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Post by Bill on Sept 7, 2014 16:23:16 GMT -5
I'm not sure how many people still visit and use this forum. The main site has been offline for nearly two years. It is relaunching for Patsy's birthday. www.patsified.comor www.patsycline.infoBill
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Post by Bill on Aug 31, 2011 7:37:38 GMT -5
I keep the forum up, as well as TheCline Yahoo! Group, but neither have been as active as they used to be for a couple of years now. Probably changing lives, as well as changes in the patterns of communication. I've noticed the Forum on Per's site is not as active as it once was either. For those on Facebook I created a "Patsified!" page there that you can "Like" www.facebook.com/PatsifiedBill
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Post by Bill on Feb 19, 2010 17:55:02 GMT -5
www.ryman.com/apc.htmlAlways… Patsy Cline Bio-Musical Returns to the Ryman Stage2010 Marks the Fiftieth Anniversary of Patsy Cline’s Grand Ole Opry Induction Which Happened at Nashville’s Historic Ryman Auditorium.NASHVILLE, Tenn. (February 18, 2010) –Bio-musical Always...Patsy Cline returns to the historic Ryman Auditorium on June 18, 2010. Always…Patsy Cline will be performed on the same stage where Cline was inducted into the Grand Ole Opry in 1960. 2010 marks the fiftieth anniversary of Cline’s induction into the Grand Ole Opry. Her history with the Nashville landmark runs deep – Cline was introduced by Ernest Tubb the first time she made an Opry appearance in July of 1955. She famously received three encores after a performance of “Crazy” in 1961 on the Ryman stage. Famed WSM announcer Eddie Stubbs has commented that Cline had “...one of the most special voices that ever appeared on this stage.” Songstress Mandy Barnett will reprise her role for the sixth time as the famous singer. Joining Barnett on stage to reprise her role of Louise Seger, Cline’s most devoted fan, will be Tere Myers. Always...Patsy Cline creator and original director, Ted Swindley, will return to direct. The musical was originally produced at the Ryman in 1994 following an $8.5M renovation by Gaylord Entertainment Company. In 1961 Cline and Seger met before a show Cline performed in Houston, Texas. Always...Patsy Cline is based on the story of the friendship that developed between them. The two women corresponded until Patsy’s sudden death at age 30 in an airplane crash on March 5, 1963. The show takes its name from Patsy’s sign off on her letters to Louise. Each correspondence ended the same way: “Always ... Patsy Cline.” Always...Patsy Cline features more than 20 of Cline’s most memorable numbers including “I Fall to Pieces,” “Crazy,” “Blue Moon of Kentucky,” and “Sweet Dreams,” which became a hit shortly after her death. Always…Patsy Cline will run every Friday, Saturday and Sunday, June 18 through July 29 with the exception of July 4. Tickets go on sale Saturday, February 20 and will be available at the Ryman box office, daily 9 am to 4 pm, or through getgaylordtickets.com. Ticket prices are $29.50 & $36.50.
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Post by Bill on Jan 20, 2010 18:38:38 GMT -5
I have been told today by a reliable source located close to Nashville that a group of people have sucessfully objected to this plan and the process has been cancelled. Here's a story on it, with video, from Nashville's WSMV-TV: www.wsmv.com/entertainment/22275860/detail.htmlBill
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Post by Bill on Dec 15, 2009 0:51:33 GMT -5
Due to a lot of extraordinary events in my life in the past year, I have not yet had the opportunity to incorporate the content from "Patsified" into the site as yet. I still have to get some of the pages from Lisa, who has them backed up on her computer at home.
I hope to get it uploaded over the course of this winter, as well as the content from "SueBee's Kitchen" which has gone offline with the closure of GeoCities by Yahoo!.
Please have patience, and stay tuned.
Bill
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Post by Bill on Nov 8, 2009 21:15:51 GMT -5
It is the same Randy Hughes. I don't know how many records he made. Eddie Stubbs usually plays a few of them during his annual March 5 radio tribute on WSM.
