Problem: 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

Emilie Autumn was born in Los Angeles, California, on September 22, 1979. Autumn grew up in Malibu, California, and according to her, "being surrounded by nature and sea had a lot to do with [her] development as a 'free spirit.'" Her mother worked as a seamstress, and she has said that her father was a German immigrant with whom she did not share a close relationship. While not musicians, her family enjoyed various genres of music.  When she was four years old, she started learning the violin, and later commented: "I remember asking for a violin, but I don't remember knowing what one was. I might have thought it was a kind of pony for all I know, but I don't remember being disappointed." Four years later, Autumn made her musical debut as a solo violinist performing with an orchestra, and won a competition. At the age of nine or ten, she left regular school with the goal of becoming a world-class violinist. On her time at the school, she remarked, "I hated it anyway, what with the status as 'weird,' 'antisocial,' and the physical threats, there seemed to be no reason to go anymore, so I just didn't." She practiced eight or nine hours a day, had lessons, read a wide range of literature, participated in orchestra practice, and was home-schooled. Growing up, she owned a large CD collection of "violin concertos, symphonies, chamber music, opera, and a little jazz". She began writing her own music and poetry at age thirteen or fourteen, though she never planned to sing any of her songs. She studied under various teachers and attended Indiana University in Bloomington, but left after two years there, because she disagreed with the prevailing views on individuality and classical music. She believed that neither the audience nor the original composer would be insulted by the clothing and appearance of the performer.  While convinced that she would only play violin, eighteen-year-old Autumn decided to sing on one of her songs as a way of demonstrating to a major music producer, who wanted to sign her on a label, how it should sound. She became unhappy with the changes done to her songs, and decided to break away from the label and create her own independent record label, Traitor Records. Through it, she debuted with her classical album On a Day: Music for Violin & Continuo, which she recorded in 1997 when she was seventeen years old; its title refers to the fact that the album took only a day to record. It consists of her performing works for the baroque violin accompanied by Roger Lebow on the baroque cello, Edward Murray on harpsichord, and Michael Egan on lute. She considered it "more of a demo despite its length", and released it as "a saleable album" after fans who enjoyed her "rock performances starting asking for a classical album so that they could hear more of the violin." She also debuted with her poetry book Across the Sky & Other Poems in 2000, later re-released in 2005 as Your Sugar Sits Untouched with a music-accompanied audiobook.

What did she do musically after practicing violin?

Answer with quotes: eighteen-year-old Autumn decided to sing on one of her songs as a way of demonstrating to a major music producer, who wanted to sign her on a label,


Problem: Henry Havelock Ellis, known as Havelock Ellis (2 February 1859 - 8 July 1939), was an English physician, writer, progressive intellectual and social reformer who studied human sexuality. He co-authored the first medical textbook in English on homosexuality in 1897, and also published works on a variety of sexual practices and inclinations, as well as on transgender psychology. He is credited with introducing the notions of narcissism and autoeroticism, later adopted by psychoanalysis. Ellis was among the pioneering investigators of psychedelic drugs and the author of one of the first written reports to the public about an experience with mescaline, which he conducted on himself in 1896.

Dr. Havelock Ellis' 1933 book, Psychology of Sex, is one of the many manifestations of his interest in human sexuality. In this book, he goes into vivid detail of how children can experience sexuality differently in terms of time and intensity. He mentions that it was previously believed that, in childhood, humans had no sex impulse at all. "If it is possible to maintain that the sex impulse has no normal existence in early life, then every manifestation of it at that period must be 'perverse,'" he adds. He continues by stating that, even in the early development and lower function levels of the genitalia, there is a wide range of variation in terms of sexual stimulation. He claims that the ability of some infants producing genital reactions, seen as "reflex signs of irritation" are typically not vividly remembered. Since the details of these manifestations are not remembered, there is no possible way to determine them as pleasurable. However, Ellis claims that many people of both sexes can recall having agreeable sensations with the genitalia as a child. "They are not (as is sometimes imagined) repressed." They are, however, not usually mentioned to adults. Ellis argues that they typically stand out and are remembered for the sole contrast of the intense encounter to any other ordinary experience.  Ellis claims that sexual self-excitement is known to happen at an early age. He references authors like Marc, Fonssagrives, and Perez in France who published their findings in the nineteenth century. These early ages are not strictly limited to ages close to puberty as can be seen in their findings. These authors provide cases for children of both sexes who have masturbated from the age of three or four. Ellis references Robie's findings that boys' first sex feelings appear between the ages of five and fourteen. For girls, this age ranges from eight to nineteen. For both sexes, these first sexual experiences arise more frequently during the later years as opposed to the earlier years. Ellis then references Hamilton's studies that found twenty percent of males and fourteen percent of females have pleasurable experiences with their sex organs before the age of six. This is only supplemented by Ellis' reference to Katharine Davis' studies, which found that twenty to twenty-nine percent of boys and forty-nine to fifty-one percent were masturbating by the age of eleven. However, in the next three years after, boys' percentages exceeded that of girls.  Dr. Ellis also contributed to the idea of varying levels of sexual excitation. He asserts it is a mistake to assume all children experience are able to experience genital arousal or pleasurable erotic sensations. He proposes cases where an innocent child is led to believe that stimulation of the genitalia will result in a pleasurable erection. Some of these children may fail and not be able to experience this either pleasure or an erection until puberty. Ellis concludes, then, that children are capable of a "wide range of genital and sexual aptitude." Ellis even considers ancestry as contributions to different sexual excitation levels, stating that children of "more unsound heredity" and/or hypersexual parents are "more precociously excitable."

What else does he say about that?

Answer with quotes:
He claims that the ability of some infants producing genital reactions, seen as "reflex signs of irritation" are typically not vividly remembered.