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Post by Bill on Sept 16, 2008 17:38:54 GMT -5
Darius Rucker, lead singer of Hootie & The Blowfish, has recorded a full country album. And, the first single, "Dont Think I Don't Think About It" is out of this world. Here's an interview about the album, and other things, from today's edition of the Chicago Tribune: From Hootie to Country
By Alison Bonaguro
Special to the Chicago Tribune
9:45 AM CDT, September 16, 2008
Patsy Cline never listened to Hootie and the Blowfish. But frontman Darius Rucker listened to Cline. And what has become of him in the last year would do her proud.
In a call from Los Angeles, where he was taping an appearance on "The Bonnie Hunt Show," Rucker offered to sing every song on the pink "Very Best of Patsy Cline" album right there over the phone. Then he moved on to talk about this new country album of his, "Learn To Live." He's the first African-American since Charley Pride to break country music's Top 10 charts.
On pop stars going country Jewel and Jessica Simpson threw on cowboys boots and put out "country" albums. So did Bon Jovi. But Rucker knew he had to do more than that. "I didn't feel the countriness of Bon Jovi," he said. "I wanted my first single to be so country that pop radio just couldn't play it." And Rucker's producer Frank Rogers knew that plenty of artists come to Nashville to get back to their so-called roots. "Back in 1990, when things were starting to boom here, even Vinnie Vincent [from Kiss] tried. But some situations are not as honest as others," he said. With Rucker, Rogers could hear in his voice that he was not just a rock guy trying to sing country.
On writing country songs You can hear more of a Nashville influence than a Hootie influence on every track of the new album. Rucker says the main difference between pop and country is that storytelling is more essential in a country song. "When you can tell a story and make people feel like, 'That's me,' then that's the perfect song," he said.
One of the countriest hooks on the record is in "All I Want." This classic divorce song, heavy with steel guitar, has Rucker telling his ex that she can take everything and leave him nothing. "All I want you to leave me ... is alone," he sings. Rucker and Rogers wrote that song about a half hour after meeting each other. That's chemistry.
On the difference a genre makes "Recording this album was so different than on my Hootie albums," Rucker said. "The players in country are so good, they just get the feel for the song and get it right so quick. We'd do three takes, and we'd be done."
Another difference is that he's a solo artist now, whereas with the Blowfish everything was collaborative. "Now it's just me. So if it works, it's me. And if it doesn't, that's me too," he said.
He also digs the casual vibe of Nashville. On "If I Had Wings," Rucker said his producer was at the gym and saw Vince Gill and asked him if he'd sing on it, and Gill said yes.
"In pop, you'd have to have your manager call their manager, but this time he didn't have to go through any of that," Rucker recalled.
On the very traditional sound Rucker's passion shows in the how-country-is-country-enough discussion. "Everybody knows I'm pop, but this time I really wanted people to know it was a country record with a country sound. So my motto in the studio was, 'If you're about to play a note that you think might be a little pop or one that might be too country, play the too-country note,' " he said.
He didn't want to look as if he were trying too hard, though, so Rogers didn't add layer over layer of standard-fare instrumentation. "When Frank was mixing, he didn't put in anything that wasn't important," Rucker said. "Everything had its purpose."
On the fate of Hootie fans Rucker's fans may have loved him as the Hootie frontman, but will they love him as a country singer? Maybe not. But Rucker's OK with that.
"Some fans were mad," he admitted. "But I mean, just because they were mad didn't mean we [Hootie] were going to go out on tour. We had a good long run, and now I really want to concentrate on my country thing."
And it bothers him when people stereotype country music. "When people say, 'I can't take that whining fiddle,' I always tell them to just listen to a country radio station for an entire day and they're bound to find at least four songs they love," he said.
"Learn To Live" will be in stores Tuesday, and Rucker will be at Joe's Bar, 940 W. Weed St., Sept. 24.