Bill
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Post by Bill on Sept 20, 2009 9:58:25 GMT -5
Thank you Bill. If anyone has questions on Patsy you are sure the man to come too. Would her Tennessee Waltz of been from around that same time and show? Thanks again, John No. "Tennessee Waltz" is from her final appearance on "Country Music Time" for the US Air Force. It is believe to have been recorded in January 1963, but was not broadcast until after her death. An announcer at the beginning of the show introduces the program by saying "The program you are about to hear was recorded in Nashville prior to the untimely death of Miss Patsy Cline..." Bill
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Post by Bill on Sept 19, 2009 19:03:49 GMT -5
This song It Wasn't God Who Made Honky Tonk Angels Would that of been from the WINC Radio broadcasts and would you know when? No, it is from a 1954 Radio Transcription of the Connie B. Gay show "Town & Country Time" that was recorded for broadcast on Armed Forces Radio. Bill
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Post by Bill on May 13, 2009 20:53:30 GMT -5
Winchester Star 13th May 2009 The cost of the project has not been determined, Huyett-Kempf said. tinyurl.com/oaowwmThe saga of CPC and the Museum they have proposed to create in Winchester for the past 16 years has been discussed here, and other places, ad nauseum. It's caused a lot of rancor among the fans, and I don't want to see that happen again. That being said, I am going to make a few comments. Regardless of all the rezoning that has taken place, the permits and permissions that have been granted, the problems inherent in opening 608 S. Kent Street to public access are still prevalent today as they were in 2002/2003 when this idea was first proposed and CPC entered into the agreement to purchase the house from the Adams family. There is a reason why this use of the house was later deemed unfeasible. What's changed in the 7 years since then? The house is now over 100 years old. It's seen a lot of wear and tear over the years, and is going to need a lot of work. In addition to the plans to restore the house to its appearance when Hilda, Ginny, Sam and Sylvia lived there, there will also have to be MAJOR structural modifications and reinforcements done in order to grant public access while not altering the home substantially that it would lose its National Historic Landmark designation in the process. Fire Codes, Handicapped Access. . . At best, if all of this is accomplished, only a handful of people would be allowed in at a time due to the space limitations. And, more than likely, they would only be allowed access to the four rooms on the Ground Floor. For those who haven't been there, it's a small house. I'm sure many who will take issue with my comments here will cite the public tours of Elvis Presley's "Graceland" in Memphis. However, there are only certain rooms on the 1st floor which the public can see. And, no one has access to the 2nd floor at all. And, it is a much larger house. I will not argue with anyone that Winchester finally needs to honor Patsy. It's way overdue. But, as fans, we've proven time and again that we can get too emotional when it comes to Patsy. As my good friend, Mark Willix, wrote in an e-mail today: I just hope no one's high expectations get shattered again. Bill
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Post by Bill on May 12, 2009 23:15:17 GMT -5
Hi Bernard Thanks for your honest reply to my question - I do agree about the "personal preference" of the mastering engineer but from my own personal perspective, the examples I've heard to date which claim to be better ARE better. I have also heard about Bear Family but have never owned one of their releases. How did they get and manage to maintain such a high reputation amongst the fans and personnel of the recording industry though? I guess they're doing something right but how do they manage to outclass MCA/ Universal (if indeed they do)? Does anybody know if there are any more planned Patsy releases from this company or was "Stop Look & Listen" a one-off release? I do also wonder if MCA were to re-release the "Patsy Cline Collection" if they would re-master that set or not. I guess that the Bear release will sound better than the old 1995 "Crazy Dreams: the Four Star Years" CD? I think what I'm trying to do here is to obtain the loose ends of the studio recordings whilst getting the best sound but avoiding, if possible, paying too much for a later release if it is no superior to an earlier one. Thanks again and happy listening to everyone! ....ssshhhh, or you'll wake them up! Regards Steve The Forum goes through lulls. There will be a spurt of activity for a while, then it will go silent. Spring and Summer tend to be the slowest, quietest times. Things pick back up in Autumn, and are busier in the Winter. The "Stop, Look & Listen" CD from Bear Family does contain 3 previously unreleased alternate takes: "(Write Me) In Care of the Blues" (although it's not listed as such) "Love, Love, Love Me Honey Do" "I Don't Wanta" [1957 Version] I think the only misstep Bear Family made with this CD is that they used the same master of the 1956 version of "A Poor Man's Roses" that the Country Music Foundation/MCA used for the 4-CD Box Set. It was a master made from playing a record of the song, as the CMF supposedly couldn't find the original tape. However, Varèse Sarabande found the tape in the MCA vaults and used it for their 2000 CD release "25 All-Time Greatest Recordings: The 4-Star Sessions, 1955-1960" www.patsycline.info/records/3020661652.htmlI don't know if Bear Family will release any other Patsy Cline CD's. They could attempt a comprehensive box set of all of the 4-Star and Decca Recordings, including all existing alternate takes, as well as all existing Live Recordings and Radio Transcriptions. A lot of Patsifans would pay good money for such a collection. I own several releases by Bear Family (Patsy, Jim Reeves, Brenda Lee, George Morgan, and a couple of various artist compilations), and the sound quality of their products is exceptional. For example, the version of George Morgan's 1949 Columbia Records recording of "Candy Kisses" that Bear Family used on their 8-CD Box Set from 1996 is far superior to the one Columbia/Sony used for a single disc collection issued on the Razor & Tie label the same year (and, I have both). From my understanding, Bear examines all known masters of a recording and uses the very best one when compiling their collections. Each of the Bear Family releases in my collection lists someone as having done "Tape Comparison" in the credits in the liner notes. I honestly wouldn't be surprised if Bear Family didn't sometimes create brand new masters from the original session tapes. You couldn't get any better sound quality than that. I would say that if MCA chooses to reissue the 4-CD Box Set, they will do an updated remastering job, just as they did with the "Greatest Hits" CD in 2003. One other thing about the MCA 4-CD Box Set. The version of "Imagine That" used is the Mono recording. To get the Stereo recording of the song, pick up the MCA 2-CD Set "Gold": www.patsycline.info/records/b0004119-02.htmlBill
