Background: Thomas Stearns Eliot, (26 September 1888 - 4 January 1965) was a British essayist, publisher, playwright, literary and social critic, and "one of the twentieth century's major poets". He moved from his native United States to England in 1914 at the age of 25, settling, working, and marrying there. He eventually became a British subject in 1927 at the age of 39, renouncing his American passport. Eliot attracted widespread attention for his poem "The Love Song of J. Alfred Prufrock" (1915), which was seen as a masterpiece of the Modernist movement.
Context: The depiction of Jews in some of Eliot's poems has led several critics to accuse him of anti-Semitism. This case has been presented most forcefully in a study by Anthony Julius: T. S. Eliot, Anti-Semitism, and Literary Form (1996). In "Gerontion", Eliot writes, in the voice of the poem's elderly narrator, "And the jew squats on the window sill, the owner [of my building] / Spawned in some estaminet of Antwerp." Another well-known example appears in the poem, "Burbank with a Baedeker: Bleistein with a Cigar". In this poem, Eliot wrote, "The rats are underneath the piles. / The jew is underneath the lot. / Money in furs." Interpreting the line as an indirect comparison of Jews to rats, Julius writes, "The anti-Semitism is unmistakable. It reaches out like a clear signal to the reader." Julius's viewpoint has been supported by literary critics such as Harold Bloom, Christopher Ricks, George Steiner, Tom Paulin and James Fenton. In a series of lectures delivered at the University of Virginia in 1933, published under the title After Strange Gods: A Primer of Modern Heresy (1934), Eliot wrote of societal tradition and coherence, "What is still more important [than cultural homogeneity] is unity of religious background, and reasons of race and religion combine to make any large number of free-thinking Jews undesirable." Eliot never re-published this book/lecture. In his 1934 pageant play The Rock, Eliot distances himself from Fascist movements of the Thirties by caricaturing Oswald Mosley's Blackshirts, who 'firmly refuse/ To descend to palaver with anthropoid Jews'. The 'new evangels' of totalitarianism are presented as antithetic to the spirit of Christianity. Craig Raine, in his books In Defence of T. S. Eliot (2001) and T. S. Eliot (2006), sought to defend Eliot from the charge of anti-Semitism. Reviewing the 2006 book, Paul Dean stated that he was not convinced by Raine's argument. Nevertheless, he concluded, "Ultimately, as both Raine and, to do him justice, Julius insist, however much Eliot may have been compromised as a person, as we all are in our several ways, his greatness as a poet remains." In another review of Raine's 2006 book, the literary critic Terry Eagleton also questioned the validity of Raine's defence of Eliot's character flaws as well as the entire basis for Raine's book, writing, "Why do critics feel a need to defend the authors they write on, like doting parents deaf to all criticism of their obnoxious children? Eliot's well-earned reputation [as a poet] is established beyond all doubt, and making him out to be as unflawed as the Archangel Gabriel does him no favours."
Question: who made the allegations?
Answer: Julius writes, "The anti-Semitism is unmistakable. It reaches out like a clear signal to the reader."

Background: Gallagher was born in Ballyshannon, County Donegal in 1948. His father Daniel was employed by the Irish Electricity Supply Board, who were constructing Cathaleen's Fall hydroelectric power station on the Erne River above the town. The family moved, first to Derry City, where his younger brother Donal was born in 1949. His mother, Monica, and the two boys then moved to Cork, where the brothers were raised.
Context: 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.
Question: What is a stratocaster?
Answer:
guitar