Richard Edward Arnold (May 15, 1918 – May 8, 2008), known professionally as Eddy Arnold, was an American country music singer who performed for six decades. He was a so-called Nashville sound (country/popular music) innovator of the late 1950s, and scored 147 songs on the Billboard country music charts, second only to George Jones. He sold more than 85 million records. A member of the Grand Ole Opry (beginning 1943) and the Country Music Hall of Fame (beginning 1966), Arnold ranked 22nd on Country Music Television's 2003 list of "The 40 Greatest Men of Country Music." He co-wrote the country and pop standard "You Don't Know Me".

Biography[link]

Early years[link]

Arnold was born on May 15, 1918 on a farm near Henderson, Tennessee. His father, a sharecropper, played the fiddle, while his mother played guitar. As a boy Arnold helped on the farm, which later gained him his nickname—the Tennessee Plowboy. Arnold attended Pinson High School in Pinson, Tennessee, where he played guitar for school functions and events. He quit before graduation to help with the farm work, but continued performing, often arriving on a mule with his guitar hung on his back. Arnold also worked part time as an assistant at a mortuary.^[1]

Downtown Henderson, Tennessee, the city near which Arnold was born

During 1934, at age 16, Arnold debuted musically on WTJS-AM in Jackson, Tennessee and obtained a job there during 1937. He performed at local nightclubs and was a permanent performer for the station. During 1938, he was hired by WMPS-AM in Memphis, Tennessee, where he was one of its most popular performers. He soon quit for KWK-AM in St. Louis, Missouri,^[2] followed by a brief stint at WHAS-AM in Louisville, Kentucky.

He performed for WSM-AM on the Grand Ole Opry during 1943 as a solo artist.^[1] During 1944, Arnold signed a contract with the company RCA Victor, with manager Colonel Tom Parker, who later managed Elvis Presley. Arnold's first single was little noticed,^[3] but the next, "Each Minute Seems a Million Years", scored No. 5 on the country charts during 1945.^[1] Its success began a decade of unprecedented chart performance; Arnold's next 57 singles all scored the Top Ten, including 19 number one scoring successes.^[4]

During 1946, Arnold scored his first major success with "That's How Much I Love You". During 1948, he had five successful songs on the charts simultaneously. That year he had nine songs score the top 10; five of these scored No. 1 and scored #1 for 40 of the year's 52 weeks. With Parker's management, Arnold continued to dominate, with 13 of the 20 best-scoring country music songs of 1947–1948.^[1] He became the host of Mutual Radio's Purina-sponsored segment of the Opry, and of Mutual’s Checkerboard Jamboree, a midday program shared with Ernest Tubb that was broadcast from a Nashville theater.^[5] Recorded radio programs increased Arnold’s popularity, as did the CBS Radio series Hometown Reunion with the Duke of Paducah. Arnold quit the Opry during 1948, and his Hometown Reunion briefly broadcasted in competition with the Opry on Saturday nights. During 1949 and 1950, he performed in the Columbia movies Feudin’ Rhythm and Hoedown.

Arnold began working for television during the early 1950s, hosting The Eddy Arnold Show. The summer program was broadcast successively by all three television networks, replacing the Perry Como and Dinah Shore programs.^[6] He also performed as a guest and a guest host on the ABC-TV show Ozark Jubilee from 1955–60.^[7] Arnold featured in the syndicated Eddy Arnold Time from 1955 to 1957.^[2] From 1960 to 1961, he hosted NBC-TV's Today on the Farm.^[8]

Second career: The Nashville Sound[link]

During the 1950s, the most popular music was rock and roll, which caused a decrease of Arnold's record sales, though he and RCA singer Jim Reeves had a greater audience with popular-sounding string-laced arrangements. During 1955, Arnold annoyed many people of the country music establishment by recording with the Hugo Winterhalter Orchestra in New York. The popular-oriented arrangements of "The Cattle Call" and "The Richest Man (in the World)", however, helped to expand his appeal beyond its country music base.^[9] This style, pioneered by Reeves and Arnold, became known as the "Nashville Sound".^[9] During 1953, Arnold and Tom Parker had a dispute, and Arnold dismissed him. From 1954 to 1963, Arnold's performances were managed by Joe Csida; during 1964 Csida was replaced by Jerry Purcell.^[10]

