyl podcast.

Answer this question "Were there any other famous people on any of his albums?"
output:
Bob Newhart (