IN: Love was born Courtney Michelle Harrison on July 9, 1964 at Saint Francis Memorial Hospital in San Francisco, California, the first child of psychotherapist Linda Carroll (nee Risi) and Hank Harrison, a publisher and road manager for the Grateful Dead. Love's godfather is the founding Grateful Dead bassist Phil Lesh. Her mother, who was adopted at birth and raised by a prominent Italian-Catholic family in San Francisco, was later revealed to be the biological daughter of novelist Paula Fox; Love's maternal great-grandmother was screenwriter Elsie Fox. According to Love, she was named after Courtney Farrell, the protagonist of Pamela Moore's 1956 novel Chocolates for Breakfast.

At the end of 1988, Love taught herself to play guitar and relocated to Los Angeles, where she placed an ad in a local music zine: "I want to start a band. My influences are Big Black, Sonic Youth, and Fleetwood Mac." Love recruited lead guitarist Eric Erlandson; Lisa Roberts, her neighbor, as bassist; and drummer Caroline Rue, whom she met at a Gwar concert. Love named the band Hole after a line from Euripides' Medea ("There is a hole that pierces right through me") as well as a conversation she had had with her mother, in which she told her that she couldn't live her life "with a hole running through her."  Love continued to work at strip clubs in the band's formative stages, saving money to purchase backline equipment and a touring van, and rehearsed at a studio in Hollywood that was loaned to her by the Red Hot Chili Peppers. Hole played their first show in November 1989 at Raji's, a rock club in central Hollywood. The band's debut single, "Retard Girl", was issued in April 1990 through the Long Beach indie label Sympathy for the Record Industry, and was given airtime by Rodney Bingenheimer's show on local rock station KROQ. That fall, the band appeared on the cover of Flipside, a Los Angeles-based punk fanzine. In early 1991, the band released their second single, "Dicknail", through Sub Pop Records.  With no wave, noise rock and grindcore bands being major influences on Love, Hole's first studio album, Pretty on the Inside, captured a particularly abrasive sound and contained disturbing lyrics, described by Q magazine as "confrontational [and] genuinely uninhibited." The record was released in September 1991 on Caroline Records, produced by Kim Gordon of Sonic Youth with assistant production from Gumball's Don Fleming; Love and Gordon had initially met when Hole opened for Sonic Youth during their promotional tour for Goo at the Whisky a Go Go in November 1990. In early 1991, Love sent Gordon a personal letter asking her to produce the record for the band, to which she agreed. Though Love would later say it was "unlistenable" and "[un]melodic," the album received generally positive critical reception from indie and punk rock critics and was labeled one of the twenty best albums of the year by Spin magazine. It also gained a following in the United Kingdom, charting at 59 on the UK Albums Chart, and its lead single, "Teenage Whore", entered the country's indie chart at number one. The underlying feminist slant of some of the album's songs led many to mistakenly tag the band as being part of the riot grrrl movement, a movement that Love did not associate with. The band toured in support of the record, headlining with Mudhoney in Europe; in the United States, they opened for The Smashing Pumpkins, and performed at CBGB in New York City.

Are there any other interesting aspects about this article?

OUT: Hole's first studio album, Pretty on the Inside, captured a particularly abrasive sound and contained disturbing lyrics,


IN: Muddy Waters' birthplace and date are not conclusively known. He stated that he was born in Rolling Fork, Mississippi, in 1915, but it is believed to be more likely that he was born in Jug's Corner, in neighboring Issaquena County, in 1913. Recent research has uncovered documentation showing that in the 1930s and 1940s, before his rise to fame, the year of his birth was reported as 1913 on his marriage license, recording notes, and musicians' union card. A 1955 interview in the Chicago Defender is the earliest in which he stated 1915 as the year of his birth, and he continued to say this in interviews from that point onward.

In August 1941, Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians. "He brought his stuff down and recorded me right in my house," Muddy recalled for Rolling Stone magazine, "and when he played back the first song I sounded just like anybody's records. Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice. Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox. Just played it and played it and said, 'I can do it, I can do it.'" Lomax came back in July 1942 to record him again. Both sessions were eventually released by Testament Records as Down on Stovall's Plantation. The complete recordings were reissued by Chess Records on CD as Muddy Waters: The Complete Plantation Recordings. The Historic 1941-42 Library of Congress Field Recordings in 1993 and remastered in 1997.  In 1943, Muddy Waters headed to Chicago with the hope of becoming a full-time professional musician. He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night. Big Bill Broonzy, then one of the leading bluesmen in Chicago, had Muddy Waters open his shows in the rowdy clubs where Broonzy played. This gave Muddy Waters the opportunity to play in front of a large audience. In 1944, he bought his first electric guitar and then formed his first electric combo. He felt obliged to electrify his sound in Chicago because, he said, "When I went into the clubs, the first thing I wanted was an amplifier. Couldn't nobody hear you with an acoustic." His sound reflected the optimism of postwar African Americans. Willie Dixon said that "There was quite a few people around singing the blues but most of them was singing all sad blues. Muddy was giving his blues a little pep."  Three years later, in 1946, he recorded some songs for Mayo Williams at Columbia Records, with an old-fashioned combo consisting of clarinet, saxophone and piano; they were released a year later with Ivan Ballen's Philadelphia-based 20th Century label, billed as James "Sweet Lucy" Carter and his Orchestra - Muddy Waters' name was not mentioned on the label. Later that year, he began recording for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In 1947, he played guitar with Sunnyland Slim on piano on the cuts "Gypsy Woman" and "Little Anna Mae". These were also shelved, but in 1948, "I Can't Be Satisfied" and "I Feel Like Going Home" became hits, and his popularity in clubs began to take off. Soon after, Aristocrat changed its name to Chess Records. Muddy Waters's signature tune "Rollin' Stone" also became a hit that year.

what city did he play in?

OUT:
Chicago