Arnold embarked on a second career that brought his music to a more diverse audience. During 1965, he had one of his greatest successes with the song "Make the World Go Away". With the Anita Kerr Singers as backup and accompanied by pianist Floyd Cramer, Arnold's rendition became an international success.^[9]

Bill Walker's orchestra arrangements provided the lush background for 16 continuous successes sung by Arnold during the late 1960s. Arnold performed with symphony orchestras in New York City, Las Vegas and Hollywood. He performed in Carnegie Hall for two concerts, and in the Coconut Grove in Las Vegas.^[9] During 1966, Arnold was inducted into the Country Music Hall of Fame, the youngest performer to receive the honor.^[11] The following year Arnold was voted the first-ever awarded Country Music Association's Entertainer Of The Year.^[12] Two years later, Arnold released an autobiography named It's A Long Way From Chester County.^[13]

Having been with RCA Victor since his debut during 1944, Arnold left the company during the mid-1970s for MGM Records, for which he recorded four albums, which included several top 40 successes. He returned to RCA in 1976.^[1]

Later years and death[link]

During the 1980s, Arnold declared himself semi-retired; however, he continued recording. During 1984, the Academy of Country Music awarded Arnold its Pioneer Award. However, he then released no recordings for seven years. He discussed starting again during 1990, but had to have heart surgery. His next album was released during 1991 as You Don't Miss A Thing.^[1] Arnold performed road tours for several more years.^[14] By 1992, he had sold nearly 85 million records, and had a total of 145 weeks of No. 1 songs, more than any other singer.^[1]

During 1996, when Arnold was 76 years old, RCA issued an album of his main successes since 1944 as part of a series on singers.^[1] Arnold then retired from active singing, though he still performed occasionally.^[9] On May 16, 1999, the day after his 81st birthday, he announced his final retirement during a concert at the Hotel Orleans in Las Vegas.^[15] That same year, the National Academy of Recording Arts and Sciences inducted the recording of "Make The World Go Away" into the Grammy Hall of Fame. During 2000, he was awarded the National Medal of Arts.^[16] During 2005, Arnold received a lifetime achievement award from the Recording Academy,^[17] and later that year, released an RCA album called After All These Years.^[18]

Eddy Arnold died at 5:00 a.m. Central Time on May 8, 2008 in a nursing home in Nashville, exactly one week before his 90th birthday. His wife of 66 years, Sally Gayhart Arnold, had preceded him in death by two months. They were survived by two children, two grandchildren, and four great-grandchildren.^[19]

On May 31, 2008, RCA released as a single "To Life", a song from the album After All These Years. It debuted at No. 49 on the Hot Country Songs charts, Arnold's first entry in 25 years and the recording by the oldest person to chart in Billboard magazine. It set the record for the longest span between a first chart single and a last: 62 years and 11 months ("Each Minute Seems Like a Million Years" debuted on June 30, 1945), and extended Arnold's career chart history to seven decades.^[20]

Discography[link]

References[link]

External links[link]

• The Official Eddy Arnold Estate Website
• The Times of London obituary
• Eddy Arnold at the Country Music Hall of Fame

Buckminster Fuller
Richard Buckminster Fuller, c. 1917.
Born	(1895-07-12)July 12, 1895 Milton, Massachusetts, United States
Died	July 1, 1983(1983-07-01) (aged 87) Los Angeles, United States
Occupation	designer, author, inventor
Spouse	Anne Hewlett (m. 1917) «start: (1917)»"Marriage: Anne Hewlett to Buckminster Fuller" Location: (linkback:http://en-wiki.db.wn.com/index.php/Buckminster_Fuller)
Children	2: Allegra Fuller Snyder and Alexandra who died in childhood

Richard Buckminster "Bucky" Fuller (July 12, 1895 – July 1, 1983)^[1] was an American systems theorist, architect, engineer, author, designer, inventor, and futurist.

