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

Question: "Eight Miles High" is a song by the American rock band the Byrds, written by Gene Clark, Jim McGuinn (a.k.a. Roger McGuinn), and David Crosby and first released as a single on March 14, 1966 (see 1966 in music). Musically influenced by Ravi Shankar and John Coltrane, "Eight Miles High", along with its McGuinn and Crosby-penned B-side "Why", was influential in developing the musical styles of psychedelic rock, raga rock, and psychedelic pop. Accordingly, critics often cite "Eight Miles High" as being the first bona fide psychedelic rock song, as well as a classic of the counterculture era. The song was subject to a U.S. radio ban shortly after its release, following allegations published in the broadcasting trade journal the Gavin Report regarding perceived drug connotations in its lyrics.

The song's use of Indian and free-form jazz influences, along with its impressionistic lyrics, were immediately influential on the emerging genre of psychedelic rock. Accordingly, some authors and music historians, including Eric V. D. Luft, Domenic Priore, and Dwight Rounds, have described "Eight Miles High" as being the first bona fide psychedelic rock song. In his book Riot On Sunset Strip: Rock 'n' Roll's Last Stand in Hollywood, Priore cites "Eight Miles High" as being the record that kicked off the psychedelic craze, explaining "prior to 'Eight Miles High,' there were no pop records with incessant, hypnotic basslines juxtaposed by droning, trance-induced improvisational guitar."  The song was responsible for the naming of the musical subgenre raga rock, when journalist Sally Kempton, in her review of the single for The Village Voice, used the term to describe the record's experimental fusion of eastern and western music. However, although Kempton was the first person to use the term raga rock in print, she had actually borrowed the phrase from the promotional material that the Byrds' press office had supplied to accompany the "Eight Miles High" single release. In a 1968 interview for the Pop Chronicles radio documentary, McGuinn denied that the song was in fact an example of raga rock, while Crosby, speaking in 1998, dismissed the term entirely, stating "they kept trying to label us; every time we turned around, they came up with a new one ... it's a bunch of bullshit." Nonetheless, the experimental nature of the song placed the Byrds firmly at the forefront of the burgeoning psychedelic movement, along with the Yardbirds, the Beatles, Donovan and the Rolling Stones, who were all exploring similar musical territory concurrently.  Contemporary reviews for the single were mostly positive, with Billboard magazine describing the song as a "Big beat rhythm rocker with soft lyric ballad vocal and off-beat instrumental backing." Record World magazine also praised the song, commenting "It's an eerie tune with lyrics bound to hypnotize. Will climb heights." In the UK, Music Echo described the song as "wild and oriental but still beaty". The publication also suggested that with the release of "Eight Miles High" the Byrds had jumped ahead of the Beatles in terms of creativity, stating "[By] getting their single out now they've beaten the Beatles to the punch, for Paul [McCartney] admitted recently that the Liverpool foursome are working on a similar sound for their new album and single." In recent years, Richie Unterberger, writing for the Allmusic website, has described "Eight Miles High" as "one of the greatest singles of the '60s."  In 1999, the song was inducted into the Grammy Hall of Fame, an honor reserved for "recordings of lasting qualitative or historical significance that are at least 25 years old." In 2004, Rolling Stone magazine ranked "Eight Miles High" at number 151 on their list of The 500 Greatest Songs of All Time and in March 2005, Q magazine placed the song at number 50 on their list of the 100 Greatest Guitar Tracks.

Using a quote from the above article, answer the following question: What other print publications wrote about or reviewed the song or band?
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Answer:
Record World magazine