input: Lillie Evelyn Moller was born in Oakland, California, on May 24, 1878, to Annie (Delger) and William Moller, a builder's supply merchant. She was the second of the family's eleven children. Both of her wealthy parents were of German descent. Educated at home until the age of nine, Moller began formal schooling in the first grade at a public elementary school and was rapidly promoted through the grade levels. She was elected vice president of her senior class at Oakland High School and graduated with exemplary grades in May 1896. Moller, who changed her name to Lillian during college, continued her education at the University of California, Berkeley, commuting by streetcar from her parents' Oakland home. She graduated from the university in 1900, earning a teaching certificate and a bachelor's degree in English literature, and was the school's first female commencement speaker at the university. Moller enrolled at Columbia University, intending to pursue a master's degree in literature and to study with Brander Matthews, a well-known writer and educator, but soon realized he did not allow women to study with him or attend his lectures. Following her exposure to Edward Thorndike's psychology courses, she turned to Thorndike and the study of psychology because he did accept female students. After Moller became ill and returned home, she completed a master's degree in literature at the University of California, Berkeley, in 1902. The topic of her thesis was Ben Jonson's play Bartholomew Fair. Moller began studies for a Ph.D. at the University of California, but took time off to travel in Europe in the spring of 1903. Following her marriage to Frank Bunker Gilbreth in 1904 and relocation to New York, she completed a dissertation for a doctorate from the University of California, Berkeley, in 1911, but was not awarded the degree due to her noncompliance with residency requirements for doctoral candidates. The dissertation was published as The Psychology of Management: The Function of the Mind in Determining, Teaching and Installing Methods of Least Waste in 1914. After the Gilbreths relocated their family to Providence, Rhode Island, Lillian enrolled at Brown University. She earned a Ph.D. in applied psychology in 1915, which mader her the first of the pioneers of industrial management to have a doctorate. The topic of her dissertation was efficient teaching methods and titled Some Aspects of Eliminating Waste in Teaching.

Answer this question "Are there any other interesting aspects about this article?"
output: Both of her wealthy parents were of German descent.

input: Ebsen made his television debut on an episode of The Chevrolet Tele-Theatre in 1949. This led to television appearances in: Stars Over Hollywood, Gruen Guild Playhouse, four episodes of Broadway Television Theatre, Schlitz Playhouse of Stars, Corky and White Shadow, the H.J. Heinz Company's Studio 57, Screen Directors Playhouse, two episodes of Climax!, Tales of Wells Fargo, The Martha Raye Show, Playhouse 90, Westinghouse Desilu Playhouse, Johnny Ringo, two episodes of Bonanza, three episodes of Maverick (in which he portrayed assorted homicidal villains), and 77 Sunset Strip. Ebsen received wide television exposure when he played Georgie Russel, a role based on a historical person and companion to frontiersman Davy Crockett, in the Disneyland television miniseries Davy Crockett (1954-1955). In the 1958-1959 season, Ebsen co-starred in the 26-episode half-hour NBC television adventure series Northwest Passage. This series was a fictionalized account of Major Robert Rogers, a colonial American fighter for the British in the French and Indian War. Ebsen played the role of Sergeant Hunk Marriner; Keith Larsen played Rogers. In 1960, Ebsen appeared in episodes of the television series Rawhide, in the episodes "The Pitchwagon" and Tales of Wells Fargo, which he reprised in episodes of both series during 1962 in the roles of different characters. Also in 1960, Ebsen played in season 4 episode 30 of Have Gun, Will Travel called "El Paso Stage", as a corrupt marshal. From 1961 to 1962, Ebsen had a recurring role as Virge Blessing in the ABC drama series Bus Stop, the story of travelers passing through the bus station and diner in the fictitious town of Sunrise, Colorado. Robert Altman directed several episodes. Arthur O'Connell had played Virge Blessing in the earlier film version on which the series was loosely based. Ebsen also appeared as "Mr. Dave" Browne, a homeless hobo, on The Andy Griffith Show opposite Ron Howard, and as Jimbo Cobb in The Twilight Zone episode "The Prime Mover" (season 2, episode 21) in 1961.

Answer this question "Did he win any awards in that period ?"
output:

input: Swift uses her life experiences as an inspiration in her work. In her songs, Swift often addresses the "anonymous crushes of her high school years" and celebrities. Swift frequently criticizes ex-boyfriends, an aspect of her songwriting downplayed by The Village Voice: "Being told What Songs Mean is like having a really pushy professor. And it imperils a true appreciation of Swift's talent, which is not confessional, but dramatic." However, New York believes the media scrutiny over her decision to "mine her personal life for music ... is sexist, inasmuch as it's not asked of her male peers". The singer herself has said that not all her songs are factual and that they are sometimes based on observations. Aside from her liner note clues, Swift tries not to talk about song subjects specifically "because these are real people. You try to give insight as to where you were coming from as a writer without completely throwing somebody under the bus". For a female to write about her feelings, and then be portrayed as some clingy, insane, desperate girlfriend in need of making you marry her and have kids with her, I think that's taking something that potentially should be celebrated--a woman writing about her feelings in a confessional way--that's taking it and turning it and twisting it into something that is frankly a little sexist. The Guardian has praised Swift for writing about teenage years "with a kind of wistful, sepia-toned nostalgia" over the course of her first two albums. New York has remarked that many singer-songwriters have made great records as teens, but "none made great records so explicitly about their teens". The magazine has also compared her work to Brian Wilson. In Fearless, Swift featured fairy tale imagery and explored the disconnect "between fairy tales and the reality of love". Her later albums address more adult relationships. In addition to romance and love, Swift's songs have discussed parent-child relationships, friendships, alienation, fame, and career ambitions. Swift frequently includes "a tossed-off phrase to suggest large and serious things that won't fit in the song, things that enhance or subvert the surface narrative". Rolling Stone describes Swift as "a songwriting savant with an intuitive gift for verse-chorus-bridge architecture". According to The Village Voice, she uses third-verse point of view reversals frequently. In terms of imagery, repetition is evident in Swift's songwriting. In The Guardian's words, "she spends so much time kissin' in the rain that it seems a miracle she hasn't developed trenchfoot". Slant Magazine adds, "to Swift's credit, she explores new lyrical motifs over the course of [her fourth] album". Although reviews of Swift's work are "almost uniformly positive", The New Yorker has said she is generally portrayed "more as a skilled technician than as a Dylanesque visionary".

Answer this question "Has Swift spoken of any other influences for her lyrics?"
output:
Swift often addresses the "anonymous crushes of her high school years" and celebrities.