Problem: Background: Big Brother and the Holding Company is an American rock band that formed in San Francisco in 1965 as part of the same psychedelic music scene that produced the Grateful Dead, Quicksilver Messenger Service, and Jefferson Airplane. They are best known as the band that featured Janis Joplin as their lead singer. Their 1968 album Cheap Thrills is considered one of the masterpieces of the psychedelic sound of San Francisco; it reached number one on the Billboard charts, and was ranked number 338 in Rolling Stone's the 500 greatest albums of all time. The album is also included in the book 1001 Albums
Context: In September 1966, with no money to return to San Francisco, Big Brother signed a contract with Mainstream Records. They recorded four of the songs for the album Big Brother & the Holding Company in a studio in Chicago at the end of their four-week stint at Mother Blues on Wells Street. The club had paid them for only the first two weeks.' The remainder of the record was recorded in Los Angeles on December 12-14. Mainstream was known for its jazz records, and Big Brother was the first rock band to appear on the label. This may have influenced the final result, since the album sounded very different from what the band expected: acoustic and folk instead of heavy acid rock. The first single released was "Blind Man" b/w "All Is Loneliness," both from the album sessions, in July 1967. It was popular in the San Francisco Bay Area, but did not garner much national attention. A second single, "Down on Me" b/w "Call On Me" was released along with their self-titled debut album in August 1967, following the band's national success after the Monterey Pop Festival. The album debuted on Billboard charts on 9/2/67, peaking at No. 60. It stayed on the charts for a total of 30 weeks.  The Pop Chronicles criticized the record as difficult to find and "technically disappointing". "Down On Me" had a long gestation in the marketplace and finally debuted on the Billboard Hot 100 chart on 8/31/68, peaking at No. 43. It stayed on the charts for 8 weeks. Other singles from the album were released through the end of 1967 and 1968. One final Mainstream single, "Coo Coo" b/w "The Last Time," was released after the band's second album was issued by Columbia Records in November, 1968. These last songs were from the original album sessions, but were not included on the LP until Columbia acquired all of the band's Mainstream recordings and reissued the album in the 1970s.  The band then moved to Lagunitas, in Marin County, California, to a communal house. Later in 1967 they put an ad in the San Francisco Oracle with the apparent intention of moving back to the "City". The ad read: "Big Brother is returning to the city. Need rehearsal hall and a place to live. Write to B.B.& the H.C. at Box 94 Lagunitas."
Question: Were these four songs successful?
Answer: The album debuted on Billboard charts on 9/2/67, peaking at No. 60. It stayed on the charts for a total of 30 weeks.

Problem: Background: Hedwig and the Angry Inch is a rock musical about a fictional rock and roll band fronted by a transgender East German singer, Hedwig Robinson. The book is by John Cameron Mitchell, and the music and lyrics are by Stephen Trask. The story draws on Mitchell's life as the son of a U.S. Army Major General who once commanded the U.S. sector of occupied West Berlin. The character of Hedwig was inspired by a German divorced U.S. Army wife who was a Mitchell family babysitter and moonlighted as a prostitute at her Junction City, Kansas, trailer park home.
Context: The character of Hedwig was originally a supporting character in the piece. She was loosely inspired by a German female babysitter/prostitute who worked for Mitchell's family when he was a teenager in Junction City, Kansas. The character of Tommy, originally conceived as the main character, was based on Mitchell himself: both were gay, the sons of an army general, deeply Roman Catholic, and fascinated with mythology. Hedwig became the story's protagonist when Trask encouraged Mitchell to showcase their earliest material in 1994 at NYC's drag-punk club Squeezebox, where Trask headed the house band and Mitchell's boyfriend, Jack Steeb, played bass.  They agreed the piece should be developed through band gigs in clubs rather than in a theater setting in order to preserve a rock energy. Mitchell was deeply influenced by Squeezebox's roster of drag performers who performed rock covers. The setlists of Hedwig's first gigs included many covers with lyrics rewritten by Mitchell to tell Hedwig's story: Fleetwood Mac's "Oh Well"; Television's "See No Evil"; Wreckless Eric's "Whole Wide World"; Yoko Ono's "Death of Samantha"; Pere Ubu's "Non-Alignment Pact"; Cher's "Half Breed"; David Bowie's "Boys Keep Swinging"; Mott the Hoople's "All the Young Dudes"; and the Velvet Underground's "Femme Fatale." A German glam rendition of Debby Boone's "You Light Up My Life" once served as the musical's finale.  Mitchell's second gig was as fill-in host at Squeezebox on a bill featuring singer Deborah Harry of Blondie. It was for this occasion that Mike Potter first designed Hedwig's trademark wig, which was initially constructed from toilet paper rolls wrapped with synthetic blond hair. Mitchell, Trask, and the band Cheater (Jack Steeb, Chris Wielding, Dave McKinley, and Scott Bilbrey) continued to workshop material at venues such as Fez Nightclub and Westbeth Theater Center for four years before premiering the completed musical Off-Broadway in 1998.  Mitchell has explained that Hedwig is not a trans woman, but a genderqueer character. "She's more than a woman or a man," he has said. "She's a gender of one and that is accidentally so beautiful."
Question: Are there any other interesting aspects about this article?
Answer:
The character of Hedwig was originally a supporting character in the piece.