Question:
Augusta Ada King-Noel, Countess of Lovelace (nee Byron; 10 December 1815 - 27 November 1852) was an English mathematician and writer, chiefly known for her work on Charles Babbage's proposed mechanical general-purpose computer, the Analytical Engine. She was the first to recognise that the machine had applications beyond pure calculation, and published the first algorithm intended to be carried out by such a machine. As a result, she is sometimes regarded as the first to recognise the full potential of a "computing machine" and the first computer programmer. Ada Lovelace was the only legitimate child of the poet Lord Byron, and his wife Anne Isabella "Annabella" Milbanke, Lady Wentworth.
Throughout her illnesses, she continued her education. Her mother's obsession with rooting out any of the insanity of which she accused Byron was one of the reasons that Ada was taught mathematics from an early age. She was privately schooled in mathematics and science by William Frend, William King, and Mary Somerville, the noted researcher and scientific author of the 19th century. One of her later tutors was the mathematician and logician Augustus De Morgan. From 1832, when she was seventeen, her mathematical abilities began to emerge, and her interest in mathematics dominated the majority of her adult life. In a letter to Lady Byron, De Morgan suggested that her daughter's skill in mathematics could lead her to become "an original mathematical investigator, perhaps of first-rate eminence".  Lovelace often questioned basic assumptions by integrating poetry and science. While studying differential calculus, she wrote to De Morgan:  I may remark that the curious transformations many formulae can undergo, the unsuspected and to a beginner apparently impossible identity of forms exceedingly dissimilar at first sight, is I think one of the chief difficulties in the early part of mathematical studies. I am often reminded of certain sprites and fairies one reads of, who are at one's elbows in one shape now, and the next minute in a form most dissimilar  Lovelace believed that intuition and imagination were critical to effectively applying mathematical and scientific concepts. She valued metaphysics as much as mathematics, viewing both as tools for exploring "the unseen worlds around us".
Answer this question using a quote from the text above:

Did she do well with integrating poetry and science? Did it make sense?

Answer:
Lovelace believed that intuition and imagination were critical to effectively applying mathematical and scientific concepts.

input: While at CBS, Herrmann met Orson Welles, and wrote or arranged scores for radio shows in which Welles appeared or wrote, such as the Columbia Workshop, Welles's Mercury Theatre on the Air and Campbell Playhouse series (1938-1940), which were radio adaptations of literature and film. He conducted the live performances, including Welles's famous adaptation of H. G. Wells's The War of the Worlds broadcast on October 30, 1938, which consisted entirely of pre-existing music. Herrmann used large sections of his score for the inaugural broadcast of The Campbell Playhouse, an adaptation of Rebecca, for the feature film Jane Eyre (1943), the third film in which Welles starred.  When Welles gained his RKO Pictures contract, Herrmann worked for him. He wrote his first film score for Citizen Kane (1941) and received an Academy Award nomination for Best Score of a Dramatic Picture. He composed the score for Welles's second film, The Magnificent Ambersons (1942); like the film itself, the music was heavily edited by the studio, RKO Pictures. When more than half of his score was removed from the soundtrack, Herrmann bitterly severed his ties with the film and promised legal action if his name were not removed from the credits.  Herrmann also created the music for Welles's CBS radio series the Orson Welles Show (1941-1942), which included the debut of his wife Lucille Fletcher's suspense classic, The Hitch-Hiker; Ceiling Unlimited (1942), a program conceived to glorify the aviation industry and dramatize its role in World War II; and The Mercury Summer Theatre on the Air (1946). "Benny Herrmann was an intimate member of the family," Welles told filmmaker Peter Bogdanovich.  Herrmann was among those who rebutted the charges Pauline Kael made in her 1971 essay "Raising Kane", in which she revived controversy over the authorship of the screenplay for Citizen Kane and denigrated Welles's contributions.

Answer this question "Did they win any awards for their work?"
output: 

Answer the question at the end by quoting:

Kelis Rogers was born and raised in the Harlem neighborhood of Manhattan in the Frederick Douglass Houses. Her first name is a portmanteau of her father's name, Kenneth (1944-2000), and her mother's name, Eveliss. Her father Kenneth was an African American jazz musician and Pentecostal minister, and was formerly a professor at Wesleyan University. Her mother Eveliss is a Chinese-Puerto Rican fashion designer who inspired Kelis to pursue her singing career.
Kelis began recording her debut album, Kaleidoscope, in mid-1998 and was finished within a year. Produced by The Neptunes and released by Virgin Records in 1999, the album peaked at number 144 on the U.S. Billboard 200 chart and reached the top five on the Top Heatseekers chart. As of 2006, the album had sold 249,000 copies, according to Nielsen SoundScan. Its lead and most notable single, "Caught Out There", became a top ten Hot R&B/Hip-Hop Songs hit and peaked at number 54 on the Billboard Hot 100. During this time, Kelis featured on Ol' Dirty Bastard's U.S. top 40 single "Got Your Money".  The album performed better in Europe, where "Caught out There" was a moderate hit and reached the top five on the UK Singles Chart. A second single, "Good Stuff" (featuring Terrar of Clipse), reached number 19; the third, "Get Along with You", was less successful, reaching number 51. The British Phonographic Industry certified Kaleidoscope gold for sales of 100,000 copies in the United Kingdom, where it reached number 43 on the UK Albums Chart.  In 2001, Kelis won the BRIT Award for International Breakthrough Act and the NME Award for Best R&B/Soul Act, before joining Moby and U2 on their Area:One and Elevation tours, respectively. Kelis and the Neptunes' output at this time was heralded as foreshadowing an innovation in contemporary R&B, but she later said, "I was never an R&B artist. People coined me one but that's because, especially if you're in the States, if you're black and you sing, then you're R&B". Her colorful style in both clothing and hair received considerable attention.  Kelis's second album, Wanderland, was released in 2001 in Europe, Asia, and Latin America, but did not receive a North American release. According to Kelis, her U.S. record company at the time, Virgin, had laid off those that worked on Kaleidoscope; their replacements did not understand or believe in Wanderland, which led her to leave the label around the time of the album's European release. A commercial failure, Wanderland peaked at number 78 in the UK, although its sole single release, "Young, Fresh n' New", was a top forty entry on the UK Singles Chart. The album, which was produced in its entirety by the Neptunes and features collaborations with members of Clipse and No Doubt, was well received by publications such as The Guardian and NME.  In 2002, Kelis recorded "So Be It" for the Red Hot Organization's Fela Kuti tribute CD, Red Hot and Riot, from which all proceeds were donated to AIDS awareness charities. The same year, she had a top 20 US club hit with a remix of "Young, Fresh 'n' New" remix produced by Timo Maas, who subsequently featured Kelis on his single "Help Me".

How did that do in sales?
well received by publications such as The Guardian and NME.