ctc-arts@tribune.com
Copyright © 2008, Chicago Tribune Bill
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Post by Bill on Sept 12, 2008 19:22:07 GMT -5
I ordered Patsy Cline - A Documentary from Deep Discount and it came today. What a disappointment! The first 30 minutes are the history of country music. There is 12 minutes of Patsy. They show video blurbs but no sound. In fact they use none of her music except maybe a little of Walkin After Midnight. There was some wrong info in the DVD as well Frankly I thought it came from CMT documentary that used part of the show. Sounds like that documentary that was part of a CD/DVD package called "I Can't Forget" that was released in 2005 on the Brentwood label. I bought that back then: www.allmusic.com/cg/amg.dll?p=amg&sql=10:3nfwxqesldteAgreed, it's not that great. Bill
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Post by Bill on Sept 12, 2008 17:08:43 GMT -5
From CMT.com: Grand Ole Opry Member Charlie Walker Dies At Age 81
September 12, 2008
Grand Ole Opry member Charlie Walker died Friday morning (Sept. 12) in Hendersonville, Tenn., at age 81. A honky-tonk singer best known for his 1958 recording of Harlan Howard's "Pick Me Up on Your Way Down," he also enjoyed a successful career as a radio broadcaster and was inducted into the Country Radio DJ Hall of Fame in 1981. Born Nov. 26, 1926, in Copeville, Texas, Charles Levi Walker began his professional music career in Dallas during the 1940s as singer and guitarist with Bill Boyd's Cowboy Ramblers. After serving in the Army, he formed the Texas Ramblers and began performing in the Corpus Christi, Texas, area in 1947. He moved to San Antonio in 1951 and gained a fan base as a disc jockey on radio station KMAC. As a singer, Walker's first appearance on the country charts came in 1956 with "Only You, Only You," which reached No. 9. Walker scored three other Top 10 country hits during his recording career on the Decca, Columbia, RCA Victor and Capitol labels. "Pick Me Up on Your Way Down" failed to reach No. 1, but it spent four weeks at No. 2 on the Billboard country chart. His other Top 10 singles include "Wild as a Wildcat" (1965) and "Don't Squeeze My Sharmon" (1967). He became an Opry member in 1967 and was cast as country singer Hawkshaw Hawkins in Sweet Dreams, the 1985 film biography of Patsy Cline which starred Jessica Lange. Walker, who was recently diagnosed with colon cancer, is survived by his wife Connie and 10 children. Correction to the above article. Charlie played Cowboy Copas in "Sweet Dreams." Bill
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Post by Bill on Sept 2, 2008 15:20:07 GMT -5
From Yahoo! News: Singer-actor Jerry Reed dies at the age of 71
By JOHN GEROME, Associated Press Writer
Jerry Reed, a singer who became a good ol' boy actor in car chase movies like "Smokey and the Bandit," has died of complications from emphysema at 71.
His longtime booking agent, Carrie Moore-Reed, no relation to the star, said Reed died early Monday.
"He's one of the greatest entertainers in the world. That's the way I feel about him," Moore-Reed said.
Reed was a gifted guitarist who later became a songwriter, singer and actor.
As a singer in the 1970s and early 1980s, he had a string of hits that included "Amos Moses," "When You're Hot, You're Hot," "East Bound and Down" and "The Bird."
In the mid-1970s, he began acting in movies such as "Smokey and the Bandit" with Burt Reynolds, usually as a good ol' boy. But he was an ornery heavy in "Gator," directed by Reynolds, and a hateful coach in 1998's "The Waterboy," starring Adam Sandler.
Reynolds gave him a shiny black 1980 Trans Am like the one they used in "Smokey and the Bandit."
Reed and Kris Kristofferson paved the way for Nashville music personalities to make inroads into films. Dolly Parton, Willie Nelson and Kenny Rogers (TV movies) followed their lead.
"I went around the corner to motion pictures," he said in a 1992 AP interview.
Reed had quadruple bypass surgery in June 1999.
Born in Atlanta, Reed learned to play guitar at age 8 when his mother bought him a $2 guitar and showed him how to play a G-chord.
He dropped out of high school to tour with Ernest Tubb and Faron Young.
At 17, he signed his first recording contract, with Capitol Records.
He moved to Nashville in the mid-1960s where he caught the eye of Chet Atkins.
He first established himself as a songwriter. Elvis Presley recorded two of his songs, "U.S. Male" and "Guitar Man" (both in 1968). He also wrote the hit "A Thing Called Love," which was recorded in 1972 by Johnny Cash. He also wrote songs for Brenda Lee, Tom Jones, Dean Martin, Nat King Cole and the Oak Ridge Boys.
Reed was voted instrumentalist of the year in 1970 by the Country Music Association.
He won a Grammy Award for "When You're Hot, You're Hot" in 1971. A year earlier, he shared a Grammy with Chet Atkins for their collaboration, "Me and Jerry." In 1992, Atkins and Reed won a Grammy for "Sneakin' Around."
Reed continued performing on the road into the late 1990s, doing about 80 shows a year.
"I'm proud of the songs, I'm proud of things that I did with Chet (Atkins), I'm proud that I played guitar and was accepted by musicians and guitar players," he told the AP in 1992.
In a 1998 interview with The Tennessean, he admitted that his acting ability was questionable.
"I used to watch people like Richard Burton and Mel Gibson and think, `I could never do that.'
"When people ask me what my motivation is, I have a simple answer: Money."
