Question: The Plastic Ono Band is a band formed by John Lennon and Yoko Ono in 1969 as a vehicle for their collaborative and solo projects. Lennon and Ono had begun a personal and artistic relationship in 1968, collaborating on several experimental releases. Following their marriage in 1969, they decided that all of their future endeavours would be credited to a conceptual and collaborative vehicle, Plastic Ono Band. The band would go on to feature a rotating lineup of many musicians, including Eric Clapton, Klaus Voormann, Alan White, Billy Preston, Jim Keltner, Delaney & Bonnie and Friends, and Lennon's former Beatles bandmates George Harrison and Ringo Starr.

Lennon and Ono left the UK to settle in New York City during the fall of 1971. In Greenwich Village, the couple became more politically active and began writing protest songs. These songs became the basis for their next album, Some Time in New York City. As backing, they enlisted the help of New York band Elephant's Memory, consisting of guitarist Wayne 'Tex' Gabriel, bassist Gary Van Scyoc, saxophonist Stan Bronstein, keyboardist Adam Ippolito, keyboardist John La Boosca, and drummer Richard Frank, Jr. Phil Spector produced, and Jim Keltner also played on the album. The album was released on 12 June 1972, credited to "John & Yoko/Plastic Ono Band with Elephant's Memory plus Invisible Strings". Some Time in New York City included a second disc, entitled Live Jam, which included the recordings from the 1969 Peace for Christmas concert and the 1971 performance with Frank Zappa.  Ono and Lennon continued their work with Elephant's Memory throughout 1972, performing as the Plastic Ono Elephant's Memory Band (which also included Jim Keltner). On 30 August, they performed a pair of benefit concerts at Madison Square Garden. The benefit, entitled "One to One", was organised by Geraldo Rivera to raise money for children with mental challenges. By this time, La Boosca had departed the band, and the concert saw the addition of John Ward on bass. The concert was filmed and recorded, later released in February 1986 as the album Live In New York City. They also performed at the Jerry Lewis MDA Labor Day Telethon.  The last collaboration of the Plastic Ono Elephant's Memory Band was Ono's double album Approximately Infinite Universe. It was recorded throughout the fall of 1972, and was released in January 1973.

Using a quote from the above article, answer the following question: What does this end in
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Answer: The benefit, entitled "One to One", was organised by Geraldo Rivera to raise money for children with mental challenges.

Problem: Judith Butler FBA (born February 24, 1956) is an American philosopher and gender theorist whose work has influenced political philosophy, ethics and the fields of third-wave feminist, queer and literary theory. Since 1993, she has taught at the University of California, Berkeley, where she is now Maxine Elliot Professor in the Department of Comparative Literature and the Program of Critical Theory. She is also the Hannah Arendt Chair at the European Graduate School. Butler is best known for her books Gender Trouble:

In this essay, Judith Butler proposes her theory of gender performativity, which would be later taken up in 1990 throughout her work, Gender Trouble. She begins by basing her theory of gender performativity on a feminist phenomenological point of view. She suggests that both phenomenology and feminism ground their theories in "lived experience". Further, in comparing phenomenologist Maurice Merleau-Ponty and feminist Simone de Beauvoir, Butler argues that both theories view the sexual body as a historical idea or situation; she accepts this notion of a "distinction between sex, as biological facticity, and gender, as the cultural interpretation or signification of that facticity". This combination of theories is essential for founding Butler's view of "theatrical" or performative genders in society.  Butler argues that it is more valid to perceive gender as a performance in which an individual agent acts. The performative element of her theory suggests a social audience. For Butler, the "script" of gender performance is effortlessly transmitted generation to generation in the form of socially established "meanings": She states, "gender is not a radical choice... [nor is it] imposed or inscribed upon the individual". Given the social nature of human beings, most actions are witnessed, reproduced, and internalized and thus take on a performative or theatric quality. With Butler's theory, gender is essentially a performative repetition of acts associated with the male or female. Currently, the actions appropriate for men and women have been transmitted to produce a social atmosphere that both maintains and legitimizes a seemingly natural gender binary. Consistently with her acceptance of the body as a historical idea, she suggests that our concept of gender is seen as natural or innate because the body "becomes its gender through a series of acts which are renewed, revised, and consolidated through time".  Butler argues that the performance of gender itself creates gender. Additionally, she compares the performativity of gender to the performance of the theater. She brings many similarities, including the idea of each individual functioning as an actor of their gender. However, she also brings into light a critical difference between gender performance in reality and theater performances. She explains how the theater is much less threatening and does not produce the same fear that gender performances often encounter because of the fact that there is a clear distinction from reality within the theater.  Butler uses Sigmund Freud's notion of how a person's identity is modeled in terms of the normal. She revises Freud's notion of this concept's applicability to lesbianism, where Freud says that lesbians are modeling their behavior on men, the perceived normal or ideal. She instead says that all gender works in this way of performativity and a representing of an internalized notion of gender norms.

What were the Performative Acts?

Answer with quotes:
Butler argues that it is more valid to perceive gender as a performance in which an individual agent acts. The performative element of her theory suggests a social audience.