Some context: 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?"
How did Lenglen change the game of tennis?
A: For the first time in tennis history, the women's match was the headline event of the tour (which also featured male players).
Some context: Martha and the Vandellas (known from 1967 to 1972 as Martha Reeves and the Vandellas) were an American all-female vocal group formed in 1957. The group achieved fame in the 1960s with Motown. Selected Members of the group were inducted into the Rock and Roll Hall of Fame in 1995. Formed in 1957 by friends Annette Beard, Rosalind Ashford and Gloria Williams, the group eventually included Martha Reeves, who moved up in ranks as lead vocalist of the group after Williams' departure in 1962.
Following their signing to Motown's Gordy imprint in 1962, the Vandellas struck gold with their second release, the first composition and production from the famed writing team, Holland-Dozier-Holland, titled "Come and Get These Memories". It became the Vandellas' first Top 40 recording, reaching number twenty-nine on the Billboard Hot 100 and peaking at number six on the R&B chart. Their second hit, "Heat Wave", became a phenomenal record for the group, reaching number four on the Hot 100 and hitting number one on the R&B singles chart for five weeks. It became their first million-seller and eventually got the group their only Grammy Award nomination for Grammy Award for Best R&B Performance. (On the single and album, the song was titled "Heat Wave". It was sometime later that the song was retitled to avoid confusion with the Irving Berlin song.)  The group's success continued with their second Top Ten single and third Top 40 single, "Quicksand", which was another composition with Holland-Dozier-Holland and reached number eight pop in the late fall of 1963. Around that time, Annette, who was pregnant with her first child and set to get married, chose to leave her singing career behind by 1964. Betty Kelley, formerly of the Velvelettes, was brought in shortly afterward to continue the Vandellas' rise.  The next two singles, "Live Wire" and "In My Lonely Room" (#6 R&B Cashbox) were less successful singles, failing to reach the Top 40. However, their next single, "Dancing in the Street", rose up to #2 on the Billboard Hot 100 and also found global success, peaking at #21 on the UK Singles Chart in 1964. In 1969, "Dancing in the Street" was re-issued and it was plugged heavily on radio stations. It did not take long for the song to peak at #4 in the UK, thus making the song one of the all-time favourite Motown single releases ever. The song became a million-seller, and one of the most played singles in history.  Between 1964 and 1967, singles like "Wild One" (US #34), "Nowhere to Run" (US #8; UK #26), "Love (Makes Me Do Foolish Things)" (US #70; R&B #22), "You've Been in Love Too Long" (US #36), "My Baby Loves Me" (US #22; R&B #3), "I'm Ready for Love" (US #9; R&B #2; UK #29) and "Jimmy Mack" (US #10; R&B #1; UK #21) kept the Vandellas on the map as one of the label's top acts. The Vandellas' popularity helped the group get spots on The Ed Sullivan Show, The Mike Douglas Show, American Bandstand and Shindig!. Throughout this period, the Vandellas had also become one of the label's most popular performing acts.
What were some of their major hits?
A:
Their second hit, "Heat Wave", became a phenomenal record for the group, reaching number four on the Hot 100