IN: DJ Jazzy Jeff & the Fresh Prince was an American hip hop duo from West Philadelphia, Pennsylvania. Rapper Will Smith (the Fresh Prince) met disc jockey Jeff Townes (DJ Jazzy Jeff) in the 1980s, when they were both trying to make names for themselves in West Philadelphia's local hip hop scene. They had as a support live member Clarence Holmes (Ready Rock C) - who was not officially credited to the duo. Holmes left the group in 1990 and later sued unsuccessfully for earnings, claiming a breach of oral contract.

Jeff Townes and Will Smith were introduced to each other by chance in 1985. One night, Townes was performing at a house party only a few doors down from Smith's residence, and he was missing his hype man. Smith decided to fill in. They both felt strong chemistry, and Townes was upset when his hype man finally made it to the party.  Soon after, the two decided to join forces. Smith enlisted a friend to join as the beatboxer of the group, Ready Rock C, who was not officially credited to the duo, only as a support live member. Philadelphia-based Word Up Records released their first single in late 1985 to 1986 when A&R man Paul Oakenfold introduced them to Word Up with their single "Girls Ain't Nothing but Trouble," a tale of funny misadventures that landed Smith and his former DJ and rap partner Mark Forrest (Lord Supreme) in trouble. The song sampled the theme song of "I Dream of Jeannie." Smith became known for light-hearted story-telling raps and capable, though profanity-free, "battle" rhymes. The single became a hit a month before Smith graduated from high school.  Based on this success, the duo were brought to the attention of Jive Records and Russell Simmons. The duo's first album, Rock the House, which was first released on Word Up in 1986 debuted on Jive in March of 1987. The album sold about 300,000 units. That same year, the band found themselves on their first major tour with Run DMC, Public Enemy, and others.

Who released their first record?

OUT: Philadelphia-based Word Up Records released their first single

Answer the question at the end by quoting:

George Wright (January 28, 1847 - August 21, 1937) was an American baseball player. He played shortstop for the original Cincinnati Red Stockings, the first fully professional team, when he was the game's best player. In 1868, Wright won the Clipper Medal for being the best shortstop in baseball. He was elected to the Baseball Hall of Fame in 1937.
At some times during the war, both Wright brothers played for the venerable Gothams, the second eldest baseball team after the Knickerbockers. According to Ivor-Campbell (1996), George moved from the Gotham juniors to the senior team when he was fifteen. At seventeen in 1864 he was the regular catcher.  Baseball's recovery from the American Civil War was far advanced in greater New York City (always untouched by the military conflict), as the leading clubs played more than twenty National Association of Base Ball Players (NABBP) matches, the Gothams eleven. George played eight and led the team both in runs, scoring 2.4 times per game, and "hands lost", put out only 2.4 times per game, average being three per player in a 9-inning game. In seven matches infielder Harry was fourth in scoring at 2.0 and second behind George in hands lost at 2.6 (Wright 2000: 91).  For the 1865 season George was hired by the Philadelphia Cricket Club; that summer he played in five matches for the Olympic Ball Club of that city. The Olympic club was the devoted to games in the base ball genus, established in 1833. At the December annual meeting, the first in peacetime, NAABP membership tripled, including isolated clubs from as far as Fort Leavenworth, Kansas and Chattanooga, Tennessee. Wright returned to the Gothams for base ball; he was nineteen and nearing his athletic peak. At the same time, Harry Wright moved to Cincinnati for a job at the Union Cricket Club.  Early in the summer of 1866, Wright moved from catcher for Gotham, which played eight NABBP matches that year, to shortstop for Union, which played 28, the leading number. The Union of Morrisania, now in the New York borough of the Bronx, were another charter member of the first Association, but one that moved toward professionalism in the postwar years, as the Gothams did not. In 1867, he joined the Nationals of Washington, D.C., eldest club in that city, whose approach to professionalism was arranging government jobs, mainly with the Treasury. He played second base, shortstop, and pitcher in 29 of the 30 matches fully on record and in those matches led the team both in scoring and hands lost. Next year he returned to the Unions for the association's last officially all-amateur season and moved permanently to the shortstop position.

WHat is a career highlight?

Next year he returned to the Unions for the association's last officially all-amateur season and moved permanently to the shortstop position.

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 did he do in 1988?"
output:
In this essay, Judith Butler proposes her theory of gender performativity, which would be later taken up in 1990 throughout her work, Gender Trouble.