Some context: Williams attended Lakewood High School in Colorado, graduating in 1978. He was on the track & field team, played football, and wrestled all four years. Williams graduated from the University of Oklahoma in 1981 after a football career that saw him named an All-American. He also competed as an amateur wrestler, where he was a four time
Williams became involved with Jimmy Garvin's war with Kevin Sullivan's Varsity Club in 1988, often teaming with Jimmy and Ron Garvin or Ron Simmons in various matches, including a Triple Cage "Tower of Doom" match at The Great American Bash in 1988. Williams, however, turned heel and joined the Varsity Club in late 1988. He and Sullivan won the NWA United States Tag Team Championship at Starrcade. They feuded with The Road Warriors and he and Mike Rotunda won the NWA World Tag Team Championship in the process.  In May 1989, Williams and Rotunda were stripped of the title, and the Varsity Club disbanded. Not long after, Williams turned face again and had a short feud with Rotunda over who was responsible for the Varsity Club's breakup, before entering a feud with Lex Luger for the NWA United States Championship. Williams was scheduled to face Luger for the title at WrestleWar '90 on February 25, 1990. When Sting, who was scheduled to face Ric Flair for the NWA World Heavyweight Championship, suffered a legitimate knee injury, Luger turned face and was moved from the US title match to the World Title match in Sting's place. Williams went to All Japan Pro Wrestling where he formed a tag team with Terry Gordy called The Miracle Violence Connection. They went on to win the WCW World Tag Team Championship from The Steiner Brothers. One week after winning the WCW World Tag Team Title, Williams and Gordy won the vacant NWA World Tag Team Title, defeating Dustin Rhodes and Barry Windham in the tournament final. Their NWA title win, however, went unrecognized by the NWA. They held onto both titles until September 1992, when they lost them to Rhodes and Windham. At Starrcade, Williams substituted for the injured Rick Rude to challenge Ron Simmons for the WCW World Heavyweight Championship, but lost by disqualification. He left WCW shortly thereafter.  During the 1990s, Williams continued to work for All Japan Pro Wrestling and became a main eventer for the company, making him one of the most successful foreign athletes in Japanese wrestling history. On July 28, 1994, he defeated Mitsuharu Misawa for the AJPW Triple Crown Championship, holding it for three months before dropping it to Toshiaki Kawada. He also sporadically wrestled in the U.S. on the independent circuit. That run was brought to an end during one of his appearances in Extreme Championship Wrestling (ECW). After defeating Axl Rotten in approximately 2 minutes, Williams had an impromptu ECW World Heavyweight Championship match, but lost after being pinned by then-champion Raven. The loss happened in February 1997 at Crossing the Line Again, thus ending his unpinned streak in North America, which lasted since March 26, 1987.
Did the Varsity Club ever reband?
A: Not long after, Williams turned face again and had a short feud with Rotunda over who was responsible for the Varsity Club's breakup,
Some context: 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 have critics
A: