input: 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.

Answer this question "When did her career started"
output: In 1965, Chicago displayed work in her first solo show, at the Rolf Nelson Gallery in Los Angeles;

input: After a brief period studying at the Pacific Conservatory of the Performing Arts and touring the country as a musical theater actor, in 1995, at the request of his friends, Aukerman and Porter started performing at The Comedy Store in Los Angeles under the moniker "The Fun Bunch", a name meant to parody improvisation groups at the time.  Mr. Show co-creator Bob Odenkirk was in the audience for the second performance, and soon tapped the duo to write for and occasionally perform on the show in its fourth season. This led to an Emmy nomination in 1999 for Aukerman and the rest of the staff. Aukerman appeared sporadically on the show, most notably as the model Theo Brixton in the Taint Magazine sketch.  After the show's cancellation, Aukerman and Porter segued into writing film and television scripts, most notably Run Ronnie Run! and the first draft of the film Tenacious D in The Pick of Destiny. In 2004, he and Porter received an "Additional Dialogue" credit on the animated feature film Shark Tale. They went on to write an unproduced script for the sequel, as well as an unproduced Shrek spin-off film based on the character Puss in Boots. In 2007, a feature film script he wrote with Porter and Odenkirk, titled Kanan Rhodes: Unkillable Servant of Justice, was purchased by MTV Films with the intent of starring Rainn Wilson, although it currently remains unproduced. Also in 2007, Aukerman released a self-described "joke record", Scott Aukerman's Koo Koo Roo's Greatest Hits, which featured Aukerman and Sarah Silverman Program writer Jon Schroeder shouting over current soft-rock hits. This was put out in limited release on AST Records.  In 2009, Aukerman and Porter wrote a pilot script for NBC, titled Privates. The network ultimately passed on the show. That year, Aukerman took on the role as head writer for the 2009 MTV Movie Awards and executive produced and co-wrote a pilot for Comedy Central, The New Andy Dick Show. The network ultimately passed on ordering it to series.  In 2010, Aukerman wrote a feature film script for friend Zach Galifianakis for Fox, and he and Patton Oswalt co-wrote a television pilot for Fox, which the network ultimately passed on. Later that year, Aukerman joined a "writers lab", writing film scripts for Imagine Entertainment.

Answer this question "What was Scott's career?"
output: started performing at The Comedy Store in Los Angeles under the moniker "The Fun Bunch",

input: After the film's release, certain publications, including Private Eye, noted strong similarities between the film and the 1941 novel No Bed for Bacon, by Caryl Brahms and S. J. Simon, which also features Shakespeare falling in love and finding inspiration for his later plays. In a foreword to a subsequent edition of No Bed for Bacon (which traded on the association by declaring itself "A Story of Shakespeare and Lady Viola in Love") Ned Sherrin, Private Eye insider and former writing partner of Brahms', confirmed that he had lent a copy of the novel to Stoppard after he joined the writing team, but that the basic plot of the film had been independently developed by Marc Norman, who was unaware of the earlier work.  The film's plot can claim a tradition in fiction reaching back to Alexandre Duval's "Shakespeare amoureux ou la Piece a l'Etude" (1804), in which Shakespeare falls in love with an actress who is playing Richard III.  The writers of Shakespeare in Love were sued in 1999 by bestselling author Faye Kellerman. She claimed that the plotline was stolen from her 1989 novel The Quality of Mercy, in which Shakespeare romances a Jewish woman who dresses as a man, and attempts to solve a murder. Miramax Films spokesman Andrew Stengel derided the claim, filed in the US District Court six days before the 1999 Academy Awards, as "absurd", and argued that the timing "suggests a publicity stunt". An out-of-court settlement was reached but the sum agreed between the parties indicates that the claim was "unwarranted".

Answer this question "was it a publicity stunt?"
output:
filed in the US District Court six days before the 1999 Academy Awards, as "absurd", and argued that the timing "suggests a publicity stunt