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Post by Bill on May 7, 2009 19:46:58 GMT -5
A visit to the Grand Ole Opry Museum, a performance of "Always. . . Patsy Cline" at the Ryman Auditorium, and a visit to Camden Bill Grand Ole Opry MuseumPatsy's Lavender Lace Dress, Made By Hilda, and Patsy's Coat On Loan From Patsy's Sister, SylviaGold Brocade Outfit Patsy Wore To the 1962 D.J. Convention Where She Won The "Star of the Year" Award On Loan From Patsy's Sister, SylviaReproduction of Patsy & Charlie's "Music Room" The "Hi-Fi" Belonged To Patsy & CharlieReproduction of Patsy & Charlie's "Music Room" The TV Belonged To Patsy & CharlieMarty Robbins's Pantera, Which He Drove Onto The Opry Stage During An Opry AppearanceGroup Performance of "I Saw The Light" From A 1956 Opry TV Show L-R: Ferlin Husky, Jean Shepard, Little Jimmy Dickens, June Carter, Tony Bennett, Ernest Tubb, Patsy Cline, Ray Price, Bill Carlisle and Slim WhitmanPhotos By Bill CoxRyman Auditorium"Always. . . Patsy Cline" Banner Hanging Above EntranceMemorabilia DisplayMemorabilia DisplayMemorabilia DisplayMemorabilia DisplayMemorabilia DisplayMemorabilia DisplayMemorabilia DisplayMemorabilia DisplayMemorabilia DisplayMemorabilia DisplayMemorabilia DisplayMemorabilia DisplayMemorabilia Display"Always. . . Patsy Cline" Stage SetMandy Barnett On Stage as Patsy ClineMandy Barnett & Tere Myers Sign Autographs After the ShowPhotos By Bill Cox and Guy CesarioL-R: Bill Cox, Guy Cesario, Theresa Shalaby, Chantel Graves, Byford Wagstaff, Donna Martin, Mark Willix and Philip Martin Dotson's Restaurant ~ Franklin, TNCamden, TNThe Cross and Pile of Rocks Reportedly Marks The Spot Where Patsy Was FoundThis Hydrangea Was Planted April 18, 2009 In Remembrance of Those Lost On That Day So Long AgoVisitors Leave Flowers and Other Items On The Pile of RocksBulletin Board Overlooking Crash Site Erected By Benton CountyPhotos By Bill Cox and Guy Cesario
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Post by Bill on Apr 26, 2009 22:14:10 GMT -5
The song is called "She Came Along" on a new album from Sharam, one half of the dance duo "Deep Dish." The following article is from the El Paso Times. The track can be heard, and downloaded, here. Bill Sharam: DJ Mixes Wild West Into Dance Music By Doug Pullen / El Paso Times Posted: 04/25/2009 08:02:19 PM MDT
EL PASO -- Who would think of sampling Patsy Cline's melancholic "She Came Along," set it to dance beats, and have rapper du jour Kid Cudi rhyme along? Who could make it work?
How about Sharam, one half of the Grammy-winning American dance production duo Deep Dish, which has remixed hits for everyone from the Rolling Stones to Madonna. Deep Dish won a Grammy for its reworking of Dido's "Thank You."
The turntablist is lighting out on his own with a new album, "Get Wild," and a 28-city tour in which he shares time with an 11-piece band. He'll perform Sunday at El Paso's Club News (the show was moved from the now-defunct Studio 69).
Buoyed by "She Came Along," the "Get Wild" album comes in two versions, a single disc and a two-CD deluxe edition. Its spaghetti Western visual theme is expanded upon on stage.
We couldn't hook up a telephone interview, so we e-mailed the Washington, D.C., native about the new disc and the tour. Here's what he had to say.
Q What made you decide to do a solo album?
A Doing random singles -- especially covering a wide spectrum in dance music -- didn't make sense anymore. I wanted to put them all under one roof and bring some purpose and cohesiveness to it. There are 22 songs on the double album and it's mixed like a compilation, but all original material. No one has ever done that. I always like to push myself and push the boundaries of music and music industry.
Q What inspired the Western theme of "Get Wild"?
A I felt like doing something different and fun. One of my favorite movies of all time is Sergio Leone's "Once Upon a Time in the West." I sent one of the posters from that movie to my designer and told him to toy around with it for the cover of my single at the time, called "Get Wild." I thought the title had a wild Western connotation to it, and I could do something with that.
I really liked the mock up, so we decided it would be really cool and interesting if it were me on the poster instead of Henry Fonda and Charles Bronson's pictures. So we decided to do a photo shoot inspired by the whole classic spaghetti Western thing. That went really well, and then I did couple of parties around the concept in Ibiza (a Mediterranean island off Spain).ÊOne thing led to another, and it evolved into a video and visual production. I ended up doing the whole album concept around it and called the album "Get Wild."
I now have a full-on live show that encompasses all of the video and visual elements we created around the album. I thought the whole DJ on the cover of an album with a typical DJ pose, like hands in the air, or sunset or ocean behind them, was getting a bit stale. So this is really like a wild party concept, except it's the Wild West!
Q How did you ever come up with the idea of blending a Patsy Cline song with a Kid Cudi rap? Brilliant!
A If you guys in the South didn't think so, then I would be in trouble! I laid down the concept about three years ago and was just waiting for someone with the ability to complement the song nicely. Kid Cudi turned out to be the perfect match.
I always thought it would be amazing to have Patsy Cline's voice on a track -- a dance track, no less. It was a concept I had my eyes on for years -- just like "Flashdance," which was a childhood favorite of mine. I'm a big country music fan, and the catalyst for that was probably Patsy Cline, which I got exposed to via a movie called "Sweet Dreams," with Jessica Lange, in 1986.