___
Associated Press Writer Joe Edwards contributed to this story. Bill
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Post by Bill on Aug 31, 2008 18:24:17 GMT -5
Hey I just got a Patsy tatoo, I'll send a pic to Bill and he can load it up e-mail me when u get this Tabby's Tattoo: Bill
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Post by Bill on Jul 13, 2008 19:53:38 GMT -5
My favorite is the one about her visting a sick little girl after one of her concerts and singing to her in her hospital bed. I love it cause it shows just how big of a heart she had And, there is picture proof that story is true. Bill
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Post by Bill on Jul 11, 2008 13:44:08 GMT -5
Sounds to me like George Hamilton IV. Bill
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Post by Bill on May 26, 2008 8:55:14 GMT -5
Two more videos from the Symposium concert have been posted, featuring (in mine and Mark Willix's opinion) the best of the non-celebrity vocalists who were performing Patsy's songs. Simpson, Terri - So WrongSimpson, Terri - Medley (Crazy Arms, Sweet Dreams)Terri Simpson is a jazz vocalist who performs at Richmond area clubs. I know many Patsifans don't like to hear anyone other than Patsy singing these songs, but this girl is absolutely stunning. She didn't attempt to imitate Patsy at all. She did the songs her way, and knocked them out of the park. Although she's backed by a Country band here, she recast "So Wrong" as a Jazz Ballad and did a fabulous job. Enjoy. Bill
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Post by Bill on May 24, 2008 22:29:38 GMT -5
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Post by Bill on Apr 22, 2008 21:02:37 GMT -5
Postcard Sent Out By Virginia Historical Society On Friday, April 4, an unprecedented symposium on the life, times and music of Patsy Cline was held at the Virginia Historical Society in Richmond, VA. Titled "Sweet Dreams: The Life and Times of Patsy Cline," the symposium was Co-Sponsored by the VHS and the Community History Project of Shenandoah University in Winchester, with support from the Virginia Foundation for the Humanities and Norfolk Southern Railway. "Sweet Dreams" brought together a number of noted scholars and historians to discuss the many factors (social, economic and musical) that influenced who Patsy was as both a person and beloved entertainer, how she in turn has influenced the generations of artists that have followed, and the impact she continues to have on popular culture. Mark Willix and I began making plans to attend in early March. Mark contacted the Symposium's co-chair, Dr. Paul Levengood of the Virginia Historical Society, offering to coordinate a display of Patsy memorabilia for the Symposium. Dr. Levengood and the VHS accepted the offer, so Mark and I began planning the display and arranging the shipment/delivery of several items that would be used. To accompany a glass-top display case offered by the VHS, Mark and his Partner Jimmy designed a tower cabinet (which was built by Mark's uncle) that could be transported from Georgia to Virginia and assembled on site for use as a 2nd display case. Mark drove up to Knoxville early on Thursday, April 3, to pick me up. After rearranging and loading up, we hit the road about 8:30, arriving at the VHS in Richmond about 3:30. Dr. Levengood met us at the door, and took us to the area where the display would be setup. After unloading and assembling the tower cabinet, Mark and I began arranging items in the cases. While arranging the display, Dr. Warren Hofstra, from Shenandoah University in Winchester, stopped by and we introduced ourselves. To match the themes of the Symposium, the display would be done in several stages. The glass-top case would feature items from the "beginning" through about 1960, which would be changed out half-way through, while the 2nd Case would feature the more "permanent" items. Mark and I arrived at the VHS early on Friday morning to do some last minute tweaking of the display and to pick up our registration materials. The doors opened, and registration began, at 8:30. There were approximately 150-200 registered attendees, including a number of familiar faces: Jim Kniceley and His Wife (from Winchester), Dr. Doug Gomery, as well as George Hamilton IV and Mrs. Hamilton. We were introduced to some of the Symposium's session chairs and presenters, including Joli Jensen from the University of Tulsa and Andrew Flory from the Shenandoah Conservatory at Shenandoah University. Judy Sue Huyett-Kempf and Karen Helm were also in attendance, and we spoke briefly. Regardless of past differences, it was good they could be there. Download: www.patsycline.info/symposium/program.pdfThe first presentation of the day began at 9:30 in the VHS Lecture Hall. Dr. Bill Malone, who is a renowned scholar on Country Music, gave the keynote address " Patsy Cline and A Changing South: From Depression To Postwar Affluence," discussing the social, political and economic changes that occurred in the southern US during Patsy's lifetime, the migration of people from the country to the city, how those changes influenced Country Music, and how they all combined to help shape Patsy into the tremendous artist she was. And, in turn, how Patsy opened the doors and influenced the generations of female artists that followed. Dr. Bill Malone Gives The Symposium's Keynote Address During the first break, a troupe from Shenandoah University's Dance Ensemble performed "Suite Sweet Dreams," a quartet of dances choreographed to several of Patsy's songs, including "I Love You Honey" and "Stop, Look and Listen." The group is extremely talented, and the dance is an excellent tribute to Patsy. The first joint session, " Dreams & Nightmares: Patsy Cline and Her Community," began at 11:00. There were two presentations in the session. The first, by Dr. Hofstra and Winchester Historian Mike Foreman, " The Cultural Worlds of