Fuller published more than 30 books, inventing and popularizing terms such as "Spaceship Earth", ephemeralization, and synergetic. He also developed numerous inventions, mainly architectural designs, the best known of which is the geodesic dome. Carbon molecules known as fullerenes were later named by scientists for their resemblance to geodesic spheres.

Biography[link]

Fuller was born on July 12, 1895, in Milton, Massachusetts, the son of Richard Buckminster Fuller and Caroline Wolcott Andrews, and also the grandnephew of the American Transcendentalist Margaret Fuller. He attended Froebelian Kindergarten. Spending much of his youth on Bear Island, in Penobscot Bay off the coast of Maine, he had trouble with geometry, being unable to understand the abstraction necessary to imagine that a chalk dot on the blackboard represented a mathematical point, or that an imperfectly drawn line with an arrow on the end was meant to stretch off to infinity. He often made items from materials he brought home from the woods, and sometimes made his own tools. He experimented with designing a new apparatus for human propulsion of small boats.

Years later, he decided that this sort of experience had provided him with not only an interest in design, but also a habit of being familiar with and knowledgeable about the materials that his later projects would require. Fuller earned a machinist's certification, and knew how to use the press brake, stretch press, and other tools and equipment used in the sheet metal trade.^[2]

Academia[link]

Fuller attended Milton Academy in Massachusetts, and after that began studying at Harvard University, where he was affiliated with Adams House. He was expelled from Harvard twice: first for spending all his money partying with a vaudeville troupe, and then, after having been readmitted, for his "irresponsibility and lack of interest." By his own appraisal, he was a non-conforming misfit in the fraternity environment.^[2] It was to be many years before he received a Sc.D. from Bates College in Lewiston, Maine.

Wartime experience[link]

Between his sessions at Harvard, Fuller worked in Canada as a mechanic in a textile mill, and later as a laborer in the meat-packing industry. He also served in the U.S. Navy in World War I, as a shipboard radio operator, as an editor of a publication, and as a crash rescue boat commander. After discharge, he worked again in the meat packing industry, thereby acquiring management experience. In 1917, he married Anne Hewlett. During the early 1920s, he and his father-in-law developed the Stockade Building System for producing light-weight, weatherproof, and fireproof housing—although the company would ultimately fail.^[2]

Bankruptcy and depression[link]

By age 32, Fuller was bankrupt and jobless, living in public, low-income housing in Chicago, Illinois. In 1922,^[3] Fuller's young daughter Alexandra died from complications from polio and spinal meningitis. Allegedly, he felt responsible and this caused him to drink frequently and to contemplate suicide for a while. He finally chose to embark on "an experiment, to find what a single individual [could] contribute to changing the world and benefiting all humanity."^[4]

Recovery[link]

In 1927 Fuller resolved to think independently which included a commitment to "the search for the principles governing the universe and help advance the evolution of humanity in accordance with them... finding ways of doing more with less to the end that all people everywhere can have more and more." By 1928, Fuller was living in Greenwich Village and spending much of his time at the popular café Romany Marie's,^[5] where he had spent an evening in conversation with Marie and Eugene O'Neill several years earlier.^[6] Fuller accepted a job decorating the interior of the café in exchange for meals,^[5] giving informal lectures several times a week,^[6][7] and models of the Dymaxion house were exhibited at the café. Isamu Noguchi arrived during 1929—Constantin Brâncuşi, an old friend of Marie's,^[8] had directed him there^[5]—and Noguchi and Fuller were soon collaborating on several projects,^[7][9] including the modeling of the Dymaxion car.^[10] It was the beginning of their lifelong friendship.

Geodesic domes[link]

Fuller taught at Black Mountain College in North Carolina during the summers of 1948 and 1949,^[11] serving as its Summer Institute director in 1949. There, with the support of a group of professors and students, he began reinventing a project that would make him famous: the geodesic dome. Although the geodesic dome had been created some 30 years earlier by Dr. Walther Bauersfeld, Fuller was awarded United States patents. He is credited for popularizing this type of structure.

