Problem: Background: Kiraly grew up in Santa Barbara, California. He began playing volleyball at age six with encouragement from his father, Dr. Laszlo Kiraly, who had been a member of the Hungarian Junior National team prior to fleeing the country during the Hungarian national uprising of 1956. At age 11, Kiraly entered his first beach volleyball tournament paired with his father. Kiraly attended Santa Barbara High School, where he was a member of the boys' varsity volleyball team.
Context: Kiraly had a long career on the professional beach circuit, and with 148 career wins is the 'winningest' player in the sport's history. He won at least one tournament in 24 of the 28 seasons he played in a career that spanned four decades. He claimed titles with 13 partners, and in domestic events he made it to the semifinals over 80% of the time. Kiraly competed into his mid-40s. Kiraly played in his first beach tournament at age 11 as his father's partner. Kiraly has said as an 11-year-old he was thrilled to discover in beach volleyball he could compete with grown men on even terms. He earned his A and AA rating on the beach at the age of 15 and his AAA rating at 17. Kiraly's first big beach breakthrough came at Hermosa Beach in 1978. As a 17-year-old who had just graduated from high school, he shocked Hermosa onlookers by gaining the finals before he and partner Marco Ortega lost to the day's dominant team on the beach, Jim Menges and Greg Lee. In the early 1980s, Kiraly made a successful beach team pairing with UCLA teammate Sinjin Smith. The partnership split up as Kiraly came to focus on the U.S National Team. In 1992 Kiraly left his indoor career behind, returning to the U.S. to play beach volleyball full-time on the AVP tour. Kiraly chose Kent Steffes as his doubles partner. Steffes was a talented younger player who had left UCLA early to start playing on the professional beach tour. Kiraly and Steffes soon became the dominant pairing on the tour, supplanting former teammate and doubles partner Smith and his partner Randy Stoklos as the beach's top team. In 1996 Kiraly returned to the Olympics, this time competing in beach volleyball with his partner, Steffes. Kiraly and Steffes won the gold medal, the first ever awarded for men's beach volleyball. Kiraly continued to win tournaments into his 40s, recording two AVP tournament victories with his partner Brent Doble in 2002 and 2003, and four more with Mike Lambert in 2004 and 2005. Kiraly's last victory came in August 2005, when he and Lambert won at Huntington Beach. In 2006, Kiraly partnered with Larry Witt, and in 2007 partnered with Kevin Wong. His teams continued to make high placings. Over his career on the beach, Kiraly won over $3 million in prize money, and earned considerably more in endorsements. Kiraly retired from the AVP tour after the 2007 season. Ultimately Kiraly won 148 professional beach volleyball titles, 74 of them with Steffes. The next closest player in total wins is Sinjin Smith at 139. Following Smith is his longtime partner, Randy Stoklos, at 122. The next closest player behind these four from the top two teams is Emanuel Rego, with 78 wins.
Question: What else was important about his beach volleyball career
Answer: Kiraly played in his first beach tournament at age 11

Problem: Background: Judy Chicago (born Judith Sylvia Cohen, July 20, 1939) is an American feminist artist, art educator, and writer known for her large collaborative art installation pieces about birth and creation images, which examine the role of women in history and culture. By the 1970s, Chicago had founded the first feminist art program in the United States. Chicago's work incorporates a variety of artistic skills, such as needlework, counterbalanced with labor-intensive skills such as welding and pyrotechnics. Chicago's most well known work is The Dinner Party, which is permanently installed in the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum.
Context: While at UCLA, she became politically active, designing posters for the UCLA NAACP chapter and eventually became its corresponding secretary. In June 1959, she met and became romantically linked with Jerry Gerowitz. She left school and moved in with him, for the first time having her own studio space. The couple hitch hiked to New York in 1959, just as Chicago's mother and brother moved to Los Angeles to be closer to her. The couple lived in Greenwich Village for a time, before returning in 1960 from Los Angeles to Chicago so she could finish her degree. Chicago married Gerowitz in 1961. She graduated with a Bachelor of Fine Arts in 1962 and was a member of the Phi Beta Kappa Society. Gerowitz died in a car crash in 1963, devastating Chicago and causing her to suffer from an identity crisis until later that decade. She received her Master of Fine Arts from UCLA in 1964. While in grad school, Chicago's created a series that was abstract, yet easily recognized as male and female sexual organs. These early works were called Bigamy, and represented the death of her husband. One depicted an abstract penis, which was "stopped in flight" before it could unite with a vaginal form. Her professors, who were mainly men, were dismayed over these works. Despite the use of sexual organs in her work, Chicago refrained from using gender politics or identity as themes. In 1965, Chicago displayed work in her first solo show, at the Rolf Nelson Gallery in Los Angeles; Chicago was one of only four female artists to take part in the show. In 1968, Chicago was asked why she did not participate in the "California Women in the Arts" exhibition at the Lytton Center, to which she answered, "I won't show in any group defined as Woman, Jewish, or California. Someday when we all grow up there will be no labels." Chicago began working in ice sculpture, which represented "a metaphor for the preciousness of life," another reference towards her husband's death. In 1969, the Pasadena Art Museum exhibited a series of Chicago's spherical acrylic plastic dome sculptures and drawings in an "experimental" gallery. Art in America noted that Chicago's work was at the forefront of the conceptual art movement, and the Los Angeles Times described the work as showing no signs of "theoretical New York type art." Chicago would describe her early artwork as minimalist and as her trying to be "one of the boys". Chicago would also experiment with performance art, using fireworks and pyrotechnics to create "atmospheres", which involved flashes of colored smoke being manipulated outdoors. Through this work she attempted to "feminize" and "soften" the landscape. During this time, Chicago also began exploring her own sexuality in her work. She created the Pasadena Lifesavers, which was a series of abstract paintings that placed acrylic paint on Plexiglas. The works blended colors to create an illusion that the shapes "turn, dissolve, open, close, vibrate, gesture, wiggle," representing her own discovery that "I was multi-orgasmic." Chicago credited Pasadena Lifesavers, as being the major turning point in her work in relation to women's sexuality and representation.
Question: Where did she start her career?
Answer:
While in grad school, Chicago's created a series that was abstract,