Patsy Cline's Winchester," discussed the different social classes in Winchester, the differences between the different classes, how they perceived each other, and how close (yet how far apart) the different classes were both geographically and figuratively. The second presentation, by Beth Bailey of Temple University, was " Patsy Cline and the Problem of Respectability." Ms. Bailey discussed how Patsy wasn't considered respectable by certain people, based on social conventions and customs of the era (i.e. what people just did and did not do, did not say, in those days), but that she couldn't be ignored and she was reflective of the changes in Southern and National culture that were taking place. (NOTE: The clickable links in the title of each presentation will redirect to the Virginia Historical Society's website where the audio from each of the presentations can be downloaded.) At the beginning of Ms. Bailey's presentation, Mark and I stepped out to reset the memorabilia display for the afternoon portion of the Symposium. The glass case was changed out to reflect Patsy from 1961 onward, while a few pieces were switched in the tower cabinet to reflect this same period. We also added some scrapbooks and a Platinum Album for "Greatest Hits." Patsy Cline: The Lady and The Legend (1961 - Present)Original US and International Records, Along with Original Period Photographs of Recording Sessions In Owen Bradley's Music Row StudiosIn Addition To Patsy's US Decca Releases, Original Issue Records On the Brunswick (from the UK and Belgium) and Decca (from South Africa) labels Showcase Patsy's International FollowingIn Addition To Patsy's US Decca Releases, Original Issue Records On the Brunswick (from Spain and the UK) and Festival (from Australia and New Zealand) labels Showcase Patsy's International FollowingIn Addition To Patsy's US Decca Releases, Original Issue Records On the Brunswick (from the UK) and Festival (from Australia and New Zealand) labels Showcase Patsy's International Following; Also, A Picture Disc From 1985 and Original Period Photographs of Recording Sessions Held In Owen Bradley's Music Row StudiosRIAA Platinum Album Marking Sales of More Than 9,000,000 Copies of "Patsy Cline's Greatest Hits"Photos Depicting Patsy On Stage In Saginaw, MI, the "Dream House" on Nella Drive, and a copy of Patsy's Handwritten Will; On Display, But Not Pictured, Are the "Remembering Patsy Cline" CD and An Invitation To the Dedication of Patsy's Star on the Hollywood Walk of Fame In 1999, Along With A Picture of the StarCandid Photographs of Patsy On-Stage and Backstage, Three of the Most Important CDs Issued Since Her Death, and A Copy of Life Magazine From March 1963 During Lunch, the "Remembering Patsy" DVD was played on the big screen in the Lecture Hall that served as the Dining Room. I sat with fellow APC member Marshall Seate, and his niece, along with a lady from Fredericksburg, VA whose father played Fiddle in a band that backed Patsy on some local dates. When she asked where I was from, and I told her, she couldn't believe I would come all that way and asked how I found out about the Symposium. She then asked if I would like to see her Patsy collection. It's not just a collection, it's a treasure. Among the items she brought with her was a group photo of her father's band with Patsy, several candid photographs of her (about age 10) with Patsy, Patsy at home in Winchester, plus a letter Patsy had written listing songs she planned to perform at a show in Fredericksburg (along with the keys Patsy would sing them in). A couple of the titles listed, that Patsy never recorded, were the Jim Reeves song "I've Lived A Lot In My Time" and the Marty Robbins/Guy Mitchell hit "Singing The Blues." The second session, again comprised of two presentations, began after Lunch. Chaired by Andrew Flory, " Patsy Cline and the Major Media" delved into Patsy's probable musical influences, as well as the beginnings of Patsy's career in Washington DC. While the list of artists who influenced Patsy is largely anecdotal, Kristine McCusker, of Middle Tennessee State University, gave insight into the probable candidates in " Walking After Midnight: Patsy Cline, Rose Maphis and East Coast Country Music." Rose Maphis was a contemporary of Patsy's, who grew up in the Maryland/Virginia area in roughly the same time period as Patsy. Based on interviews Ms. McCusker conducted with Rose Maphis several years ago, and Patsy's early image as a Cowgirl, one could look to Patsy Montana and many of the girl groups who appeared on the various regional and national Barn Dance/Jamboree Radio Programs in the '30's and '40's. George Hamilton IV, in his presentation " The Early Years: Hard Times and Good Times For Country Music In 1950's Washington DC," reminisced about his first appearance on Connie B. Gay's "Town and Country Time" in 1956 at age 19, his introduction to Patsy, and how she kidded him (based on his attire) of trying to be "The Pat Boone of Country Music." George Hamilton IV Reminisces About Patsy During His Presentation George talked about the first time he saw Patsy, she was singing "Life's Railway To Heaven," which was his grandfather's favorite song. Patsy gave George the advice to watch Jimmy Dean, because George would learn all he needed to know about show business if he did. George also became very emotional when he said that Patsy was not the person many of her early critics said she was. Patsy was beautiful inside and out, and had a heart that was bigger than her voice. George also said that, although Patsy and Connie B. Gay had a falling-out, Connie was quoted in the later years of his life as saying that "Patsy Cline was the best female singer that ever walked the face of the Earth." George emphasized, "He didn't say best female country singer. He said best female singer, period." At the end of the session, Andrew Flory recognized Karen and Judy Sue in the audience. During the third