One of his early models was first constructed in 1945 at Bennington College in Vermont, where he frequently lectured. In 1949, he erected his first geodesic dome building that could sustain its own weight with no practical limits. It was 4.3 meters (14 ft) in diameter and constructed of aluminum aircraft tubing and a vinyl-plastic skin, in the form of an icosahedron. To prove his design, and to awe non-believers, Fuller suspended from the structure's framework several students who had helped him build it. The U.S. government recognized the importance of his work, and employed his firm Geodesics, Inc. in Raleigh, North Carolina to make small domes for the army. Within a few years there were thousands of these domes around the world.

His first "continuous tension – discontinuous compression" geodesic dome (full sphere in this case) was constructed at the University of Oregon Architecture School in 1959 with the help of students. (Ref: The Dymaxion World of Buckminster Fuller ISBN 0-385-01804-5.) These continuous tension – discontinuous compression structures featured single force compression members (no flexure or bending moments) that did not touch each other and were 'suspended' by the tensional members.

Best-known work[link]

For the next half-century, Fuller developed many ideas, designs and inventions, particularly regarding practical, inexpensive shelter and transportation. He documented his life, philosophy and ideas scrupulously by a daily diary (later called the Dymaxion Chronofile), and by twenty-eight publications. Fuller financed some of his experiments with inherited funds, sometimes augmented by funds invested by his collaborators, one example being the Dymaxion car project.

World stage[link]

The Montreal Biosphère by Buckminster Fuller, 1967

International recognition began with the success of huge geodesic domes during the 1950s. Fuller lectured at NC State University in Raleigh in 1949, where he met James Fitzgibbon, who would become a close friend and colleague. Fitzgibbon was director of Geodesics, Inc. and Synergetics, Inc. the first licensees to design geodesic domes. Thomas C. Howard was head designer, architect and engineer for both companies. From 1959 to 1970, Fuller taught at Southern Illinois University Carbondale (SIU). Beginning as an assistant professor, he gained full professorship in 1968, in the School of Art and Design. Working as a designer, scientist, developer, and writer, he lectured for many years around the world. He collaborated at SIU with the designer John McHale. In 1965, Fuller inaugurated the World Design Science Decade (1965 to 1975) at the meeting of the International Union of Architects in Paris, which was, in his own words, devoted to "applying the principles of science to solving the problems of humanity." Later in his SIU tenure, Fuller was also a visiting professor at SIU Edwardsville, where he designed the dome for the campus Religious Center.^[12]

Fuller believed human societies would soon rely mainly on renewable sources of energy, such as solar- and wind-derived electricity. He hoped for an age of "omni-successful education and sustenance of all humanity." Fuller referred to himself as "the property of universe" and during one radio interview he gave later in life, declared himself and his work "the property of all humanity". For his lifetime of work, the American Humanist Association named him the 1969 Humanist of the Year.

Honors[link]

Fuller was awarded 28 United States patents^[13] and many honorary doctorates. In 1960, he was awarded the Frank P. Brown Medal from The Franklin Institute. He was elected a Fellow of the American Academy of Arts and Sciences in 1968.^[14] On January 16, 1970, he received the Gold Medal award from the American Institute of Architects. He also received numerous other awards, including the Presidential Medal of Freedom presented to him on February 23, 1983 by President Ronald Reagan.

Last filmed appearance[link]

Fuller's last filmed interview took place on April 3, 1983, in which he presented his analysis of Simon Rodia's Watts Towers as a unique embodiment of the structural principles found in nature. Portions of this interview appear in I Build the Tower, a documentary film on Rodia's architectural masterpiece.

Death[link]

Gravestone (see trim tab)

Fuller died on July 1, 1983, 11 days before his 88th birthday. During the period leading up to his death, his wife had been lying comatose in a Los Angeles hospital, dying of cancer. It was while visiting her there that he exclaimed, at a certain point: "She is squeezing my hand!" He then stood up, suffered a heart attack, and died an hour later, at age 87. His wife of 66 years died 36 hours later. They are buried in Mount Auburn Cemetery in Cambridge, Massachusetts.

