IN: Kerli Koiv was born in Elva on February 7, 1987. Her mother, Piret Koiv, was a social worker, and her father, Toivo Koiv, was an auto mechanic. Her parents separated when she was 16. Kerli has stated that when she wrote "Supergirl"--a song about domestic violence written for Utopia--she "put [herself] in [her] mother's body, and said things that [she] wished that [her mother] would've said to her dad when [she] was little".

In 2006, Kerli worked with producer, songwriter, and mixer David Maurice on an autobiographical set of songs, the first set of which were released on a self-titled EP in 2007. She finally released her debut album, titled Love Is Dead on July 8, 2008, following her debut single "Walking on Air" (which charted at number 75 on the European Hot 100.) and "Creepshow", a promotional single. "Creepshow" was featured in the TV series Fringe, The City, as well as in the video game Burnout Paradise. The music video for the song "Love Is Dead" was released on February 29, 2008 and the music video for "Walking on Air" premiered on MTV Overdrive on May 20, 2008. "Walking on Air" was downloaded 550,000 times when it was featured as iTunes' "Single of the Week", which was a record at the time. The song appeared twice on So You Think You Can Dance? as well in an advertisement for Fringe. Love Is Dead charted at number 126 on the Billboard 200 for the week of July 26.  Later in 2008, she was selected to perform a song titled "When Nobody Loves You" for the video game 007: Quantum of Solace, as well as the song "Bulletproof" on the official soundtrack of Punisher: War Zone.  In 2009, Kerli performed at the Estonian music festival Ollesummer in Tallinn. On September 10, 2009 Island Def Jam announced Kerli's iPhone application and the first song, Saima was released the following month. Kerli re-released her song "The Creationist"as a duet with the Italian songwriter Cesare Cremonini.  Kerli received a European Border Breakers Award for the success of the album Love Is Dead in Estonia.

was the song successful?

OUT: 

Answer the question at the end by quoting:

Michael Bennett (April 8, 1943 - July 2, 1987) was an American musical theatre director, writer, choreographer, and dancer. He won seven Tony Awards for his choreography and direction of Broadway shows and was nominated for an additional eleven. Bennett choreographed Promises, Promises, Follies and Company. In 1976, he won the Tony Award for Best Direction of a Musical and the Tony Award for Best Choreography for the musical A Chorus Line.
Bennett was born Michael Bennett DiFiglia in Buffalo, New York, the son of Helen (nee Ternoff), a secretary, and Salvatore Joseph DiFiglia, a factory worker. His father was Roman Catholic and Italian American and his mother was Jewish. He studied dance and choreography in his teens and staged a number of shows in his local high school before dropping out to accept the role of Baby John in the US and European tours of West Side Story.  Bennett's career as a Broadway dancer began in the 1961 Betty Comden-Adolph Green-Jule Styne musical Subways Are for Sleeping, after which he appeared in Meredith Willson's Here's Love and the short-lived Bajour. In the mid-1960s he was a featured dancer on the NBC pop music series Hullabaloo, where he met fellow dancer Donna McKechnie.  Bennett made his choreographic debut with A Joyful Noise (1966), which lasted only twelve performances, and in 1967 followed it with another failure, Henry, Sweet Henry (based on the Peter Sellers film The World of Henry Orient). Success finally arrived in 1968, when he choreographed the hit musical Promises, Promises on Broadway. With a contemporary pop score by Burt Bacharach and Hal David, a wisecracking book by Neil Simon and Bennett's well-received production numbers, including "Turkey Lurkey Time", the show ran for 1,281 performances. Over the next few years, he earned praise for his work on the straight play Twigs with Sada Thompson and the musical Coco with Katharine Hepburn. These were followed by two Stephen Sondheim productions, Company and Follies co-directed with Hal Prince.  In 1973, Bennett was asked by producers Joseph Kipness and Larry Kasha to take over the ailing Cy Coleman-Dorothy Fields musical Seesaw. In replacing the director Ed Sherin and choreographer Grover Dale, he asked for absolute control over the production as director and choreographer and received credit as "having written, directed, and choreographed" the show.

when did his career begin?

Bennett's career as a Broadway dancer began in the 1961 Betty Comden-Adolph Green-Jule Styne musical Subways Are for Sleeping,

input: Charlie Rose interviewed Octavia Butler in 2000 soon after the award of a MacArthur Fellowship. The highlights are probing questions that arise out of Butler's personal life narrative and her interest in becoming not only a writer, but a writer of science fiction. Rose asked, "What then is central to what you want to say about race?" Butler's response was, "Do I want to say something central about race? Aside from, 'Hey we're here!'?" This points to an essential claim for Butler that the world of science fiction is a world of possibilities, and although race is an innate element, it is embedded in the narrative, not forced upon it.  In an interview by Randall Kenan, Octavia E. Butler discusses how her life experiences as a child shaped most of her thinking. As a writer, Butler was able to use her writing as a vehicle to critique history under the lenses of feminism. In the interview, she discusses the research that had to be done in order to write her bestselling novel, Kindred. Most of it is based on visiting libraries as well as historic landmarks with respect to what she is investigating. Butler admits that she writes science fiction because she does not want her work to be labeled or used as a marketing tool. She wants the readers to be genuinely interested in her work and the story she provides, but at the same time she fears that people will not read her work because of the "science fiction" label that they have.  In an interview with Joshunda Sanders, Butler commented on the space race and its influence on her work. She noted, "I think of the space race as a way of having a nuclear war without having one." She the claimed that Ronald Reagan believed a nuclear war against the Soviet Union was winnable. Butler admitted to being very confused by this idea, and said that it contributed to her idea for the Xenogenesis books. She said "there must be something basic, something really genetically wrong with us if we're falling for this stuff." Butler then commented on how she felt a real fear about nuclear war during the Cold War and that these ideas had a real influence on some of her early works.  In an interview with Marilyn Mehaffy and AnaLouise Keating, for MELUS, Octavia Butler talked about how biology is used to keep groups of people out of power. She said, "What's made of biology is that the people who are in power are going to figure out why this is a good reason for them to stay in power. Look at the tests that show that women have better linguistic abilities: Yet, how many of our ambassadors are women? How many of the politicians are women? This is not looked at; instead, the argument goes that women don't have the mathematical abilities. . . every now and then. So we're much more likely now to be penalized for whatever we're assumed not to have. We're much more likely to find that whatever little genetic thing that's discovered is going to be used against us."  The issue of biology defining women and what they can and can't do has long been a part of feminism.

Answer this question "What is the relationship between Octavia and the Interviews?"
output:
Charlie Rose interviewed Octavia Butler in 2000 soon after the award of a MacArthur Fellowship.