break, samples of some of Virginia's finest food products were offered in the Gift Shop area. Many of those attending also browsed the Gift Shop, where books written by many of the Symposium's presenters were on sale, along with an assortment of Patsy Cline CDs and DVD's. A new and updated edition of Ellis Nassour's book, "Honky Tonk Angel," was also available for purchase. A few new pictures are included, along with a new chapter that discusses most everything that has happened since the book's original publication in 1981 (as "Patsy Cline") and the 1993 update and title change. This includes the Fan Websites, the Fan Club, the Plane Parts Auction, the dispute between Sam and Sylvia surrounding Hilda's estate, and the auctions of Patsy's clothing and costumes that resulted from the dispute. The third and final session of the day, " Sound and Image: Varieties of Patsy Cline," was chaired by the VHS's Dr. Paul Levengood. Dr. Levengood thanked everyone for attending the Symposium, thanked Mark and I for bringing the display, and made a few reminders about the rest of the day's events. As with the other sessions during the day, there were two separate presentations. Jocelyn Neal, from the University of North Carolina at Chapel Hill, opened her presentation " Mixing Styles, Making Styles: Analysis of Patsy Cline's Nashville Sound," by relating her own dreams of being a Country Singer. A huge fan of Reba McEntire, she began buying every Reba tape she could find. Then, learning that Patsy was a big influence on Reba, began buying every Patsy tape she could find. Jocelyn discussed how the "Nashville Sound" was developed, the roles of Owen Bradley and Chet Atkins, how Patsy blended with the new sound, and how the "Nashville Sound" evolved to the point that it fell out of favor in the late '70's as artists/fans gravitated to the Outlaw movement and back to "traditional" Country Music. And, with the changes continually taking place in Country, how the definition of "traditional" keeps changing and how Patsy is now viewed by some as "traditional." Joli Jensen, from the University of Tulsa, became a fan of Patsy in the late '70's and used her savings to go to Nashville to meet and interview people like Owen Bradley about Patsy. In her presentation, " Whose Patsy: Image, Cooptation and the Celebrity Process," Joli talked about how she was initially met with amusement and skepticism about her interest in Patsy, and about those in the business who thought she might be using Patsy as a way to get her own foot in the door for an audition/career. When she went to do research at the Hall of Fame, she was told "Patsy's not really Country." During the presentation, Joli talked about how popular culture has taken the "various" Patsy's (Cowgirl, Opry Star and Vegas Performer) and morphed them into one "Iconic Patsy" that is a combination of them all. She ended the presentation with the question "Can we study Patsy and still love her?" As Mark told her later, "I study Patsy because I love her." Joli replied "Exactly." I think we all agree with these sentiments. During the discussion that followed, it was brought up how Patsy was changing her style from the Cowgirl of the early days to a more sophisticated wardrobe, hairstyles, etc. I brought up the letter that Patsy wrote to Nudie's of Hollywood (see the " Sparkle & Twang" post in the Scrapbook section of this forum) the week before the plane crash where Patsy was commissioning two Western style dresses, showing she hadn't completely given up on the Cowgirl style. After a Dinner Break, we returned to the VHS for a fun-filled evening concert starring George Hamilton IV, Jimmy Dean and Donna Meade Dean, with local talent Sara Arthur, Kelli Moss and Terri Simpson. Richmond Radio Personality, Tim Timberlake, served as Musical Director, with music provided by Brad Spivey & The Honky-Tonk Experience. Sara, Kelli and Terri each performed three of Patsy's songs and George performed several of his hits including "A Rose and A Baby Ruth" and "Abilene." Donna performed "Crazy," and told a story about recording her final album with Owen Bradley. She was "rusty" after not having performed for a few years and broke down during the sessions when she couldn't hit certain notes. Owen gave her some comforting words while telling her the story of when Patsy was initially trying to record "Crazy" and how Patsy did the same thing, but came back to the studio with a determination that he hadn't seen before and nailed the song in one take. Jimmy told stories about his friendship with Patsy, then launched into "Big Bad John" with everyone singing the chorus. On stage, during the concert, was a limited edition Hatch Show Print of Patsy, along with a Jacket worn by Jessica Lange in the movie "Sweet Dreams" (on loan from Winchester resident and APC member Linda Ross) and the Microphone and Station Flag from WINC in Winchester. A picture of these can be found in Tim's Music Journal, a blog by Tim Timberlake. And, with the conclusion of the concert, the Symposium ended. It was a great day celebrating the life, music and cultural contributions of the great Patsy Cline. May we forever have "Sweet Dreams." Bill EDITED BY ADMIN: Corrected Link For Concert Program
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Post by Bill on Sept 8, 2007 21:23:06 GMT -5
A fresh breath of gritty reality in a plastic world.
Sue Wilden
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Post by Bill on Sept 8, 2007 18:12:11 GMT -5
What does Patsy Cline mean to me?
What can I say that has not already been said? Patsy has brought immeasurable pleasure to me through her music and her spirit. Her music has lifted me when I've been down and her life's story has inspired me to reach for the stars when I have questioned my own abilities. Her music is also directly responsible for bringing many wonderful people into my life who love her music and appreciate her as I do.
Happy 75th Birthday Patsy!
