input: Fogerty was discharged from the Army in July 1967. In the same year, the band changed its name to Creedence Clearwater Revival. At this time, he took his brother's place as lead singer for the band. By 1968, things started to pick up for the band. The band released their eponymous debut album and also had their first hit single, "Susie Q". Many other hit singles and albums followed, beginning with "Proud Mary" and the album Bayou Country. Fogerty, as writer of the songs for the band (as well as lead singer and lead guitarist), felt that his musical opinions should count for more than those of the others, leading to resentments within the band. These internal rifts, and Tom's feeling that he was being taken for granted, caused Tom to leave the group in January 1971. The two other group members, bassist Stu Cook and drummer Doug Clifford, wanted a greater role in the band's future. Fogerty, in an attempt to keep things together, insisted Cook and Clifford share equal songwriting and vocal time on what became the band's final album, Mardi Gras, released in April 1972, which included the band's last two singles, the 1971 hit "Sweet Hitch-Hiker", and "Someday Never Comes", which barely made it into the Billboard Top 20. Cook and Clifford told Fogerty that the fans would not accept "Mardi Gras" as a CCR LP, but he said, "My voice is a unique instrument, and I will not lend it to your songs." He gave them an ultimatum: either they would do it or he would quit immediately. They accepted his ultimatum, but the album received poor reviews. It was a commercial success, however, peaking at #12 and achieving gold record status. It generated weaker sales than their previous albums. The group disbanded shortly afterwards. The only reunion of all four original members was at Tom Fogerty's wedding in 1980. Fogerty, Doug and Stu played a 45-minute set at their 20th class reunion in 1983, and Fogerty and Doug were reunited again for a brief set at their 25th class reunion.

Answer this question "When did the group break up?"
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 "Where did she publish this piece?"
output: She revises Freud's notion of this concept's applicability to lesbianism,

input: In April 2006, Otsuka released "Frienger" (a portmanteau of the words Friend and Ranger). The promotional video was shot in Taiwan and was used as the commercial song for the Toshiba W41T 4 GB MP3 mobile phone. Soon after the release of "Frienger," Otsuka reprised her role as an actress for Tokyo Friends: The Movie, which hit theaters in Japan on August 12, 2006. The movie is a direct sequel to the DVD drama released the previous year. Otsuka also sang the opening theme for Tokyo Friends, "Yumekui", which was released as a new single on August 2, 2006. It debuted fifth on the weekly chart, selling 63,428 copies in the first week and a total of 145,281 copies. Two months after "Yumekui", Otsuka released another single titled "Renai Shashin" on October 25, 2006, which was used as the opening theme song for the movie Tada, Kimi o Aishiteru. The song was based on events from the film and its original novel, also called Renai Shashin. "Renai Shashin" debuted at number 2 and sold 129,855 copies, making it the 75th best-selling single of the year. At the end of 2006, Otsuka had released a total of three singles and charted on Oricon's 2006 yearly chart with "Frienger" at number 60, "Yumekui" at number 66, and "Renai Shashin" at number 75. Otsuka released her fourteenth single, "Chu-Lip," on February 21, 2007. The single was used as the theme song for the TBS drama Kirakira Kenshui, starring Manami Konishi and Wentz Eiji of WaT and managed to claim the third position on the Oricon charts.

Answer this question "How many copies total did Yumekui sell?"
output:
145,281 copies.