Q How would you contrast your full-band performances with your DJ sets? (You're doing a DJ set in El Paso.)
A Well, I'm in album/tour mode right now; so musically speaking they are not that far off. I am playing 80-90 percent of my own material from the album, and then I throw in some dirty and crazy stuff in the middle for good measure.
It's really been interesting because I never stuck to one set in all the years I DJed. I never played the same set or the same sequence twice. And now I am constrained by the 22 songs of the album. It's more like a band, which is cool.
The visual element that I bring with me is the key factor that ties it all up nicely. But I do have the ability to switch gears at any time and throw in whatever I feel the crowd likes -- for that 20 percent.
Q What's next for Deep Dish?
A We're in solo mode right now, and I am pushing an album for at least a year. I actually have enough new material and ideas down for another album. So we'll see how things progress.
Doug Pullen may be reached at dpullen@elpasotimes.com; 546-6397. Read Pullen My Blog at www.elpasotimes.com/blogs.
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Post by Bill on Mar 9, 2009 20:39:44 GMT -5
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Post by Bill on Mar 6, 2009 15:10:50 GMT -5
During a Press Conference at the Ryman Auditorium in Nashville, yesterday morning, the official announcement that Always. . . Patsy Cline would be returning to the Ryman stage for a 6-Week run was announced. I was honored to be able to attend the Press Conference. WSM Announcer, Eddie Stubbs, was the emcee of the afternoon, plus Mandy Barnett was on hand to perform "Crazy" and "Faded Love." Charlie and Julie were also in attendance, and it was good to see them again after nearly four years. Below are web news stories from GACtv.com and CMT.com: GACtv.com
Patsy Cline Tribute Resurrected
March 6, 2009 — Thursday marked 46 years since Patsy Cline died in a horrific plane crash, and the anniversary provided an appopriate moment for a renewal of her legacy. Officials with Nashville’s Ryman Auditorium, the home of the Grand Ole Opry at the time Patsy was a member, announced the six-week return of Always ... Patsy Cline, a two-person musical that leans on the singer’s life story and classic songs.
Mandy Barnett, who’s taken the role of Patsy many times, will portray her once again when the production opens April 15. Always features 20 of Patsy’s songs, including "I Fall To Pieces," "Blue Moon Of Kentucky" and "Sweet Dreams." Mandy appeared at the announcement, performing two titles with piano player Tony Migliore: "Crazy" and "Faded Love," a Bob Wills song Patsy recorded just four weeks before her death. Mandy’s clear and powerful voice is similar to the Country Music Hall of Fame member, and she invested the material with some of the same glides and dramatic phrasing that Patsy typically used.
Patsy, WSM announcer Eddie Stubbs said, had "one of the most special voices that ever appeared on this stage."
The Ryman has a distinct connection to Patsy. She gave her first Opry performance at the Ryman in July 1955 after an introduction by Ernest Tubb and became a member of the Opry in January 1960. She received three standing ovations when she sang "Crazy" at the venue for the first time in 1961. The Ryman was also used for location shooting during production on the 1985 biopic Sweet Dreams. Husband Charlie Dick and daughter Julie Fudge were both on hand at the Ryman for the Always announcement.
During the run, the concert hall will also exhibit a collection of Patsy’s memorabilia, including autographed black-and-white photos, the front page of The Tennessean from 1963 with a story about the discovery of the wreckage and the playbill from her final performance in Kansas City. Always ... Patsy Cline will be featured four times weekly at the Ryman from April 15 through May 23.
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CMT.com
New Exhibit at Ryman Coincides With Always ... Patsy Cline
March 6, 2009
A new Patsy Cline exhibit will be unveiled at the Ryman Auditorium in Nashville on April 15 to coincide with the first night of a six-week run of the musical, Always ... Patsy Cline. The artifacts and memorabilia come from the collections of three of Cline's fans -- Theresa Shalaby, Bill Cox and Mark Willix. The musical was first staged at the Ryman in 1994. Mandy Barnett will reprise her role as Cline, and Tere Myers will return as Louise Seger, a fan who met the singer at a concert and often corresponded with her. The new exhibit was announced at a press conference at the Ryman on Thursday (March 5), the 46th anniversary of the plane crash that killed the singer and fellow Grand Ole Opry stars Hawkshaw Hawkins and Cowboy Copas. Barnett sang two songs from the production at the press conference, "Crazy" and "Faded Love." Guests included Cline's husband, Charlie Dick, as well as their daughter, Julie Fudge Bill
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Post by Bill on Feb 23, 2009 13:03:07 GMT -5
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Post by Bill on Feb 4, 2009 17:17:30 GMT -5
Barbara Mandrell, Roy Clark and Charlie McCoy Mandrell, Clark, McCoy join Country Hall of Fame
Published: 2/4/09, 1:45 PM EDT
NASHVILLE, Tenn. (AP) - Barbara Mandrell, Roy Clark and Charlie McCoy will become the newest members of the Country Music Hall of Fame.
The CMA announced the selections Wednesday in Nashville. All three will be formally inducted in a ceremony this spring.
