input: Lewis went on to publish Counterfactuals (1973), which contained an analysis of Counterfactual conditionals in terms of the theory of possible worlds. He had already proposed it in some of his earlier papers: "Counterpart Theory and Quantified Modal Logic" (1968), "Anselm and Actuality" (1970), and "Counterparts of Persons and their Bodies" (1971). In spite of significant technical advantages promised by this approach, the theory was widely considered to be too implausible to be taken literally, as Lewis urged it should be. Most often the idea that there exists an infinite number of causally isolated universes, each as real as our own but different from it in some way, and that furthermore that alluding to objects in this universe as necessary in order to explain what makes certain counterfactual statements true but not others, meets with what Lewis calls the "incredulous stare" (Lewis, OPW, 2005, pg. 135-137). Lewis defends and elaborates his theory of extreme modal realism, while insisting that there is nothing extreme about it, in On the Plurality of Worlds (1986). Lewis acknowledges that his theory is contrary to common sense, but believes that its advantages far outweigh this disadvantage, and that therefore we should not be hesitant to pay this price. According to Lewis, what makes a counterfactual conditional of the form "Had I made that shot our team would have won the game." true is that there is a world, as concrete as ours and significantly similar to it, in which my counterpart makes rather than misses the shot and the counterpart of our team wins the game. Had there been a world even more similar to ours in which my counterpart makes the shot but the counterpart of our team still loses the counterfactual would have been false. When we speak of counterfactual possibilities we speak of what is the case in some possible world or worlds. According to Lewis, "actual" is merely an indexical label we give to a world when we locate ourselves in it. Things are necessarily true when they are true in all possible worlds. (Note that Lewis is not the first one to speak of possible worlds in this context. Leibniz and C.I. Lewis, for example, both speak of possible worlds as a way of thinking about possibility and necessity, and some of David Kaplan's early work is on the counterpart theory. Lewis's original suggestion was that all possible worlds are equally concrete, and the world in which we find ourselves is no more real than any other possible world.)

Answer this question "What are counterfactuals?"
output: Counterfactuals (1973), which contained an analysis of Counterfactual conditionals in terms of the theory of possible worlds.

input: 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.

Answer this question "Did she learn any other to play anything else?"
output: Four years later, Autumn made her musical debut as a solo violinist performing with an orchestra, and won a competition.

input: In 2009, the band again worked with producer Bob Rock, and We Are the Same was released in North America on April 7, 2009. It produced three singles. To promote We Are the Same, the band invited The Hour's George Stroumboulopoulos for a live interview at The Bathouse Recording Studio in Bath, Ontario (where most of the album was recorded), and they played seven new songs as well as unique versions of five other songs. The interview and performance were broadcast live in more than eighty theatres across Canada. On January 22, 2010, the band performed "Fiddler's Green" at the "Canada for Haiti" telethon to aid earthquake victims in that country. This was broadcast nationally on all three of Canada's main networks (CBC, Global, and CTV). On May 12, 2012, a 90-second clip of the song "At Transformation", the first single from the band's new album, premiered during Hockey Night in Canada. The full song premiered on Toronto radio station CFNY-FM (102.1 The Edge) on May 16. The song was released to radio stations on May 17 and was officially released on iTunes on May 18. Band member Johnny Fay revealed that the title for the album is Now for Plan A. The second single, "Streets Ahead," was released on August 24. The album (their 12th studio album), produced by Gavin Brown, was released on October 2, 2012. The band played several live "Nashville" style shows that week at the Supermarket bar in Kensington market to promote the release of this record. On the evening of October 2, they played a full set to a packed bar with a live webcast through tdsmultimedia to livestream, and an audio simulcast on Sirius XM. The Tragically Hip re-entered their studio in July 2014 to begin work on a new album. The following October, Fully Completely was re-released as a remastered deluxe edition, including two bonus tracks, a vinyl edition and a recording of a live show. To celebrate and promote the re-release, the band toured Canada and the United States from January to October 2015.

Answer this question "What other albums did the release later on"
output:
The following October, Fully Completely was re-released as a remastered deluxe edition,