input: The name of the band, Earth Crisis, indicates how their members see the current state of the planet and in their lyrics they seek to offer solutions to it; these are either "educational" or encourage direct-action. Most of them focus on rejection of recreational drugs, animal products, animal testing, industrial livestock production, illegal drug trade and an impending earth's doom caused by wars or an ecological collapse. On the other hand, they promote straight edge, veganism, self-empowerment and organizations such as Earth First!, Sea Shepherd Conservation Society and the Animal Liberation Front. In the words of the academic Jonathan Pieslak, some of their lyrics "read like passages" taken from "direct-action essays" of these institutions. Other subjects include criticism against white supremacy and, especially on Breed the Killers, oppressive governments. 2000's record Slither incorporated more topical issues, such as genetic engineering and second amendment rights. Their seventh and eighth albums, Neutralize the Threat and Salvation of Innocents, are concept albums entirely dedicated to real-life vigilantes and animal rights/anti-vivisection, respectively. The albums All Out War, Gomorrah's Season Ends and Breed the Killers included essays that delve into their lyrics and beliefs. According to the sociologist Ross Haenfler, Earth Crisis combined "youth crew's outspoken commitment to straight edge with Manliftingbanner's direct politics". In a 1998 interview with Roadrunner Records, Karl Buechner described Earth Crisis' philosophy: "I want to boil it down to one notion: personal accountability. Respect for yourself, respect for the lives of innocent beings around us." He added that "Just being drug-free doesn't make you a good person, you need to use that clarity of the mind to become actively involved in the struggle that is being waged for earth, human and animal liberation." Their message disjoined from the "posicore" attitudes in its advocation for violent direct action. However, they believe that it must be used only as a last resort: "destruction and violence are the last thing I want to see but tragically, they are sometimes necessary. We place so far greater value on the lives of the innocent beings than any type of worth that could be put upon someone who's sadistic or greedy and doesn't want to change their profit system", said Buechner. The band cited authors Peter Singer, John Robbins and Huey P. Newton as inspirations. In their live shows, there is usually literature about PETA, Greenpeace and others distributed. They have been longtime supporters for organizations such as the Animal Defense League, having done several benefit concerts for them. Nevertheless, they are not part of any of these groups or a political party: "We're about things we're interested in and we sing about things that happen politically, but we're not left-core or right wing. We don't want to get tangled up in someone else's agenda, which can happen if you join up in certain organizations." Earth Crisis was occasionally misidentified with the hardline subculture, but they are not against homosexuality and believe that abortion should remain as an option in some instances. They also do not have a religious agenda and think that that is mainly a personal choice.

Answer this question "Any other albums?"
output: Neutralize the Threat and Salvation of Innocents, are concept albums entirely dedicated to real-life vigilantes and animal rights/anti-vivisection,

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 "What did Chicago do in the 1970s?"
output:
the Feminist Art Program,