Mandrell's hits include "Sleeping Single in a Double Bed" and "I Was Country When Country Wasn't Cool."
Clark's hits include "Tips of My Fingers" and "Yesterday When I Was Young." He co-hosted the long-running TV show "Hee Haw" with Buck Owens.
McCoy was chosen for his skill as a musician, especially on harmonica. He was one of Nashville's top session players in the 1960s and '70s.
Inductees are chosen by more than 300 voters appointed by the CMA's board of directors. Bill
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Post by Bill on Jan 11, 2009 13:39:10 GMT -5
From Saturday's edition of the Mt. Airy News, Mt. Airy, NC: Country Music Is No Longer About ‘Country’ or ‘Music’
By: Tom Joyce
While looking through my music collection the other day after adding a couple of new CDs received for Christmas, an interesting discovery was made: I own little in the way of country music.
First, when referring to that particular art form, I think it’s important to make the distinction between “classic” country and “modern” country.
With that line being drawn, the country music I do have within easy reach is of the “classic” variety, by such artists as Johnny Cash, Patsy Cline and Ernest Tubb.
However, I have almost no “modern” country music. There are a couple of Toby Keith albums, and that’s about all.
I found this to be rather strange, because I have a great appreciation for music in general. This includes rock, blues, classical, easy listening, bluegrass, old-time, reggae and even some rap and hip hop.
At the end of the day, I can find something to appreciate about any form of music — except “modern” country, which got me to wondering why as I looked through my CDs, records and tapes.
And after trying to seek answers to my dilemma from a number of sources, including watching the CMT (Country Music Television) cable channel for about three solid hours — I think I have the answer.
It’s the same thing that has ruined NASCAR to a certain extent and virtually everything else in this nation that once was pure, unspoiled, earthy and real: money; corporate greed; commercialism; Wall Street.
Whatever name you choose, it adds up to the same thing: feeding the public a bunch of stylistic garbage with almost no substance just to increase the bottom line.
It was different with those “classic” stars I mentioned earlier. People such as Johnny Cash, Patsy Cline and Ernest Tubb actually seemed like real people, with any imperfections they had only adding to their powers as performers.
Patsy Cline, for example, might not have been the best-looking woman who every lived, but dadgummit, she could sing — better than anyone who has come along since, I might add. And despite the fact she was taken away at a young age by a plane crash in the 1960s, her music is still much relevant today.
Two other country stars of roughly the same era, Loretta Lynn and Tammy Wynette, were not unattractive, either, but the point is that — unlike the “country divas” of today — their looks weren’t more important than their music.
And what can I say about Johnny Cash? Here was a down-to-Earth guy who recorded whole albums live in front of convicts at the San Quentin and Folsom prisons. Cash battled drug addiction and health problems, with his rugged face probably never coming into contact with makeup in his life.
The main thing was that he was real, and sang about relevant, thoughtful topics. Along with familiar hits such as “Ring of Fire” and “I Walk the Line,” the Man in Black recorded one album containing songs told from the viewpoint of Native Americans.
One could go on all day about the performers of that era.
Somewhere along the way, however, the big music promoters and record producers decided to focus more on style, on image, and less on substance — both in the personalities of the performers and the music they produced.
Modern country music, with few exceptions, has moved from Nashville to Fifth Avenue. Most of today’s female singers all look as if they came from the same mold: usually bleached blondes whose emphasis is on appearance more than music.
While these women are fine to look at, that factor seems somewhat diminished when one realizes that it’s part of a big, well-controlled marketing plan. I’ll bet none of these so-called “country divas” have ever primed tobacco in the hot sun or sat on a tractor, judging by their smooth skin and well-manicured nails.
The men aren’t any better. For want of better terminology, I would describe the majority of them as “pretty boys wearing cowboy hats.” Down in Texas, when alleged cowboys are exposed as people who are more talk than action, they are referred to as “all hats and no cattle.”
Again with few exceptions, that would apply to today’s brand of male country music stars, who likely have never spent much time in rural America — unless Central Park in New York City counts as the countryside.
And whenever there’s some kind of country music awards show, which seems to be held every week of the year, naturally it’s a glitzy glamorous production that promotes fashion as much as the music.
As mentioned earlier, the same thing has largely happened to NASCAR as its handlers have sought to “nationalize” and even “internationalize” the sport that started here in the South, yet contains almost no reminders of that region today.
Good old Southern boys such as Cale Yarborough and the Allison Brothers — who didn’t mind opening a beer at the end of a race or brawling with other competitors — gradually have been replaced by, yep, those “pretty boys.”
Heaven forbid that someone should enter the sport who is a real person — not the slick, squeaky-clean (and pretty darn boring) people who are dominating racing today.
After all, due to its increasingly commercial nature, NASCAR doesn’t want to risk offending someone in Seattle who might be turned off by two politically incorrect Southern boys deciding their differences with fists.
In conclusion, my problems with both “modern” NASCAR and country music don’t represent an argument about the old days vs. the new. It’s a question of real vs. fake.
Tom Joyce is a staff reporter for The Mount Airy News. He can be reached at . Bill
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Post by Bill on Dec 29, 2008 15:06:03 GMT -5
Patsy's recording of DBTR is a live performance from one of her Arthur Godfrey appearances on January 14, 1958. It was not included on the MCA box set, which came out in 1991, but was released in the UK on the CD "Discovery!" in 1994 and in the US on "The Birth of A Star" in 1996.
