input: Berry overcame several physical ailments during his football career, a fact he became famous for, but one that according to Berry was often exaggerated by the media. He was skinny and injury prone, such that when his college teammates saw him for the first time they sarcastically dubbed him, "Jack Armstrong, the All-American Boy". Reportedly, because one leg was shorter than the other, Berry had to wear padding inside his shoe in order to walk properly. However, according to Berry, this was not entirely true. In actuality, bruised nerves near the sacroiliac joint occasionally caused misalignment in his back, which in turn affected his legs and caused one to become slightly shorter; it was not a permanent condition. To alleviate this, he wore a back brace for 13 years in the NFL. That he required specialized shoes was a myth, which Berry says was perpetuated by an overzealous information director with the Colts when Berry tried to compensate for his condition by putting something in his shoe during training camp. Due to his poor eyesight, Berry wore contact lenses when he played. Because the lenses would often slip when he did rapid eye movements toward the ball, he tried many different lenses, which led sportswriters to believe he must have had major eye problems. "I tried all kinds of lenses till we got what we wanted," he said. "I even had tinted lenses for sunny days, so I could watch the ball come right across the sun." Berry was famous for his attention to detail and preparation, which he used to overcome his physical limitations. Considered slow for a wide receiver, he ran the 40-yard dash in 4.8 seconds. Rather than speed, he was renowned for his precise pass patterns and sure hands; he rarely dropped passes, and he fumbled only once in his career. He would squeeze Silly Putty constantly to strengthen his hands. He and Unitas regularly worked after practice and developed the timing and knowledge of each other's abilities that made each more effective. The reason for this, according to Berry, was that the two did not think on the same wavelength. "Every season we had to start all over on our timing, especially the long ball," said Berry. "He knew he had to release the ball when I was eighteen yards from scrimmage for me to receive it thirty-eight yards out. I knew I had to make my break in those first eighteen yards and get free within 2.8 seconds." He also relied on shifty moves, and by his count, he had 88 different moves to get open, all of which he practiced every week. Even in his adult years, Berry was soft-spoken and reserved. He preferred not to draw attention to himself, and was described by sportswriter Jim Murray as "polite as a deacon, as quiet as a monk." Both as a player and as a coach, he was studious, serious, and orderly; "He was too straight and narrow--but a great guy, a hell of a guy," former Colts teammate Art Donovan said of Berry. "He was a little peculiar, to say the least."

Answer this question "any intresting thing"
output: Berry overcame several physical ailments during his football career, a fact he became famous for, but one that according to Berry was often exaggerated by the media.

input: In mid-1994, Supergrass issued their debut single "Caught by the Fuzz" on the small independent local label Backbeat Records. The song recounts lead singer and guitarist Gaz Coombes's experience of being arrested by the police for possession of cannabis. The limited release of vinyl copies sold out quickly, thanks in part to support from John Peel on his Radio One show. The Parlophone label signed the band and re-released the single in the autumn of the same year. It achieved the rare feat of both NME and Melody Maker "Single Of The Week" status in the same week. "Mansize Rooster", released in February 1995, peaked at number 20 in the UK Singles Chart and "Lenny" was the band's first top 10 single. "Lenny" was followed soon afterwards by the band's debut album, I Should Coco (May 1995), which entered the UK Albums Chart at number one. It achieved half a million sales in the UK and over a million worldwide. NME reviewer Steve Sutherland gave the album a nine out of ten rating, writing, "These freaks shall inherit the earth." The album's fourth single, the double A-side release "Alright"/"Time", stayed in the UK Top Three for a month, peaking at number two. Supergrass followed I Should Coco with 18 months of heavy touring, appearing at festivals such as Scotland's T In The Park and the Glastonbury Festival. After Performing at Rio's Hollywood Rock Festival in April 1996, Supergrass met the train robber Ronnie Biggs, and apparently said to him, "I was frightened for my life when I heard there was a supergrass in the area." A photograph of Ronnie Biggs and Gaz together was subsequently included in the music video for their 1996 single "Going Out". Recorded at Great Linford Manor the single peaked at number five in the UK charts, but was the last song produced by Sam Williams. Supergrass returned to Sawmills Studio to co-produce follow up album, In It For The Money (released April 1997), with John Cornfield. The album was a huge success and went platinum in the UK, but confused some fans expecting something similar to I Should Coco. The single, "Richard III", reached number two. Subsequent releases, "Sun Hits the Sky" and "Late In The Day", reached numbers 10 and 18 respectively. Around this time Supergrass also appeared on the front cover of The Big Issue, interviewed for the magazine at Heathrow Airport by ex-drug smuggler Howard Marks.

Answer this question "Were they popular with the fans?"
output: The album was a huge success and went platinum in the UK,

input: Returning to the United States, Chayefsky worked in his uncle's print shop, Regal Press, an experience which provided a background for his later teleplay, Printer's Measure (1953), as well as his story for the movie As Young as You Feel (1951). Kanin enabled Chayefsky to spend time working on his second play, Put Them All Together (later known as M is for Mother), but it was never produced. Producers Mike Gordon and Jerry Bressler gave him a junior writer's contract. He wrote a story, The Great American Hoax, which sold to Good Housekeeping but was never published. He relocated to Hollywood, where he met his future wife Susan Sackler, and the couple married in February 1949. Failing to find work on the West Coast, Chayefsky returned to New York. During the late 1940s, he began working full-time on short stories and radio scripts, and during that period, he was a gagwriter for radio host Robert Q. Lewis. Chayefsky later recalled, "I sold some plays to men who had an uncanny ability not to raise money." During 1951-52, Chayefsky wrote adaptations for radio's Theater Guild on the Air: The Meanest Man in the World (with James Stewart), Cavalcade of America, Tommy (with Van Heflin and Ruth Gordon) and Over 21 (with Wally Cox). His play The Man Who Made the Mountain Shake was noticed by Elia Kazan, and his wife, Molly Kazan, helped Chayefsky with revisions. It was retitled Fifth From Garibaldi but was never produced. In 1951, the movie As Young as You Feel was adapted from a Chayefsky story.

Answer this question "Did he have any successes post-war?"
output:
During the late 1940s, he began working full-time on short stories and radio scripts, and during that period, he was a gagwriter for radio host Robert Q. Lewis.