Answer the question at the end by quoting:

Sir Wesley Winfield Hall (born 12 September 1937) is a Barbadian former cricketer and politician. A tall, strong and powerfully built man, Hall was a genuine fast bowler and despite his very long run up, he was renowned for his ability to bowl long spells. Hall played 48 Test matches for the West Indies from 1958 to 1969. Hall's opening bowling partnership with fellow Barbadian Charlie Griffith was a feature of the strong West Indies teams throughout the 1960s.
Hall had a magnificent, bounding approach, eyes bulging, teeth glinting, crucifix flying, climaxing in a classical cartwheel action and intimidating followthrough.  Hall was a tall and muscular cricketer, 6 feet 5 inches (196 cm) tall and bearing the "physique and strength of a bodybuilder." He had a graceful, classical action and one of the longest run-ups in Test cricket. A genuinely fast bowler, he was timed at 91 miles per hour (146 km/h). Hall was able to sustain pace and hostility for very long spells--during the Test against England at Lord's in 1963 he bowled unchanged for over three hours on the final day. While Hall was an aggressive fast bowler, he was not one to set out to injure the batsman. The England cricketer Ted Dexter--himself hit several times by Hall--said "there was never a hint of malice in [Hall] or in his bowling". Hall himself said after one of his deliveries fractured Australian cricketer Wally Grout's jaw "It made me sick to see Wal leaving and it made me sicker to hear some jokers in the crowd ranting on as though I had intentionally hurt [Grout]".  While Hall could never be described as an all-rounder, on occasions he was an effective batsman. His one century in first-class cricket was against Cambridge University Cricket Club at Fenners--scored in 65 minutes, the fastest century of the 1963 English season. Wisden said of this innings, "[Hall's] batting promised so much ... [he] made his runs in the classic mould, not in the unorthodox manner usually adopted by fast bowlers." With his characteristic humour, Hall said of this innings, "Ah, but it wasn't any old hundred, it was against the intelligentsia."  Hall was one of the most popular cricketers of his day. The Australian commentator Johnnie Moyes described Hall as "a rare box-office attraction, a man who caught and held the affections of the paying public." Hall was particularly popular in Australia. When invited back to play for Queensland in the Sheffield Shield in 1961-62, Hall arrived in Brisbane to "scenes more in keeping with the arrival of a pop star, a thousand people jamming the old terminal building at Eagle Farm airport to welcome him." Hall was fond of a bet and was a keen follower of horseracing. Hall is known as a good humoured man; C. L. R. James observed "Hall simply exudes good nature at every pore." Tony Cozier states "[Hall] is renowned for his entertaining, if prolonged oratory, as well as for his tardiness."

What sort of style did he have?

Hall had a magnificent, bounding approach, eyes bulging, teeth glinting, crucifix flying, climaxing in a classical cartwheel action and intimidating followthrough.



Answer the question at the end by quoting:

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.

Did she contribute to the feminist movement at this time?
She taught the first women's art class in the fall of 1970 at Fresno State College.