For much of Arsenal's history, their home colours have been bright red shirts with white sleeves and white shorts, though this has not always been the case. The choice of red is in recognition of a charitable donation from Nottingham Forest, soon after Arsenal's foundation in 1886. Two of Dial Square's founding members, Fred Beardsley and Morris Bates, were former Forest players who had moved to Woolwich for work. As they put together the first team in the area, no kit could be found, so Beardsley and Bates wrote home for help and received a set of kit and a ball. The shirt was redcurrant, a dark shade of red, and was worn with white shorts and socks with blue and white hoops.
If it is possible to answer this question, answer it for me (else, reply "unanswerable"): What was the early name for the Arsenal FC?
Ah, so.. Dial Square

In 2010, there were 1.2 million people living in the greater Palermo area, 655,875 of which resided in the City boundaries, of whom 47.4% were male and 52.6% were female. People under age 15 totalled 15.6% compared to pensioners who composed 17.2% of the population. This compares with the Italian average of 14.1% people under 15 years and 20.2% pensioners. The average age of a Palermo resident is 40.4 compared to the Italian average of 42.8. In the ten years between 2001 and 2010, the population of Palermo declined by 4.5%, while the population of Italy, as a whole, grew by 6.0%. The reason for Palermo's decline is a population flight to the suburbs, and to Northern Italy. The current birth rate of Palermo is 10.2 births per 1,000 inhabitants compared to the Italian average of 9.3 births.
If it is possible to answer this question, answer it for me (else, reply "unanswerable"): In what year were there 1.2 million homes in the Palermo area?
Ah, so.. unanswerable

European comics studies began with Topffer's theories of his own work in the 1840s, which emphasized panel transitions and the visualverbal combination. No further progress was made until the 1970s. Pierre Fresnault-Deruelle then took a semiotics approach to the study of comics, analyzing textimage relations, page-level image relations, and image discontinuities, or what Scott McCloud later dubbed "closure". In 1987, Henri Vanlier introduced the term multicadre, or "multiframe", to refer to the comics a page as a semantic unit. By the 1990s, theorists such as Benoit Peeters and Thierry Groensteen turned attention to artists' poietic creative choices. Thierry Smolderen and Harry Morgan have held relativistic views of the definition of comics, a medium that has taken various, equally valid forms over its history. Morgan sees comics as a subset of "les litteratures dessinees" (or "drawn literatures"). French theory has come to give special attention to the page, in distinction from American theories such as McCloud's which focus on panel-to-panel transitions. Since the mid-2000s, Neil Cohn has begun analyzing how comics are understood using tools from cognitive science, extending beyond theory by using actual psychological and neuroscience experiments. This work has argued that sequential images and page layouts both use separate rule-bound "grammars" to be understood that extend beyond panel-to-panel transitions and categorical distinctions of types of layouts, and that the brain's comprehension of comics is similar to comprehending other domains, such as language and music.
If it is possible to answer this question, answer it for me (else, reply "unanswerable"): Who never used a semiotics method to study comics in the 1970s
Ah, so..
unanswerable