Some context: Florence Leontine Mary Welch was born in Camberwell, London on 28 August 1986. Her father is Nick Russell Welch, an advertising executive. Her mother, Evelyn Welch (nee Evelyn Kathleen Samuels), is an American emigrant from New York City who was educated at Harvard University and the Warburg Institute, University of London. Evelyn is currently Professor of Renaissance Studies and Vice-Principal for Arts and Sciences at King's College London.
During interviews, Welch has cited Grace Slick and Alanis Morissette as influences and "heroes." She listed in her early influences the likes of John Cale, Siouxsie, David Byrne, Lou Reed, In a review of Ceremonials, Jody Rosen of Rolling Stone described Florence and the Machine's style as "dark, robust and romantic", deeming the ballad "Only If for a Night" as a mix of "classic soul and midnight-on-the-moors English art rock". Welch stated that her lyrics related to Renaissance artists : "We're dealing with all of the same things they did : love and death, time and pain, heaven and hell". Welch has used religious imagery in her music and performances, though she has stated "I'm not a religious person. Sex, violence, love, death, are the topics that I'm constantly wrestling with, it's all connected back to religion."  Nick Welch, her father, contributed a "rock and roll element to the family mix"; in his twenties, he lived in a West End squat and attended the Squatters' Ball organised by Heathcote Williams where The 101ers played regularly. A self-confessed "frustrated performer", if Nick, as he put it, "nudged Flo in any way, it's only been to listen to the Ramones rather than Green Day". Evelyn had an equally strong yet completely different influence on her daughter. A visit to one of her mother's lectures left teenage Florence deeply impressed. She explained, "I aspire to something like that but with music. I hope that my music has some of the big themes--sex, death, love, violence--that will still be part of the human story in 200 years' time".  Welch has stated she is an avid reader, and has been influenced by authors such as Gwendoline Riley, Kirsten Reed and David Vann. The art of literature is important to her. She actively participates in a fan run book club, 'Between Two Books'. Every few months, she will recommend a book to the club which they will read collectively. Welch enjoys poetry, and has mentioned that the poet Ted Hughes was a big influence on her first album, 'Lungs'.
What was her style of music?
A: "dark, robust and romantic",

Some context: Musial was born in Donora, Pennsylvania, the fifth of the six children (four girls and two boys) of Lukasz and Mary (Lancos) Musial (, MOO-show). His mother was of Carpatho-Rusyn descent and his father was a Polish immigrant who chose the name Stanislaw Franciszek for his first son, though his father always referred to Musial using the Polish nickname Stasiu, pronounced "Stashu". Musial frequently played baseball with his brother Ed and other friends during his childhood, and considered Lefty Grove his favorite ballplayer. Musial also had the benefit of learning about baseball from his neighbor Joe Barbao, a former minor league pitcher.
Musial's rookie year with Williamson in 1938 was a period of adjustment both on and off the field. He began gaining more in-depth knowledge about baseball strategy while posting a 6-6 win-loss record and a 4.66 earned run average (ERA), to go along with a .258 batting average. Off the field, he experienced feelings of homesickness while learning to live comfortably and independently on his $65-per-month salary. Musial finished his high school education before returning to Williamson in spring 1939. That season his numbers improved to a 9-2 record, a 4.30 ERA, and a .352 batting average.  Musial spent the 1940 season with the Cardinals' other Class D team, the Daytona Beach Islanders, where he developed a lifelong friendship with manager Dickie Kerr. His pitching skills improved under the guidance of Kerr, who also recognized his hitting talent, playing him in the outfield between pitching starts. On May 25, 1940, Musial married fellow Donora resident, Lillian "Lil" Labash, in Daytona Beach, and the couple's first child followed in August. During late August, Musial suffered a shoulder injury while playing in the outfield, and later made an early exit as the starting pitcher in a 12-5 playoff game loss. For a while Musial considered leaving baseball entirely, complaining that he could not afford to support himself and his wife on the $16 a week pay. Kerr talked him out of it, and even took the Musials into his own home to relieve the financial burden. To repay the debt Musial bought Kerr a $20,000 home in Houston in 1958. In 113 games in 1940 he hit .311, while compiling an 18-5 pitching record that included 176 strikeouts and 145 walks.  Musial was assigned to the Class AA Columbus Red Birds to begin 1941, though manager, Burt Shotton, and Musial himself quickly realized that the previous year's injury had considerably weakened his arm. He was reassigned to the Class C Springfield Cardinals as a full-time outfielder, and he later credited manager Ollie Vanek for displaying confidence in his hitting ability. During 87 games with Springfield, Musial hit a league-leading .379 before being promoted to the Rochester Red Wings of the International League. He was noted for his unique batting stance, a crouch in which his back was seemingly square to the pitcher. This stance was later described by pitcher Ted Lyons as "a kid peeking around the corner to see if the cops were coming". According to a 1950 description by author Tom Meany, "The bent knees and the crouch give him the appearance of a coiled spring, although most pitchers think of him as a coiled rattlesnake." Musial continued to play well in Rochester--in one three-game stretch, he had 11 hits. He was called up to the Cardinals for the last two weeks of the 1941 season.
Did he do well?
A:
6-6 win-loss record and a 4.66 earned run average (ERA), to go along with a .258 batting average.