IN: Douglas Richard Flutie (born October 23, 1962) is a former quarterback in the National Football League (NFL), Canadian Football League (CFL), and United States Football League (USFL). Flutie first rose to prominence during his college football career at Boston College, where he received the Heisman Trophy and the Davey O'Brien National Quarterback Award in 1984. His "Hail Flutie" touchdown pass in a game against Miami on November 23, 1984 (dubbed "The Pass") is considered among the greatest moments in college football and American sports history. Flutie was selected as the 285th pick in the 11th round of the 1985 NFL Draft by the Los Angeles Rams, making him the lowest drafted Heisman Award winner among those who were drafted.

The Buffalo Bills' then-pro personnel director A.J. Smith convinced the organization that Flutie would be a great asset to the team, and the Bills signed him in the 1998 offseason. The Bills' attempt at making Todd Collins their starting quarterback was a failure, and Flutie was one of two quarterbacks, the other being Rob Johnson (the presumptive starter), to join the Bills in the 1998 offseason. In his first action with the Bills, Flutie entered for an injured Johnson and passed for two TDs while leading a fourth-quarter comeback against the Indianapolis Colts on October 11, 1998. The following week, Doug Flutie made his first NFL start since October 15, 1989, against the unbeaten Jacksonville Jaguars. The nine-year gap between starts for a quarterback in the NFL is the third-longest in duration behind Tommy Maddox (December 12, 1992 to October 6, 2002) and the man Flutie replaced, Todd Collins (December 14, 1997 to December 16, 2007). Flutie was the hero of the Bills' victory as he scored the winning touchdown against the Jaguars by rolling out on a bootleg and into the end zone on a fourth-down play in the waning seconds. The Bills' success continued with Flutie at the helm; his record as a starter that season was 8 wins and 3 losses. Flutie was selected to play in the 1998 Pro Bowl, and is currently the shortest quarterback to make the Pro Bowl since 1970. Flutie led the Bills to a 10-5 record in 1999 but, in a controversial decision, was replaced by Johnson for the playoffs by coach Wade Phillips, who later said he had been ordered by Bills owner Ralph Wilson to do so. The Bills lost 22-16 to the eventual AFC Champion Tennessee Titans in a game that has become known for the Music City Miracle, where the Titans scored on the penultimate play of the game - a kickoff return following the Bills' apparent game-clinching field goal. The following season, Flutie was named the Bills' backup and only played late in games or when Johnson was injured, which was often. In fact, during the season, Flutie had a 4-1 record as a starter, in comparison to Johnson's 4-7. In a December 24, 2000 game against the Seattle Seahawks, Flutie achieved a perfect passer rating, completing 20 of 25 passes for 366 yards and three touchdowns. Following the 2000 season, Bills President Tom Donahoe and head coach Gregg Williams decided to keep Johnson as the starter and cut Flutie.
QUESTION: Why wasn't he the starter?
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.

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:
did she sell a lot of work there?