Philosophy and worldview[link]

The grandson of Unitarian minister Arthur Buckminster Fuller,^[15] R. Buckminster Fuller was also Unitarian.^[16] Buckminster Fuller was an early environmental activist. He was very aware of the finite resources the planet has to offer, and promoted a principle that he termed "ephemeralization", which, in essence—according to futurist and Fuller disciple Stewart Brand—Fuller coined to mean "doing more with less".^[17] Resources and waste material from cruder products could be recycled into making more valuable products, increasing the efficiency of the entire process. Fuller also introduced synergetics, an encompassing term which he used broadly as a metaphoric language for communicating experiences using geometric concepts and, more specifically, to reference the empirical study of systems in transformation, with an emphasis on total system behavior unpredicted by the behavior of any isolated components. Fuller coined this term long before the term synergy became popular.

Fuller was a pioneer in thinking globally, and he explored principles of energy and material efficiency in the fields of architecture, engineering and design.^[18][19] He cited François de Chardenedes' opinion that petroleum, from the standpoint of its replacement cost out of our current energy "budget" (essentially, the net incoming solar flux), had cost nature "over a million dollars" per U.S. gallon (US$300,000 per litre) to produce. From this point of view, its use as a transportation fuel by people commuting to work represents a huge net loss compared to their earnings.^[20] An encapsulation quotation of his views might be, "There is no energy crisis, only a crisis of ignorance."^[21][22][23]

Fuller was concerned about sustainability and about human survival under the existing socio-economic system, yet remained optimistic about humanity's future. Defining wealth in terms of knowledge, as the "technological ability to protect, nurture, support, and accommodate all growth needs of life," his analysis of the condition of "Spaceship Earth" caused him to conclude that at a certain time during the 1970s, humanity had attained an unprecedented state. He was convinced that the accumulation of relevant knowledge, combined with the quantities of major recyclable resources that had already been extracted from the earth, had attained a critical level, such that competition for necessities was not necessary anymore. Cooperation had become the optimum survival strategy. "Selfishness," he declared, "is unnecessary and hence-forth unrationalizable.... War is obsolete."^[24] He criticized previous utopian schemes as too exclusive, and thought this was a major source of their failure. To work, he thought that a utopia needed to include everyone.^[25]

Fuller also claimed that the natural analytic geometry of the universe was based on arrays of tetrahedra. He developed this in several ways, from the close-packing of spheres and the number of compressive or tensile members required to stabilize an object in space. One confirming result was that the strongest possible homogeneous truss is cyclically tetrahedral.^[26]

In his 1970 book I Seem To Be a Verb, he wrote: "I live on Earth at present, and I don't know what I am. I know that I am not a category. I am not a thing—a noun. I seem to be a verb, an evolutionary process—an integral function of the universe."

He had become a guru of the design, architecture, and 'alternative' communities, such as Drop City, the community of experimental artists to whom he awarded the 1966 "Dymaxion Award" for "poetically economic" domed living structures.

Major design projects[link]

A geodesic sphere

The geodesic dome[link]

Fuller was most famous for his lattice shell structures – geodesic domes, which have been used as parts of military radar stations, civic buildings, environmental protest camps and exhibition attractions. An examination of the geodesic design by Walther Bauersfeld for the Zeiss Planetarium, built some 20 years prior to Fuller's work, reveals that Fuller's Geodesic Dome patent (U.S. 2,682,235; awarded in 1954), follows the same design as Bauersfeld's.^[27]

Their construction is based on extending some basic principles to build simple "tensegrity" structures (tetrahedron, octahedron, and the closest packing of spheres), making them lightweight and stable. The geodesic dome was a result of Fuller's exploration of nature's constructing principles to find design solutions. The Fuller Dome is referenced in the Hugo Award-winning novel Stand on Zanzibar by John Brunner, in which a geodesic dome is said to cover the entire island of Manhattan, and it floats on air due to the hot-air balloon effect of the large air-mass under the dome (and perhaps its construction of lightweight materials).^[28]

Transportation[link]

