IN: Stephen Ray Vaughan (October 3, 1954 - August 27, 1990) was an American musician, singer, songwriter, and record producer. In spite of a short-lived mainstream career spanning seven years, he was one of the most influential guitarists in the revival of blues in the 1980s. AllMusic describes him as "a rocking powerhouse of a guitarist who gave blues a burst of momentum in the '80s, with influence still felt long after his tragic death." Born and raised in Dallas, Texas, Vaughan began playing guitar at the age of seven, inspired by his older brother Jimmie.

In September 1970, Vaughan made his first studio recordings with the band Cast of Thousands, which included future actor Stephen Tobolowsky. They recorded two songs, "Red, White and Blue" and "I Heard a Voice Last Night", for a compilation album, A New Hi, that featured various teenage bands from Dallas. In late January 1971, feeling confined by playing pop hits with Liberation, Vaughan formed his own band, Blackbird. After growing tired of the Dallas music scene, he dropped out of school and moved with the band to Austin, Texas, which had more liberal and tolerant audiences. There, Vaughan initially took residence at the Rolling Hills Country Club, a venue that would later become the Soap Creek Saloon. Blackbird played at several clubs in Austin and opened shows for bands such as Sugarloaf, Wishbone Ash, and Zephyr, but could not maintain a consistent lineup. In early December 1972, Vaughan left Blackbird and joined a rock band named Krackerjack; he performed with them for less than three months.  In March 1973, Vaughan joined Marc Benno's band, the Nightcrawlers, after meeting Benno at a jam session years before. The band featured vocalist Doyle Bramhall, who met Vaughan when he was twelve years old. The next month, the Nightcrawlers recorded an album at Sunset Sound Recorders in Hollywood for A&M Records. While the album was rejected by A&M, it included Vaughan's first songwriting efforts, "Dirty Pool" and "Crawlin'". Soon afterward, he and the Nightcrawlers traveled back to Austin without Benno. In mid-1973, they signed a contract with Bill Ham, manager for ZZ Top, and played various gigs across the South, though many of them were disastrous. Ham left the band stranded in Mississippi without any way to make it back home and demanded reimbursement from Vaughan for equipment expenses; Ham was never reimbursed.  In 1975, Vaughan joined a six-piece band called Paul Ray and the Cobras that included guitarist Denny Freeman and saxophonist Joe Sublett. For the next two-and-a-half years, he earned a living performing weekly at a popular venue in town, the Soap Creek Saloon, and ultimately the newly opened Antone's, widely known as Austin's "home of the blues". In late 1976, Vaughan recorded a single with them, "Other Days" as the A-side and "Texas Clover" as the B-side. Playing guitar on both tracks, the single was released on February 7, 1977. In March, readers of the Austin Sun voted them as Band of the Year. In addition to playing with the Cobras, Vaughan jammed with many of his influences at Antone's, including Buddy Guy, Hubert Sumlin, Jimmy Rogers, Lightnin' Hopkins, and Albert King.  Vaughan toured with the Cobras during much of 1977, but near the end of September, after they decided to strive for a mainstream musical direction, he left the band and formed Triple Threat Revue, which included singer Lou Ann Barton, bassist W. C. Clark, and drummer Fredde Pharaoh. In January 1978, they recorded four songs in Austin, including Vaughan's composition "I'm Cryin'". The thirty-minute audio recording marks the only known studio recording of the band.

What other musicians did SRV play with on his first recordings?

OUT: feeling confined by playing pop hits with Liberation, Vaughan formed his own band, Blackbird.


IN: A daughter of Charles and Anais Lenglen, Suzanne Lenglen was born in Paris. During her youth, she suffered from numerous health problems including chronic asthma, which also plagued her at a later age. Because his daughter was so frail and sickly, Charles Lenglen, the owner of a carriage company, decided that it would be good for her to compete in tennis and gain strength. Her first try at the game was in 1910, when she played on the tennis court at the family property in Marest-sur-Matz.

The first major female tennis star to turn professional, Lenglen was paid US$50,000 by American entrepreneur Charles C. Pyle to tour the United States in a series of matches against Mary K. Browne. Browne, winner of the US Championships from 1912 to 1914, was 35 and considered to be past her prime, although she had reached the French final earlier that year (losing to Lenglen 6-1, 6-0).  For the first time in tennis history, the women's match was the headline event of the tour (which also featured male players). In their first match in New York City, Lenglen put on a performance that New York Times writer Allison Danzig lauded as "one of the most masterly exhibitions of court generalship that has been seen in this country." When the tour ended in February 1927, Lenglen had defeated Browne, 38 matches to 0. She was exhausted from the lengthy tour, and a physician advised Lenglen that she needed a lengthy period away from the game to recover.  Instead, Lenglen chose to retire from competitive tennis to run a Paris tennis school, which she set up with the help and money of her lover Jean Tillier. The school, located next to the courts of Roland Garros, slowly expanded and was recognised as a federal training centre by the French tennis federation in 1936. During this period, Lenglen also wrote several books on tennis.  Lenglen was criticised widely for her decision to turn professional, and the All England Club at Wimbledon even revoked her honorary membership. Lenglen, however, described her decision as "an escape from bondage and slavery" and said in the tour programme, "In the twelve years I have been champion I have earned literally millions of francs for tennis and have paid thousands of francs in entrance fees to be allowed to do so.... I have worked as hard at my career as any man or woman has worked at any career. And in my whole lifetime I have not earned $5,000 - not one cent of that by my specialty, my life study - tennis.... I am twenty-seven and not wealthy - should I embark on any other career and leave the one for which I have what people call genius? Or should I smile at the prospect of actual poverty and continue to earn a fortune - for whom?" As for the amateur tennis system, Lenglen said, "Under these absurd and antiquated amateur rulings, only a wealthy person can compete, and the fact of the matter is that only wealthy people do compete. Is that fair? Does it advance the sport? Does it make tennis more popular - or does it tend to suppress and hinder an enormous amount of tennis talent lying dormant in the bodies of young men and women whose names are not in the social register?"

Did she win her first tournament?

OUT:
In their first match in New York City, Lenglen put on a performance that New York Times writer Allison Danzig lauded as "one of the most masterly exhibitions