Question:
The Famous Flames were an American rhythm and blues vocal group founded in Toccoa, Georgia, in 1953 by Bobby Byrd. James Brown began his career as a member of the Famous Flames, emerging as the lead singer by the time of their first professional recording, "Please, Please, Please", in 1956. On hit songs such as "Try Me", "Bewildered", "Think", "I Don't Mind", and "I'll Go Crazy", the Flames' smooth backing harmonies contrasted strikingly with Brown's raw, impassioned delivery, and their synchronized dance steps were a prominent feature of their live shows. Altogether, they performed on 12 songs that reached the Billboard R&B and pop charts, in addition to being featured on numerous albums, including the groundbreaking Live at the Apollo.
By 1955, after seeing a performance by Little Richard, the group left gospel behind and again changed their name, to The Flames. While performing at his club in Macon, Georgia, Clint Brantley (agent for Little Richard) advised the group to add "Famous" to their name. That year, Doyle Oglesby and Fred Pulliam left the group and were replaced by Nashpendle "Nash" Knox and Nafloyd's cousin Roy, who left before the group signed their first recording deal. When Little Richard left Macon for Los Angeles after the September 1955 release of "Tutti Frutti", Brantley included the band at every venue Richard had performed, leading to the growth of the group's success.  The group began composing and performing their own songs during this time including a James Brown composition called "Goin' Back to Rome" and a ballad Brown co-wrote with Johnny Terry titled "Please, Please, Please". Before Christmas 1955, Brantley had the group record a demo of "Please, Please, Please" for a local Macon radio station. "Please, Please, Please" came together in two pieces, first, Etta James stated that during the first time she met with Brown in Macon, Brown "used to carry around an old tattered napkin with him, because Little Richard had written the words, 'please, please, please' on it and James was determined to make a song out of it...". The second part of the song's conception came together after Brown and Terry heard The Orioles' rock 'n' roll version of Big Joe Williams' hit, "Baby Please Don't Go", where they got the melody.  "Please, Please, Please" was played on Macon radio stations, making it a regional hit by the end of 1955. The recording was sent to several record labels, who promptly passed on the record, though two labels, owned by Cincinnati-based King Records, pursued the group. Ralph Bass of Federal Records eventually won the bidding war, signing the Famous Flames in February 1956. A month later, they re-recorded the song in Cincinnati. Upon hearing it, King Records founder Syd Nathan deemed it unreleasable due to Brown's vocals, and almost fired Ralph Bass on the spot.  "Please, Please, Please" was released in May 1956 and by September, the record had reached number 6 on the R&B charts. Constant performing with the song while the group performed on the chitlin' circuit kept the record on the charts for a year, and by 1957, it had sold well over 5,000 copies. The record eventually sold between one million and three million. Most of the original Flames' releases after "Please, Please, Please" failed to generate any follow-up success, including "I Don't Know", "No No No", "Just Won't Do Right" and "Chonnie-On-Chon". The group had changed managers and were now with Ben Bart, chief of the Universal Attractions Agency. Bart advised the group to change their name to The Famous Flames with James Brown. This led to dissension in the group and Bart gave them an ultimatum of either "staying and working for $35 a night or go home". The group responded by going home. Brown and Bart hired members of the vocal group the Dominions to replace the original Flames.
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How well did the Famous Flames do in the charts?

Answer:
The record eventually sold between one million and three million.


Question:
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.
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."
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What did he write that caused him to be accused?

Answer:
In "Gerontion", Eliot writes, in the voice of the poem's elderly narrator, "And the jew squats on the window sill,