SueBee
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Post by Bill on Sept 8, 2007 12:19:31 GMT -5
Since Patsy began singing, I have listened. She is 11 years older than I am, so I was there. My Dad could be brought to tears with her songs. The few times I saw that kind of emotion in him. Mom sang her songs in their band, as I later did. There is no rough time in my life, that one of her songs, well, al of them, didn't fit the occasion. I like the pop tunes she started with and even my bluegrass Daddy liked them too. I never FELT them until I was in high school. You know, first heart breaks.. "She's Got You", You're Stronger Than Me" is a very touching song when you see your former love with someone and you catch his eye. "Triangle", oh yeah.. Blue Moon Of Kentucky She has ALWAYS been my inspiration and I close my eyes and feel the pain, whether I am listening or singing.
Without her, who would there be for all the singers to step up to a mic or ride down the road, or shower with? I used to answer questions from the children with a line of a song. They asked their dad why I was always singing, even when I talked to them. He said because it is from her heart. Be careful around her if she is singing a patsy song, because she is deep in thought about something. Patsy and Elvis are not dead!
Linda Cunningham
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I was in Berryville last night. We started honoring Patsy with the first song and about everyone there, men as well, sang at least one in honor of her birthday. We counted the minutes down to midnight, and the DJ said it is now after 12 midnight, so it is officially Patsy Cline's Birthday. And we all wished HER a Happy Birthday. I was up, and did Faded Love and nearly couldn't get thru it. Then I left. I was finished.
Happy Birthday to a legend, Miss Patsy Cline.
(ELVIS AND PATSY ARE NOT DEAD)
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Post by Bill on Sept 7, 2007 23:07:00 GMT -5
What Patsy means to me? That is hard to explain but I will give it a shot.
Her music sooth my sad sole and warms my heart. After being a fan for 25 years I am still amazed at song style. I may have not heard a song for awhile and when I do I can be amazed how she performed or the productions. Simply stunning. Her spunk helped me become more outgoing. I used to be shy, can some of you all believe that? I am so thankful to have discovered her. Through the years I have meet and made some great friends.
It's been a pleasure meeting Charlie, Julie and Hilda. If it wasn't for her I would have never seen anyone honored on a U.S Postage Stamp or given a Star on the Hollywood Walk of Fame. Gosh I may have never seen parts of the USA other than KY or TN for it not for her. I have been blessed. Jimmy Walker
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Post by Bill on Sept 7, 2007 23:05:59 GMT -5
A recorded voice came out of the radio. Just a voice, but not just a voice, a voice packed with emotion, strength and a unique soemthing that words cannot describe.
Forty five years later the recording is the same recording but the voice is different. It lives and in living it becomes right for the moment. It can be different every time I hear it.
For me that voice has been a constant and true friend, never intruding but always there when needed. And popping out of the radio at the most un-expected times. Un-expected but always welcome.
That voice is a guiding star, its emotions open up the mind to encourage one's thoughts to flow freely and thus one finds one's own way mentored by that voice.
Patsy is that voice and that voice is Patsy
Thank you Patsy for being you and thank you for giving the world your voice, your talent and that unique indescrible special something that is you.
Bernard Green
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Post by Bill on Sept 7, 2007 23:04:17 GMT -5
What does Patsy mean to me? That's easy. She's my muse. I go to her in times of stress and anguish and I go to her in times of joy and celebration. She's always there, no matter what I need. I'm not a religious person, but I talk to Patsy all the time. And she has worked in some very mysterious ways for me. I don't always understand how she knows just when to send a message, but she always knows.
I love her music. I love the life she led. She's helped me more than I could ever say. It was Patsy's music that got me through two of the hardest parts of my life. The first was when I accepted my sexuality and came out as a teenager. The second was when I was in a relationship with an abusive alcoholic. Patsy helped me through those periods. There were nights when I would cry myself to sleep listening to "Imagine That" or "When You Need A Laugh." They fit my life so well at those times. To this day "Imagine That" remains my favorite Patsy song.
And her legacy continues by bringing me wonderful friends through this and other websites. I would be remiss if I didn't mention that Per made it all possible. I would never know the love of the men I consider brothers, Bill Cox, Guy Cesario and Philip Martin. Or the love of the women who are my sisters, Lisa Flood, Suzanne Benedetto, Theresa Shalaby, Chantel Turner, Molly Meridieth, Vanessa Prewett. For Bill, Guy, Lisa, Sue, Molly and me it's been 10 years. 10 years that we've shared our struggles, our joys, and a TON of laughter. In that time we've welcomed Theresa, Chantel, Philip and Vanessa to that fold; and more recently Byford, Jared and many others. What a treasure she has brought me in each of you. And I'm honored and humbled by your support and friendship.
It's in her voice, yes, but also in her soul. You can just feel her right there with you. It's hard to summarize it, but if I had to choose one word to describe what Patsy means to me, I would have to chose, Grace.
"Through many dangers, toils and snares... I have already come. Twas Grace that brought me safe thus far... and Grace will lead me home."
