IN: Jay Hanna "Dizzy" Dean (January 16, 1910 - July 17, 1974), also known as Jerome Herman Dean, was an American professional baseball player. He played in Major League Baseball as a pitcher for the St. Louis Cardinals, Chicago Cubs and the St. Louis Browns. A brash and colorful personality, Dean was the last National League pitcher to win 30 games in one season.

Following his playing career Dean became a well-known radio and television sportscaster, calling baseball for the Cardinals (1941-46), Browns (1941-48), Yankees (1950-51), and Atlanta Braves (1966-68) and nationally with Mutual (1952), ABC (1953-54), and CBS (1955-1965), where he teamed first with Buddy Blattner then with Pee Wee Reese. As a broadcaster, Dean was famous for his wit and his often-colorful butchering of the English language. Much like football star-turned-sportscaster Terry Bradshaw years later, he chose to build on, rather than counter, his image as a not-too-bright country boy, as a way of entertaining fans: "The Good Lord was good to me. He gave me a strong right arm, a good body, and a weak mind." He once saw Browns outfielder Al Zarilla slide into a base, and said, "Zarilla slud into third!" "Slud" instead of "slid" became a frequently-used Dean expression. Thanks to baseball fan Charles Schulz, another Dean expression found its way into a Peanuts strip, as Lucy commented on a batter who swung at a pitch outside the strike zone: "He shouldn't hadn't ought-a swang!" Once, describing a player who had struck out, Dean said, "he nonchalantly walks back to the dugout in disgust." While doing a game on CBS, Dean once said, over the open mike, "I don't know why they're calling this the Game of the Week. There's a much better game, Dodgers and Giants, over on NBC." Every so often, he would sign off by saying, "Don't fail to miss tomorrow's game!" During rain delays he was famous for off-key renditions of the "Wabash Cannonball". These manglings of the language only endeared Dean to fans, being a precursor of such beloved ballplayers-turned-broadcasters as Ralph Kiner, Herb Score, and Jerry Coleman. An English teacher once wrote to him, complaining that he shouldn't use the word "ain't" on the air, as it was a bad example to children. On the air, Dean said, "A lot of folks who ain't sayin' 'ain't,' ain't eatin'. So, Teach, you learn 'em English, and I'll learn 'em baseball."

How long did he do broadcasting?

OUT: (1941-46), Browns (1941-48), Yankees (1950-51), and Atlanta Braves (1966-68) and nationally with Mutual (1952), ABC (1953-54), and CBS (1955-1965),

IN: 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.

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.

What did the do there?

OUT:
Here they collaborated on art, held reading groups, and