Problem: Background: Eldrick Tont Woods (born December 30, 1975) better known as Tiger Woods, is an American professional golfer who is among the most successful golfers of all time. He has been one of the highest-paid athletes in the world for several years. Following an outstanding junior, college, and amateur career, Woods was 20 years old when he turned professional at the end of summer in 1996. By the end of April 1997, he had won three PGA Tour events in addition to his first major, the 1997 Masters.
Context: Early in Woods' career, a small number of golf experts expressed concern about his impact on the competitiveness of the game and the public appeal of professional golf. Sportswriter Bill Lyon of Knight Ridder asked in a column, "Isn't Tiger Woods actually bad for golf?" (though Lyon ultimately concluded that he was not). At first, some pundits feared that Woods would drive the spirit of competition out of the game of golf by making existing courses obsolete and relegating opponents to simply competing for second place each week. A related effect was measured by University of California economist Jennifer Brown, who found that other golfers scored higher when competing against Woods than when he was not in the tournament. The scores of highly skilled (exempt) golfers are nearly one stroke higher when playing against Woods. This effect was larger when he was on winning streaks and disappeared during his well-publicized slump in 2003-04. Brown explains the results by noting that competitors of similar skill can hope to win by increasing their level of effort, but that, when facing a "superstar" competitor, extra exertion does not significantly raise one's level of winning while increasing risk of injury or exhaustion, leading to reduced effort. Many courses in the PGA Tour rotation (including major championship sites like Augusta National) have added yardage to their tees in an effort to reduce the advantage of long hitters like Woods, a strategy that became known as "Tiger-Proofing". Woods said he welcomed the change, in that adding yardage to courses did not affect his ability to win.
Question: What is Tiger-proofing?
Answer: a strategy

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