Problem: Background: Emilie Autumn Liddell (born on September 22, 1979), better known by her stage name Emilie Autumn, is an American singer-songwriter, poet, violinist, and actress. Autumn's musical style has been described by her as "Fairy Pop", "Fantasy Rock" or "Victoriandustrial". It is influenced by glam rock and from plays, novels, and history, particularly the Victorian era. Performing with her all-female backup dancers
Context: Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".  A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker".  For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment.
Question: Did she begin singing and playing instruments as a child?
Answer: 

Background: Inigo Lopez de Loyola (sometimes erroneously called Inigo Lopez de Recalde) was born in the municipality of Azpeitia at the castle of Loyola in today's Gipuzkoa, Basque Country, Spain. He was baptized Inigo, after St. Enecus (Innicus) (Basque: Eneko; Spanish: Inigo) Abbot of Ona, a medieval Basque name which perhaps means "My little one". It is not clear when he began using the Latin name "Ignatius" instead of his baptismal name "Inigo". It seems he did not intend to change his name, but rather adopted a name which he believed was a simple variant of his own, for use in France and Italy where it was better understood.
Context: In 1539, with Saint Peter Faber and Saint Francis Xavier, Ignatius formed the Society of Jesus, which was approved in 1540 by Pope Paul III. Ignatius was chosen as the first Superior General of the order and invested with the title of Father General by the Jesuits.  Ignatius sent his companions as missionaries around Europe to create schools, colleges, and seminaries. Juan de Vega, the ambassador of Charles V at Rome, met Ignatius there. Esteeming Ignatius and the Jesuits, when Vega was appointed Viceroy of Sicily, he brought Jesuits with him. A Jesuit college was opened at Messina, which proved a success, and its rules and methods were afterwards copied in other colleges.  In 1548 Ignatius was briefly brought before the Roman Inquisition for examination of his book of Spiritual Exercises. But he was released and the book was finally given papal permission to be printed. It was published in a format such that the exercises were designed to be carried out over a period of 28-30 days.  Ignatius, along with the help of his personal secretary Juan Alfonso de Polanco wrote the Jesuit Constitutions, adopted in 1553. It created a centralized organization for the order, and stressed absolute self-denial and obedience to the Pope and to superiors in the Church hierarchy, using the motto perinde ac cadaver - "as if a dead body", i.e. that the good Jesuit should be as well-disciplined as a corpse. But his main principle became the Jesuit motto: Ad maiorem Dei gloriam ("for the greater glory of God").  During the years 1553-1555, Ignatius dictated his autobiography to his secretary, Father Goncalves da Camara. This autobiography ("Autobiografia de San Ignacio de Loyola" in Wikisource in Spanish) is a valuable key for understanding his Spiritual Exercises. It was kept in the archives of the Jesuit order for about 150 years, until the Bollandists published the text in Acta Sanctorum.
Question: What causes Ignatius to found the Jesuits?
Answer:
In 1539, with Saint Peter Faber and Saint Francis Xavier, Ignatius formed the Society of Jesus, which was approved in 1540 by Pope Paul III.