A group of us are planning on meeting and attending the April 18 performance.
Bill
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Post by Bill on Dec 21, 2008 23:28:59 GMT -5
From the Associated Press: Music Industry Drops Effort To Sue Song Swappers
LOS ANGELES (AP) - The group representing the U.S. recording industry said Friday it has abandoned its policy of suing people for sharing songs protected by copyright and will work with Internet service providers to cut abusers' access if they ignore repeated warnings.
The move ends a controversial program that saw the Recording Industry Association of America sue about 35,000 people since 2003 for swapping songs online. Because of high legal costs for defenders, virtually all of those hit with lawsuits settled, on average for around $3,500. The association's legal costs, in the meantime, exceeded the settlement money it brought in.
The association said Friday that it stopped sending out new lawsuits and warnings in August, and then agreed with several leading U.S. Internet service providers, without naming which ones, to notify alleged illegal file-sharers and cut off service if they failed to stop.
It credited the lawsuit campaign with raising awareness of piracy and keeping the number of illegal file-sharers in check while the legal market for digital music took off. With two weeks left in the year, legitimate sales of digital music tracks soared for the first time past the 1 billion mark, up 28 percent over all of last year, according to Nielsen Soundscan.
"We're at a point where there's a sense of comfort that we can replace one form of deterrent with another form of deterrent," said RIAA Chairman and Chief Executive Mitch Bainwol. "Filing lawsuits as a strategy to deal with a big problem was not our first choice five years ago."
The new notification program is also more efficient, he said, having sent out more notices in the few months since it started than in the five years of the lawsuit campaign.
"It's much easier to send notices than it is to file lawsuits," Bainwol said.
The decision to scrap the legal attack was first reported in The Wall Street Journal.
The group says it will still continue to litigate outstanding cases, most of which are in the pre-lawsuit warning stage, but some of which are before the courts.
The decision to press on with existing cases drew the ire of Harvard Law professor Charles Nesson, who is defending a Boston University graduate student targeted in one of the music industry's lawsuits.
"If it's a bad idea, it's a bad idea," said Nesson. He is challenging the constitutionality of the suits, which, based on the Digital Theft Deterrence and Copyright Damages Improvement Act of 1999, can impose damages of $150,000 per infringement, far in excess of the actual damage caused.
Nesson's client, Joel Tenenbaum, faces the possibility of more than $1 million in damages for allegedly downloading seven songs illegally, which Nesson called "cruel and unusual punishment." The case is set to go to trial in district court in Massachusetts on Jan. 22.
Brian Toder, a lawyer with Chestnut & Cambronne in Minneapolis, who defended single mother Jammie Thomas in a copyright suit filed by the RIAA, said he is also set to retry the case March 9 after a judge threw out a $222,000 decision against her.
"I think it's a good thing that they've ended this campaign of going after people," Toder said.
"But they need to change how people spend money on records," he said. "People like to share music. The Internet makes it so easy. They have to do something to change this business model of theirs."
Copyright 2008 Associated Press. All rights reserved. Bill
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Post by Bill on Dec 10, 2008 21:06:32 GMT -5
The thing that made me stop visiting here (this is the first time in weeks I've checked in) is I'd take the time and effort to create a good post with pics and links and in a couple of months it would disappear. Right now there are only 14 topics only going back three months. I believe a lot of the deleted threads were good topics that would have generated on-going responses but they are gone. There is just not much of an archive here and in about 5 minutes you've read it all. Sorry to be blunt but I've felt this way for a long time. There has been a treasure trove of information for Patsy fans posted here but it all eventually gets deleted. If web space is a problem maybe that should be addressed. At my discretion as the webmaster, I choose to do "Housekeeping" every once in a while and delete posts older than a certain date. Many times it's due to spam postings from "guests," and the only way to get rid of them is to delete the entire thread. Most of the threads that are deleted have been very inactive for some time. If a thread contains posts from after the date I choose, usually 60 days prior to the date of the "Housekeeping" activity, the entire thread remains. At some point, once I figure out the software, I plan to fully integrate the forum into the main website rather than have it hosted on a separate service. At that time, I will probably let all threads remain as an archive. Bill
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Post by Bill on Dec 4, 2008 21:04:27 GMT -5
WSM is reporting that Mandy Barnett will reprise her role as Patsy Cline in the APC show starting Arpil 15, 2009. This will be a limited run. This appears at www.ryman.comAlways... Patsy Cline featuring Mandy Barnett and Tere Myers Wednesday, Friday and Saturday April 15 - April 29 and May 6 - May 23 $36.50 & $29.50 Tickets on sale Saturday, December 6 at 10 am Yeah!!!!!!!!!!!!!!! I'll second you on the Yeah!!!!!!!!! I'm planning to attend. What about anyone else? Bill
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Post by Bill on Nov 25, 2008 21:09:40 GMT -5
From Wednesday's edition of The New York Times: Digital Sales Surpass CDs At Atlantic
By TIM ARANGO THE NEW YORK TIMES
Wednesday, November 26, 2008
Since MP3s first became popular a decade ago, music industry executives have obsessed over this question: when would digital music revenue finally surpass compact disc sales?
