input: Kuralt was said to have tired of what he considered the excessive rivalry between reporters on the hard news beats:  "I didn't like the competitiveness or the deadline pressure," he told the Academy of Television Arts & Sciences, upon his induction into their Hall of Fame. "I was sure that Dick Valeriani of NBC was sneaking around behind my back -- and of course, he was! -- getting stories that would make me look bad the next day. Even though I covered news for a long time, I was always hoping I could get back to something like my little column on the Charlotte News."  When he persuaded CBS to let him try out just such an idea for three months, it turned into a quarter-century project. "On the Road" became a regular feature on The CBS Evening News with Walter Cronkite in 1967. Kuralt hit the road in a motor home (he wore out six before he was through) with a small crew and avoided the interstates in favor of the nation's back roads in search of America's people and their doings. He said, "Interstate highways allow you to drive coast to coast, without seeing anything".  According to Thomas Steinbeck, the older son of John Steinbeck, the inspiration for "On the Road" was Steinbeck's Travels with Charley (whose title was initially considered as the name of Kuralt's feature). During his career, he won three Peabody awards and ten Emmy awards for journalism. He also won a George Polk Award in 1980 for National Television Reporting.

Answer this question "For how many years did the segment air?"
output: 

input: New Jersey, who had won the Stanley Cup in 2000 and reached the finals the following year, acquired Nieuwendyk for their playoff run in 2002. He scored 11 points in 14 regular season games for the Devils following the trade, but New Jersey was eliminated in the first round of the 2002 Stanley Cup playoffs by the Carolina Hurricanes. Nieuwendyk reached two offensive milestones in 2002-03. He scored his 500th career goal on January 17, 2003, against Carolina's Kevin Weekes. On February 23, he scored his 1,000th point in a win over the Pittsburgh Penguins. He and the Devils reached the 2003 Stanley Cup Finals, but Nieuwendyk suffered a hip injury in the sixth game of the Eastern Conference Final that prevented him from appearing in the championship series. The Devils defeated the Mighty Ducks of Anaheim in the final, capturing the franchise's third Stanley Cup. For Nieuwendyk, it was his third title with his third different team.  The Toronto Maple Leafs signed Nieuwendyk to a one-year contract for the 2003-04 season. He scored 22 goals for Toronto in a season marred by abdominal and back injuries that limited him to 64 games played, and a groin injury that forced him out of the lineup for much of Toronto's second-round series loss to the Philadelphia Flyers. He signed another one-year deal for 2004-05, but the season was cancelled due to a labour dispute that was feared would mark the end of the 38-year-old Nieuwendyk's career.  When NHL play resumed in 2005-06, the Florida Panthers sought to bolster their lineup with veteran players. They signed both Nieuwendyk and Roberts, who had played together in Calgary and Toronto and wanted to finish their careers together, to two-year, $4.5 million contracts. Nieuwendyk appeared in 65 games during the season, scoring 26 goals and 56 points. He appeared in 15 games in 2006-07 before chronic back pain forced him onto injured reserve. After missing 14 games, Nieuwendyk announced his retirement on December 7, 2006.

Answer this question "Did his team win?"
output: 

input: 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.

Answer this question "what else did she describe in her theory?"
output:
Butler argues that it is more valid to perceive gender as a performance in which an individual agent acts.