input: The first funeral service for Cooke was held on December 18, 1964, at A. R. Leak Funeral Home in Chicago; 200,000 fans lined up for more than four city blocks to view his body. Afterward, his body was flown back to Los Angeles for a second service, at the Mount Sinai Baptist Church on December 19, which included a much-heralded performance of "The Angels Keep Watching Over Me" by Ray Charles, who stood in for grief-stricken Bessie Griffin. Cooke was interred in the Garden of Honor, Lot 5728, Space 1, at Forest Lawn Memorial Park Cemetery in Glendale, California. Two singles and an album were released in the month after his death. One of the singles, "Shake", reached the top ten of both the pop and R&B charts. The B-side, "A Change Is Gonna Come", is considered a classic protest song from the era of the Civil Rights Movement . It was a top 40 pop hit and a top 10 R&B hit. The album, also titled Shake, reached the number one spot for R&B albums. After Cooke's death, his widow, Barbara, married Bobby Womack. Cooke's daughter, Linda, later married Womack's brother, Cecil. Bertha Franklin said she received numerous death threats after shooting Cooke. She left her position at the Hacienda Motel and did not publicly disclose where she had moved. After being cleared by the coroner's jury, she sued Cooke's estate, citing physical injuries and mental anguish suffered as a result of Cooke's attack. Her lawsuit sought US$200,000 in compensatory and punitive damages. Barbara Womack countersued Franklin on behalf of the estate, seeking $7,000 in damages to cover Cooke's funeral expenses. Elisa Boyer provided testimony in support of Franklin in the case. In 1967, a jury ruled in favor of Franklin on both counts, awarding her $30,000 in damages.

Answer this question "Was Bertha Franklin his wife?"
output: After Cooke's death, his widow, Barbara, married Bobby Womack. Cooke's daughter, Linda, later married Womack's brother, Cecil.

input: In 1970, Chicago decided to teach full-time at Fresno State College, hoping to teach women the skills needed to express the female perspective in their work. At Fresno, she planned a class that would consist only of women, and she decided to teach off campus to escape "the presence and hence, the expectations of men." She taught the first women's art class in the fall of 1970 at Fresno State College. It became the Feminist Art Program, a full 15-unit program, in the spring of 1971. This was the first feminist art program in the United States. Fifteen students studied under Chicago at Fresno State College: Dori Atlantis, Susan Boud, Gail Escola, Vanalyne Green, Suzanne Lacy, Cay Lang, Karen LeCocq, Jan Lester, Chris Rush, Judy Schaefer, Henrietta Sparkman, Faith Wilding, Shawnee Wollenman, Nancy Youdelman, and Cheryl Zurilgen. Together, as the Feminist Art Program, these women rented and refurbished an off-campus studio at 1275 Maple Avenue in downtown Fresno. Here they collaborated on art, held reading groups, and discussion groups about their life experiences which then influenced their art. All of the students and Chicago contributed $25 per month to rent the space and to pay for materials. Later, Judy Chicago and Miriam Schapiro reestablished the Feminist Art Program at California Institute of the Arts. After Chicago left for Cal Arts, the class at Fresno State College was continued by Rita Yokoi from 1971 to 1973, and then by Joyce Aiken in 1973, until her retirement in 1992. Chicago is considered one of the "first-generation feminist artists," a group that also includes Mary Beth Edelson, Carolee Schneeman, and Rachel Rosenthal. They were part of the Feminist art movement in Europe and the United States in the early 1970s to develop feminist writing and art. Chicago became a teacher at the California Institute for the Arts, and was a leader for their Feminist Art Program. In 1972, the program created Womanhouse, alongside Miriam Schapiro, which was the first art exhibition space to display a female point of view in art. With Arlene Raven and Sheila Levrant de Bretteville, Chicago co-founded the Los Angeles Woman's Building in 1973. This art school and exhibition space was in a structure named after a pavilion at the 1893 World's Colombian Exhibition that featured art made by women from around the world. This housed the Feminist Studio Workshop, described by the founders as "an experimental program in female education in the arts. Our purpose is to develop a new concept of art, a new kind of artist and a new art community built from the lives, feelings, and needs of women." During this period, Chicago began creating spray-painted canvas, primarily abstract, with geometric forms on them. These works evolved, using the same medium, to become more centered around the meaning of the "feminine". Chicago was strongly influenced by Gerda Lerner, whose writings convinced her that women who continued to be unaware and ignorant of women's history would continue to struggle independently and collectively.

Answer this question "was chicago the leader of the feminist movement"
output: " She taught the first women's art class in the fall of 1970 at Fresno State College. It became the Feminist Art Program,

input: After three years as a Trojan, Seau entered the NFL draft after his junior season and was chosen in the first round of the 1990 NFL Draft by Bobby Beathard's San Diego Chargers as the fifth overall draft selection. Seau quickly became one of the most popular players on the Chargers, receiving the nickname "Tasmanian Devil", after the wild antics of the cartoon character. He became the face of the Chargers franchise and a San Diego sports icon. Seau started 15 of the 16 games he played in during his rookie season, and was named an alternate to the 1991 Pro Bowl after recording 85 tackles. In 1991, he picked up 129 tackles and seven sacks and was named to the 1992 Pro Bowl, the first of 12 consecutive Pro Bowls for Seau. He was also voted NFL's Defensive MVP by the Newspaper Enterprise Association AFC Defensive Player of the Year by United Press International, as well as the NFL Alumni Linebacker of the Year and the NFLPA AFC Linebacker of the Year. He started no fewer than 13 games for the Chargers over each of the ensuing 11 seasons, registering a career high with 155 tackles in 1994. That year, Seau was named NFL Defensive Player of the Year by United Press International, and he led his team to a championship appearance in Super Bowl XXIX. In one of the greatest games in his career, he recorded 16 tackles in the 1994 AFC Championship Game while playing with a pinched nerve in his neck in a 17-13 victory over the Pittsburgh Steelers. In 2002, his final year with the Chargers, he logged a then-career low 83 tackles and missed his final Pro Bowl with an ankle injury.

Answer this question "What else did he do?"
output:
He started no fewer than 13 games for the Chargers over each of the ensuing 11 seasons, registering a career high with 155 tackles in 1994.