For Atlantic Records, the label that in years past has delivered artists like Ray Charles, John Coltrane and Led Zeppelin, that time, apparently, is now.
Atlantic, a unit of Warner Music Group, says it has reached a milestone that no other major record label has hit: more than half of its music sales in the United States are now from digital products, like downloads on iTunes and ring tones for cellphones.
“We’re like a college basketball team on an 18-2 run,” said Craig Kallman, Atlantic’s chairman and chief executive.
At the Warner Music Group, Atlantic’s parent company, digital represented 27 percent of its American recorded-music revenue during the fourth quarter. (Warner does not break out financial data for its labels, but Atlantic said that digital sales accounted for about 51 percent of its revenue.)
With the milestone comes a sobering reality already familiar to newspapers and television producers. While digital delivery is becoming a bigger slice of the pie, the overall pie is shrinking fast. Analysts at Forrester Research estimate that music sales in the United States will decline to $9.2 billion in 2013, from $10.1 billion this year. That compares with $14.6 billion in 1999, according to the Recording Industry Association of America.
As a result, the hope that digital revenue will eventually compensate for declining sales of CDs — and usher in overall growth — have largely been dashed.
“It’s not at all clear that digital economics can make up for the drop in physical,” said John Rose, a former executive at EMI, the British music company, who is now a senior partner at the Boston Consulting Group.
Instead, the music industry is now hoping to find growth from a variety of other revenue streams it has not always had access to, like concert ticket sales and merchandise from artist tours. “The real question,” Mr. Rose said, “is how does the record industry change its rights structure so it captures a fairer percent of the value it creates in funding, marketing and managing the launch of artists?”
Ever since 1999, when the popular file-swapping service Napster was created, the music industry’s fate has been closely watched by other media companies — television, film and print publications like newspapers — whose traditional businesses are also under siege.
In virtually all these corners of the media world, executives are fighting to hold onto as much of their old business as possible while transitioning to digital — a difficult process that NBC Universal’s chief executive, Jeff Zucker, has described as “trading analog dollars for digital pennies.”
In each of these sectors, digital remains a small piece of the business. NBC has said it expects $1 billion in digital revenue by 2009; over all, the company’s revenue last year was more than $15 billion. Time Inc., the largest magazine publisher, with publications like Sports Illustrated, People and Fortune, said that about 9 percent of its $2.2 billion revenue in the first half of this year was derived from digital. In October, The New York Times Company said that online revenue accounted for 12.4 percent of its overall revenue.
On Tuesday, the Warner Music Group reported that digital revenue for the full fiscal year rose 39 percent, to $639 million, or 18 percent of the company’s total revenue. Over all, the company topped the expectations of Wall Street analysts — who on average were forecasting a small loss, according to Reuters — by reporting a net profit of $6 million in the fourth quarter. Revenue fell 1 percent, to $854 million.
Atlantic, whose artists include the Southern rapper T. I., the rock band Death Cab for Cutie and Kid Rock, appears to be the first of the major labels to claim that most of its revenue is coming from digital sales — and it says it has done so without seeing as steep a decline in compact disc sales as the rest of the industry.
This performance is sharply at odds with the trends in the music industry over all, where data show that sales of compact discs still account for more than two-thirds of music sales. Forrester Research does not expect digital music to reach 50 percent of the overall pie until 2011.
Analysts said they were surprised that Atlantic — with the highest overall market share in the industry this year — had such a high percentage of digital revenue.
“That’s a lot,” said David Card, a digital music analyst at Forrester Research. “That’s very high. No one is near that.”
The question, then, is whether Atlantic’s performance is an outlier or a signal that the music industry is reaching a pivot point as it moves toward a new business model.
“I think we’ve figured it out,” said Julie Greenwald, president of Atlantic Records. “It used to be that you could connect five dots and sell a million records. Now there are 20 dots you can connect to sell a million records.”
In making that transition to a digital business, the music business has become immeasurably more complicated. Replacing compact disc sales are small bits of revenue from many sources: Atlantic Records’ digital sales include ring tones, ringbacks, satellite radio, iTunes sales and subscription services. At the same time, record labels — Atlantic included — are spending less money to market artists. In the pre-Internet days, said Ms. Greenwald, “we were so flush, we did everything in the name of promotion.” Among the cutbacks are less spending to produce videos and to support publicity tours when a new album is released.
“Today you have to be like Leonard Bernstein,” said Mr. Kallman, “making sure everyone is hitting the right notes at just the right millisecond. The tipping point, if you will, is when everything converges and your timing with everything is impeccable.”
