Problem: Background: Caray was born Harry Christopher Carabina to an Italian father and Romanian mother in St. Louis. He was an infant when his father died. His mother remarried with a French-American, but after her death when Caray was eight, he went to live with his aunt Doxie at 1909 LaSalle Street in a tough, working-class section of St. Louis. As a young man, Caray played baseball at the semi-pro level for a short time before auditioning for a radio job at the age of 19.
Context: Rumors that Caray was having an affair with Susan Busch, wife of August Busch III, the oldest son of Cardinals president Gussie Busch, then a company executive and later CEO of Cardinals' owner Anheuser-Busch, began to circulate after she was involved in a single-car accident near her home in the St. Louis suburb of Ladue late one night in May 1968. She told police she was returning from a visit to "a friend"; the cause of the accident was never disclosed publicly and no further action was taken. However, her marriage to the younger Busch was failing due to his extreme commitment to the family business.  According to Anheuser-Busch historian William Knoedelseder, the two had been seen eating together at Tony's, a popular and well-regarded St. Louis restaurant (where Knoedelseder later worked, and heard the story from more senior staff). Waitstaff present said the two were both extremely inebriated and openly affectionate. They stood out not only because both were well-recognized around St. Louis but because Caray was 22 years older than she. The restaurant's owner had to tell the staff not to stare at the couple.  It also was rumored that the near-fatal car accident Caray suffered later that year was actually intentional and related to the alleged affair. Private investigators working for Busch had found that telephone records showed Caray and Susan Busch had made many calls to each other. They supposedly confronted him about the reported affair while he was in Florida recuperating.  Susan divorced her husband shortly afterwards. She has only spoken about the alleged affair once since then, denying it. While she and the broadcaster were friends, "we were not a romance item by any means", she told the St. Louis Post-Dispatch. Caray cited the rumors of the affair as the real reason the Cardinals declined to renew his contract after the disappointing 1969 season.  Like Susan Busch, Caray, too denied that the affair had occurred when asked, but according to Knoedelseder was less consistent, sometimes suggesting it had indeed occurred, and usually saying how flattered he was at the idea that a woman as attractive as Susan Busch would see him the same way.
Question: Did anyone else find out about the affair?
Answer: because Caray was 22 years older than she. The restaurant's owner had to tell the staff not to stare at the couple.

Problem: 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: 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 do any other pieces in her early years?
Answer:
In 1965, Chicago displayed work in her first solo show, at the Rolf Nelson Gallery in Los Angeles;