Happy Birthday Patsy
Mark Willix
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Post by Bill on Sept 7, 2007 23:01:47 GMT -5
PC & LP
Patsy Cline & Luciano Pavarotti, two musical greats. Today we celebrate the 75th birth anniversary of Patsy Cline and today Luciano Pavarotti is being buried. They had much in common, certainly not the least of which is that each was endowed with an incredible gift from God, a voice that would conjure angels. They both branched out into the popular music field. They were both wildly successful (wild in the sense of amazing or incredible, not uncultivated). Patsy Cline is still gaining new fans forty four years after her death, and I would suggest that in the year 2051 Luciano Pavarotti will be doing the same. Many of us (myself for sure) won’t still be on planet earth then (but we will have the distinct pleasure and advantage of seeing and hearing Patsy and Luciano “in person.”). I never had the pleasure of seeing Patsy in person, but I was privileged to once be at a live concert that Pavarotti gave in Chicago several years ago.
It has been said of Pavarotti that he possessed a “once in a generation” voice. Of course, the same has been said of Patsy Cline, that she possessed a “once in a generation” voice. Yet, they were both of the same generation, Patsy being born in 1932 and Luciano in 1935. I guess we can say that Patsy possessed a once in a generation female voice and Pavarotti possessed a once in a generation male voice. What beautiful music they must be making together today!
A quote from Maestro Pavarotti – “Penso che una vita per la musica sia una vita spesa bene ed e` a questo che misono dedicato.” (“I think a life in music is a life beautifully spent and this is what I have devoted my life to”). Patsy Cline might have said the same thing albeit with a country twang.
My friend Bill Cox asked us to write something about “What does Patsy Cline mean to me.” Wow, that’s a difficult assignment! It’s difficult to put into words – perhaps the fewer words the better. Without trying to be esoteric, I will only say that her music “touches my soul.” I can say the same about Pavarotti. I can also say that my life has been enriched by these two great artists. Happy Birthday, Patsy! Rest in Peace, Maestro!
Guy Cesario
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Post by Bill on Sept 7, 2007 22:59:33 GMT -5
When Bill gives out the homework, he does it right!!!
To answer the question of what Patsy means to me would probably fill a book, but I’ll try to be succinct.
Patsy is, and has been for many years of my life, and inspiration to me.
But, what does that mean?
Is it Patsy the singer, Patsy the cowgirl with a swagger that is unforgettable, Patsy the urbane chartreuse, Patsy the kind hearted mother and giving person, Patsy the angel singing hymns that are straight from Heaven, Ginny Hensley the hard working gal from the wrong side of the tracks, or all of the above??
Well, for me, sometimes it’s all of the above, and sometimes it’s just one, or it’s a few.
That’s the beauty of Patsylove to me. It has so many facets, and never falls short.
Patsy Cline is a person and inspiration for all occasions; a woman for all seasons, if you will.
Patsy has been the background music for much of my life, as I grew up with my mom playing her records. Childhood happiness, sadness, and changes all kept time with her beautiful voice.
Life went on; I got older, and drifted away from my roots in so many ways, including listening to the music that I grew up with.
As I came to a crisis point, having come very close to giving up my Christianity, I popped a CD into my car that I had bought the night before on a lark. I was driving aimlessly, tortured about my life.
There she was again. Hadn’t heard her in a while…. That angelic voice pouring out her love of God as she filled my car with the lyrics of “Life’s Railway”… I was moved to tears, and it was a pivotal, defining moment in my life. I could keep going in the direction that I was headed, or I could lay it all down, make some huge sacrifices, and return to my roots, and to my God. Patsy’s sweet voice guided me to the right path.
Times have been sometimes tough since then, but that’s ok, because I call on the other facets of this amazing woman when I’m struggling. Standing up for your family and what is right, not settling for second best, being kind, being vulnerable, being strong… All of those things I have seen in her, and in her story, and she spurs me onward. I call on those qualities a million times a day. I think of how hard she had it, and I realize how easy I have it.
I can’t tell you of a particular song that is my favorite, as many of you can’t either, because they are all so incredible.
It’s just the voice, the essence, the story.
She is the kind of person that I would like to be. I know she wasn’t perfect, but who the hell is?
I admire her spunk, drive, passion, talent, and goodness. I always look at pictures and film, and look at her eyes.. To me, the kindness is overwhelming. The eyes are the window to the soul, and I’ve spent a good deal of time studying these ones, trying to get a feel for the person. I see a kind, loving, and sometimes sad person staring back.
I often wonder what was she thinking? Was she worried about the kids? Wondering when she’d ever get home? Worrying about other family? Or just plain tired, but had to push onward…
I guess I’ll never really know, but I’d like to think that she had some happiness in her short life. I certainly hope she has, because she has brought happiness and joy to so many.
She has brought so many folks together. Some of my dearest friends have come into my life because of Patsy; and I love each and every one of you.
She has new young fans every day, her legacy will never die; it will only grow over time.
We are united in awe of this woman who is the voice of a lifetime. Another won’t come along in my life, I’m sure. And that’s fine, because we have been blessed with the best.
Happy Birthday, Ginny. I wish you were here to share it with your family. My heart and prayers go out to them, as they’ve carried on without you in their lives. I wish it could be different. You would be proud of them. But, I know you see them and know all there is to know. Smile down on them always.