© The New York Times. All rights reserved. Bill
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Post by Bill on Oct 24, 2008 22:38:20 GMT -5
Mahalo to everyone for their comments in reply to my post. I think it's wonderful that Patsy fans come here to "chat". And I'm amazed to receive so many replies to my post. I never knew that Patsy had such a following. I only discovered this site last week. I am not a country music fan, but I've always loved Patsy's "cross over" hits, "Crazy", "I Fall to Pieces", etc. Just last week I received my boxed 4-CD set from Amazon.com - The Patsy Cline Collection - and have been playing the CD's continuously. I just can't seem to get enough of her voice. I'd like to get my hands on as many of her songs that I can find and would love to send Patsy fans a "goodie" box from Hawaii if they would be willing to share any "unofficial" recordings they might have. Of course, I don't want to try to sell them or anything like that out of respect for her and her family. I'd just like to have them to listen to. If they are not available commercially, I don't see why it would hurt. Are there any songs on DVD's that are not available on CD's, and has anyone been able to get these songs to CD's? I'd appreciate any more information anyone can give me. I'm just a "novice" right now concerning her songs that are available and the ones that are not available. Much Aloha, Ann Adams Ann, please visit my "songs" page for a list of all of Patsy's songs that have been commercially released, whether on Records/CDs or Home Video: www.patsycline.info/songs.htmlBill
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Post by Bill on Oct 22, 2008 7:04:50 GMT -5
That's one of a few album covers that I've seen that are very strange. Of course, the family has no control over these things. Especially an import release. Bill
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Post by Bill on Sept 23, 2008 19:36:27 GMT -5
We first met Elani in 2005 when she and her family came to Nashville and helped man the CPC booth at the CMA Music Fest. The following is a profile of Elani from Tuesday's edition of the Altoona Mirror in PA: That old-time country feelin' Forget Taylor Swift. A 13-year-old local girl drew on Patsy Cline for inspiration while composing her first album
By Jimmy Mincin, jmincin@altoonamirror.com
POSTED: September 23, 2008
It's not often a 13-year-old girl gets a chance to record and perform as a professional musician. But it does happen - and sometimes close to home.
Elaini Arthur, an aspiring country singer and songwriter from Hollidaysburg, already has built a musical resume performing at popular venues in Tennessee and West Virginia, as well as recording a 10-track compact disc at Joltin' Jim McCoy's Main Frame Studio in Nashville - eight of which are original compositions composed and arranged by Elaini herself.
"The CD's been my proudest achievement so far in music," Elaini said. "The old country sound is what inspired me; it's different from all the country music today."
The "old country sound" she is referring to is the emotive voice of the late Patsy Cline - an artist she discovered at age 5.
"It was just her voice," Elaini said. "Something just struck me with her voice."
Having recently performed at a concert on Sept. 11 at Altoona's Heritage Plaza, Elaini is in full-throttle pursuit of achieving her three-pronged dream. She wants to become the Patsy Cline of her generation, achieve member status in the famed Grand Ole Opry in Nashville and sing alongside another singer she admires - Loretta Lynn.
"I love Loretta's songs and her voice, but my main influence is still Patsy," she said.
The first song Elaini ever sang was for her kindergarten talent show in Hollidaysburg - a Broadway showtune called "If They Could See Me Now," said Elaini's mother, Christy Arthur, 38.
A few weeks later, while shopping at a local department store with her grandmother, Elaini noticed a Patsy Cline CD. Her grandmother bought her the CD, and a profound passion for country music was born.
Before she could even read or write, she wrote her first song, asking her parents to write it down as she sang it, she said.
She's also taught herself to play several instruments, including guitar, autoharp, mandolin and banjo - guitar being her favorite to play.
"We don't know where she gets it from; we have no musical people in our family," said Christy Arthur. "All we know is that she definitely wants to pursue this. I think it's just great."
Patsy Cline's voice created a spark that inspired Elaini's desire to create beautiful country music, reach out to people and make lasting friendships, she said - like those she's fostered with Jim McCoy, the man who helped Patsy Cline attain radio exposure, and Cline's own family in Winchester, Va.
"She's had an awful lot help along the way from people in Nashville and West Virginia," she said. "She's become very good friends with Patsy's family. Even entertainers around here have encouraged her - people like (local DJ and magician) Denny Huber and One Lane Bridge, a husband-and-wife team from outside the Bedford area that sings old-school country songs."
McCoy, 79, of Berkeley Springs, W. Va., has never had a chart-topping hit, but has managed to make a lifelong career in the music business - performing all over the country, recording for a major Nashville label and running his own record company that featured regional acts from West Virginia, Virginia, Maryland and Pennsylvania, according to the West Virginia Division of Culture and History (www.wvculture.org).
"He gives her a lot of great advice," Christy Arthur said of McCoy. "He told her never to give up on her dream."
Elaini cited her parents, McCoy and Patsy Cline's daughter, Julie Fudge, as her biggest supporters.
"I'm behind her 100 percent," said David Arthur, Elaini's father. "I'm just amazed with all this talent that comes from her. I'm just trying to keep up with her - the more she does, the more she wants to do."
David Arthur, 38, said his daughter's CD has a "country-swing beat to it."
"When I was younger, I was into heavy metal and dance club music," he said. "Now, I'm listening to a lot of the older country music. Some of the newer stuff's OK, but the older stuff is so much better."
While her husband was thrashing to Metallica, Christy was taking in the sunny sounds of The Beach Boys, she said - a marked contrast, to be sure. But despite the differences in their music listening past, they're both on the same page when it comes to their daughter's future.
"We want her to be happy, and do what she wants to do," Christy Arthur said. "She's worked hard to get this far, and if she continues to do that, she's going to reach all her dreams."
Mirror Staff Writer Jimmy Mincin is at 946-7460. www.elaini-keepinitcountry.comBill
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