In the 1930s, Fuller designed and built prototypes of what he hoped would be a safer, aerodynamic car, which he called the Dymaxion. ("Dymaxion" is said to be a syllabic abbreviation of dynamic maximum tension, or possibly of dynamic maximum ion.)^[29] Fuller worked with professional colleagues for three years beginning in 1932 on a design idea Fuller had derived from aircraft technologies. The three prototype cars were different from anything being sold at the time. They had three wheels: two front drive wheels and one rear, steered wheel. The engine was in the rear, and the chassis and body were original designs. The aerodynamic, somewhat tear-shaped body was large enough to seat eleven people and was about 18 feet (5.5 m) long, resembling a blend of a light aircraft (without wings) and a Volkswagen van of 1950s vintage. All three prototypes were essentially a mini-bus, and its concept long predated the Volkswagen Type 2 mini-bus conceived in 1947 by Ben Pon.

Despite its length, and due to its three-wheel design, the Dymaxion turned on a small radius and could easily be parked in a tight space. The prototypes were efficient in fuel consumption for their day, traveling about 30 miles per gallon. Fuller contributed a great deal of his own money to the project, in addition to funds from one of his professional collaborators. An industrial investor was also very interested in the concept. Fuller anticipated that the cars could travel on an open highway safely at up to about 160 km/h (100 miles per hour), but, in practise, they were difficult to control and steer above 80 km/h (50 mph). Investors backed out and research ended after one of the prototypes was involved in a high-profile collision that resulted in a fatality. In 2007, Time Magazine reported on the Dymaxion as one of the "50 worst cars of all time".^[30]

In 1943, industrialist Henry J. Kaiser asked Fuller to develop a prototype for a smaller car, but Fuller's five-seater design was never developed further.

Housing[link]

This unreferenced section requires citations to ensure verifiability.

A Dymaxion House at The Henry Ford.

Fuller's energy-efficient and inexpensive Dymaxion House garnered much interest, but has never been produced. Here the term "Dymaxion" is used in effect to signify a "radically strong and light tensegrity structure". One of Fuller's Dymaxion Houses is on display as a permanent exhibit at The Henry Ford in Dearborn, Michigan. Designed and developed during the mid-1940s, this prototype is a round structure (not a dome), shaped something like the flattened "bell" of certain jellyfish. It has several innovative features, including revolving dresser drawers, and a fine-mist shower that reduces water consumption. According to Fuller biographer Steve Crooks, the house was designed to be delivered in two cylindrical packages, with interior color panels available at local dealers. A circular structure at the top of the house was designed to rotate around a central mast to use natural winds for cooling and air circulation.

Conceived nearly two decades before, and developed in Wichita, Kansas, the house was designed to be lightweight and adapted to windy climates. It was to be inexpensive to produce and purchase, and assembled easily. It was to be produced using factories, workers, and technologies that had produced World War II aircraft. It was ultramodern-looking at the time, built of metal, and sheathed in polished aluminum. The basic model enclosed 90 m² (1000 square feet) of floor area. Due to publicity, there were many orders during the early Post-War years, but the company that Fuller and others had formed to produce the houses failed due to management problems.

In 1969, Fuller began the Otisco Project, named after its location in Otisco, New York. The project developed and demonstrated concrete spray technology used in conjunction with mesh covered wireforms as a viable means of producing large scale, load bearing spanning structures built on site without the use of pouring molds, other adjacent surfaces or hoisting.

The initial construction method used a circular concrete footing in which anchor posts were set. Tubes cut to length and with ends flattened were then bolted together to form a duodeca-rhombicahedron (22 sided hemisphere) geodesic structure with spans ranging to 60 feet (18 m). The form was then draped with layers of ¼-inch wire mesh attached by twist ties. Concrete was then sprayed onto the structure, building up a solid layer which, when cured, would support additional concrete to be added by a variety of traditional means. Fuller referred to these buildings as monolithic ferroconcrete geodesic domes. The tubular frame form proved too problematic when it came to setting windows and doors, and was abandoned. The second method used iron rebar set vertically in the concrete footing and then bent inward and welded in place to create the dome's wireform structure and performed satisfactorily. Domes up to three stories tall built with this method proved to be remarkably strong. Other shapes such as cones, pyramids and arches proved equally adaptable.