As for us, know that we love you, and will do our best to remember you with love, respect and dignity.
You will always be my heroine and inspiration.
May your star shine forever.
Theresa Rado-Shalaby
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Post by Bill on Jan 5, 2008 16:43:05 GMT -5
During 2007, the Tennessee State Museum in Nashville hosted an exhibit called "Sparkle & Twang," featuring items of Country Music memorabilia from the collection of Marty Stuart. Our very own Theresa Shalaby visited the exhibit in early November, shortly before it closed, and took the following pics of the Patsy items in the exhibit. Theresa, many thanks for sharing these with Patsifans everywhere: Train CaseTrain CaseBootsDress ~ Display TagDressDressDressDressLetter To Nudie's of Hollywood ~ Written February 28, 1963Letter To Nudie's of Hollywood ~ Written February 28, 1963Letter To Nudie's of Hollywood ~ Written February 28, 1963Letter To Nudie's of Hollywood ~ Written February 28, 1963Letter To Nudie's of Hollywood ~ Written February 28, 1963Letter To Nudie's of Hollywood ~ Written February 28, 1963Letter To Nudie's of Hollywood ~ Written February 28, 1963Letter To Nudie's of Hollywood ~ Written February 28, 1963 Bill
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Post by Bill on Apr 7, 2008 15:40:43 GMT -5
Always...Patsy Cline 2008Courtesy of Ted Swindley Productions: All shows should be confirmed WITH THE THEATRE prior to travel. Alpena, MIThunder Bay Theatre 400 North 2nd Avenue – 49707 Ph: 989-354-2267 4/10-13, 17-20, 24-26Zelienople, PACalvin Presbyterian Church 415 E. Grandview Avenue – 16063 Ph: 724-452-7560 4/10-12Laurel, MSLaurel Little Theatre 4667 Highway 15 North – 39441 Ph: 415-577-9281 4/11, 12, 13, 18, 19Rome, GAGem Theatre 205 Rollingwood Circle – 30165 Ph: 706-235-1036 4/11-13Reserve, LASt. John Theater 115 W. Fourth Street – 70068 Ph: 985-536-6630 4/24-26Onancock, VA The North Street Playhouse 34 Market Street – 23417 Ph: 757-787-2050 4/25-5/11Faribault, MNParadise Center for the Arts 372 Central Avenue – 55060 Ph: 507-332-7372 5/2-4, 8-10Pueblo, COThe Runyon 611 N. Main – 81003 Ph: 718-564-0579 5/2-11Bridgeport, TXBridgeport Stage 1009 Halsell St – 76426 Ph: 940-683-2127 5/2-4,9-11Cincinnati, OHShowboat Majestic 435 E. Mehring Way – 45205 Ph: 513-241-6550 5/7-25Redmond, ORElton Gregory Middle School 1220 NW Upas Avenue – 97756 Ph: 541-526-1688 5/16-18, 23, 24Winter Haven, FLTheatre Winter Haven 210 Cypress Gardens Blvd – 33880 Ph: 863-294-7469 5/31, 6/1Mt. Dora, FLMt. Dora Community Theatre 1100 N. Unser Street – 32757 Ph: 352-283-3133 6/7,8Stillwater, OKTown and Gown Community Theatre 1523 N. Glenwood – 74075 Ph: 403-377-1479 6/19-22, 25-29Kansas City, MOAmerican Heartland Theatre 2450 Grand Avenue #314 – 64108 Ph: 816-842-9999 6/27- 8/10Jackson, WYThe Jackson Hole Center for the Arts 240 Glennwood – 83001 Ph: 307-733-4900 7/10-8/9Butte, MTBig Sky Rep 9 South Idaho – 59701 Ph: 406-593-2759 7/10-8/17Arundel, MEArundel Barn Playhouse 53 Old Post Road – 04046 Ph: 207-985-5552 8/19-30Barrett, MNPrairie Wind 18680 130th Avenue – 56311 Ph: 320-528-2343 8/21, 22, 23,24Boiling Springs, PAAllenberry Playhouse 1559 Boiling Springs Road – 17007 Ph: 717-258-3211 9/3-23Greenville, SCGreenville Little Theatre 444 College – 29601 Ph: 864-233-6238 9/12-14, 18-21, 25-27Bandon, ORSprague Community Theater 1201 11th Street SW – 97411 Ph: 541-347-7426 9/19-10/5Lakeway, TXTexArts Studios 2200 Lohmans Spur – 78734 Ph: 512-965-6050 9/26, 27, 28, 10/2, 3, 4Olathe, KSChestnut Fine Arts Center 234 N. Chestnut Street – 66061 Ph: 913-764-2121 10/9-12, 16, 17, 19Wichita Falls, TXBackdoor Theatre 501 Indiana – 76308 Ph: 940-322-5000 10/10-11/1Brookville, OHBrookville Community Theatre 770 Arlington Road - 45309 Ph: 937-833-3531 11/6-9, 13-16
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