IN: Donald Montgomery Hutson (January 31, 1913 - June 26, 1997) was a professional American football player and assistant coach in the National Football League (NFL). He played as a split end and spent his entire eleven-year professional career with the Green Bay Packers. Under head coach Curly Lambeau, Hutson led the Packers to four NFL Championship Games, winning three: 1936, 1939, and 1944.

Hutson was born on January 31, 1913, in Pine Bluff, Arkansas, one of three sons of Roy B. Hutson and Mabel Clark Hutson. While a Boy Scout, he played with snakes. He said that's where he got his quickness and agility. As a teenager Hutson played baseball for Pine Bluff's town team. As a senior at Pine Bluff High School he was an all-state basketball player, which he said was his favorite sport. "I'm like most [athletes]," he said. "I'd rather see football, but I'd rather play basketball." Hutson played one year of football at Pine Bluff.  Hutson played at end for coach Frank Thomas's Alabama Crimson Tide football team from 1932 to 1934. Bear Bryant, future long-time coach of the Tide, was the self-described "other end" on the Tide in 1933 and 1934. Bryant once remarked, "...he was something to see even then. We'd hitchhike to Pine Bluff just to watch him play. I saw him catch five touchdown passes in one game in high school."  Sportswriter Morgan Blake ranked the undefeated 1934 Tide as the best team he ever saw. Hutson's College Football Hall of Fame profile reads: "Fluid in motion, wondrously elusive with the fake, inventive in his patterns and magnificently at ease when catching the ball ... Hutson and fellow Hall of Famer Millard "Dixie" Howell became football's most celebrated passing combination." Hutson had six catches for 165 yards, including two touchdowns of 54 and 59 yards in the 1935 Rose Bowl against Stanford. He also scored the winning touchdown over Robert Neyland's Tennessee Volunteers on an end-around.  Hutson was recognized as a first-team All-American for six different organizations and received a second-team selection by one other. In an attempt to name retroactive Heisman Trophy winners before its first year of 1936, Hutson was awarded it for 1934 by the National Football Foundation. Georgia Tech coach Bill Alexander once said, "All Don Hutson can do is beat you with clever hands and the most baffling change of pace I've ever seen."

Did he get any scholarships?

OUT: 


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.

Where did she get her education?

OUT:
She received her Master of Fine Arts from UCLA in 1964.