The project was enabled by a grant underwritten by Syracuse University and sponsored by US Steel (rebar), the Johnson Wire Corp, (mesh) and Portland Cement Company (concrete). The ability to build large complex load bearing concrete spanning structures in free space would open many possibilities in architecture, and is considered as one of Fuller's greatest contributions.

Alternative map projection[link]

Fuller also designed an alternative projection map, called the Dymaxion map. This was designed to show Earth's continents with minimum distortion when projected or printed on a flat surface.

Quirks[link]

Fuller was a frequent flier, often crossing time zones. He famously wore three watches; one for the current zone, one for the zone he had departed, and one for the zone he was going to.^[31][32] In this respect he follows the jazz drummer Buddy Rich, who in the Pete Atkin / Clive James song “The Wristwatch for a Drummer”, also “wears three, one on the right wrist, one on the left, and the third one around his knee”. The wristwatch in question is the imagined “Omega Incabloc Oyster Accutron 72” for which “Buckminster Fuller designed the case”^[33] Fuller also noted that a single sheet of newsprint, inserted over a shirt and under a suit jacket, provided completely effective heat insulation during long flights.

He experimented with polyphasic sleep, which he called Dymaxion sleep. In 1943, he told Time Magazine that he had slept only two hours a day for two years. He quit the schedule because it conflicted with his business associates' sleep habits, but stated that Dymaxion sleep could help the United States win World War II.^[34]

Fuller documented his life copiously from 1915 to 1983, approximately 270 feet (82 m) of papers in a collection called the Dymaxion Chronofile. He also kept copies of all incoming and outgoing correspondence. The enormous Fuller Collection is currently housed at Stanford University.

If somebody kept a very accurate record of a human being, going through the era from the Gay 90s, from a very different kind of world through the turn of the century—as far into the twentieth century as you might live. I decided to make myself a good case history of such a human being and it meant that I could not be judge of what was valid to put in or not. I must put everything in, so I started a very rigorous record.^[35][36]

In his youth, Fuller experimented with several ways of presenting himself: R. B. Fuller, Buckminster Fuller, but as an adult finally settled on R. Buckminster Fuller, and signed his letters as such. However, he preferred to be addressed as simply "Bucky".

Practical achievements[link]

Fuller introduced a number of concepts, and helped develop others. Certainly, a number of his projects were not successful in terms of commitment from industry or acceptance by most of the public. However, more than 500,000 geodesic domes have been built around the world and many are in use. According to the Buckminster Fuller Institute,^[37] the largest geodesic-dome structures are:

• Seagaia Ocean Dome: Miyazaki, Japan, 216 m (710 ft).
• Multi-Purpose Arena: Nagoya, Japan, 187 m (614 ft).
• Tacoma Dome: Tacoma, Washington, USA, 162 m (530 ft).
• Superior Dome: Northern Michigan Univ. Marquette, Michigan, USA, 160 m (525 ft).
• Walkup Skydome: Northern Arizona Univ. Flagstaff, Arizona, USA, 153 m (502 ft).
• Poliedro de Caracas: Caracas, Venezuela, 145 m (475 ft).^[38][39][40]
• Round Valley High School Stadium: Springerville-Eagar, Arizona, USA, 134 m (440 ft).
• Former Spruce Goose Hangar: Long Beach, California, USA, 126 m (415 ft).
• Formosa Plastics Storage Facility: Mai Liao, Taiwan, 123 m (402 ft).
• Union Tank Car Maintenance Facility: Baton Rouge, Louisiana USA, 117 m (384 ft), destroyed in November 2007.^[41]
• Lehigh Portland Cement Storage Facility: Union Bridge, Maryland USA, 114 m (374 ft).
• The Eden Project, Cornwall, United Kingdom^[42]

Panoramic view of the geodesic domes at the Eden Project

Other notable domes include:

• Spaceship Earth at Disney World's Epcot Center in Florida, 80.8-meters (265 ft) wide (Spaceship Earth is actually a self supporting geodesic sphere, the only one currently in existence.)
• The Gold Dome in Oklahoma City, formerly a bank and now a multicultural society and business center.
• Downtown Vancouver, British Columbia, is a geodesic sphere hosting the Telus World of Science, a science centre (formerly called Science World), that was originally the Expo Centre built for Expo 86.
• The dome over a shopping center in downtown Ankara, Turkey, 109.7-meter (360 ft) tall
• The dome enclosing a civic center in Stockholm, Sweden, 85.3-meter (280 ft) high.
• The world's largest aluminum dome formerly housed the “Spruce Goose” airplane in Long Beach Harbor, California, USA.

However, contrary to Fuller's hopes, domes are not an everyday sight in most places. In practice, most of the smaller owner-built geodesic structures had disadvantages (see geodesic domes), including their unconventional appearance.

A spin-off of Fuller's dome-design conceptualization was the Buckminster Ball, which was the official FIFA approved design for footballs (association football), from their introduction at the 1970 World Cup until recently. The design was a truncated icosahedron – essentially a "Geodesic Sphere", consisting of 12 pentagonal and 20 hexagonal panels. This was used continuously for 34 years until replaced by the 14-panel Teamgeist for the 2006 World Cup.

Fuller was followed (historically) by other designers and architects, such as Sir Norman Foster and Steve Baer, willing to explore the possibilities of new geometries in the design of buildings, not based on conventional rectangles.

Language and neologisms[link]

Buckminster Fuller spoke and wrote in a unique style and said it was important to describe the world as accurately as possible.^[43] Fuller often created long run-on sentences and used unusual compound words (omniwell-informed, intertransformative, omni-interaccommodative, omniself-regenerative) as well as terms he himself invented.^[44]

Fuller used the word Universe without the definite or indefinite articles (the or a) and always capitalized the word. Fuller wrote that "by Universe I mean: the aggregate of all humanity's consciously apprehended and communicated (to self or others) Experiences."^[45]

The words "down" and "up", according to Fuller, are awkward in that they refer to a planar concept of direction inconsistent with human experience. The words "in" and "out" should be used instead, he argued, because they better describe an object's relation to a gravitational center, the Earth. "I suggest to audiences that they say, 'I'm going "outstairs" and "instairs."' At first that sounds strange to them; They all laugh about it. But if they try saying in and out for a few days in fun, they find themselves beginning to realize that they are indeed going inward and outward in respect to the center of Earth, which is our Spaceship Earth. And for the first time they begin to feel real 'reality.'"^[46]

"World-around" is a term coined by Fuller to replace "worldwide". The general belief in a flat Earth died out in Classical antiquity, so using "wide" is an anachronism when referring to the surface of the Earth—a spheroidal surface has area and encloses a volume but has no width. Fuller held that unthinking use of obsolete scientific ideas detracts from and misleads intuition. Other neologisms collectively invented by the Fuller family, according to Allegra Fuller Snyder, are the terms "sunsight" and "sunclipse", replacing "sunrise" and "sunset" to overturn the geocentric bias of most pre-Copernican celestial mechanics.

Fuller also invented the word "livingry," as opposed to weaponry (or "killingry"), to mean that which is in support of all human, plant, and Earth life. "The architectural profession—civil, naval, aeronautical, and astronautical—has always been the place where the most competent thinking is conducted regarding livingry, as opposed to weaponry."^[47]

As well as contributing significantly to the development of tensegrity technology, Fuller invented the term "tensegrity" from tensional integrity. "Tensegrity describes a structural-relationship principle in which structural shape is guaranteed by the finitely closed, comprehensively continuous, tensional behaviors of the system and not by the discontinuous and exclusively local compressional member behaviors. Tensegrity provides the ability to yield increasingly without ultimately breaking or coming asunder."^[48]

"Dymaxion" is a portmanteau of "dynamic maximum tension". It was invented by an adman about 1929 at Marshall Field's department store in Chicago to describe Fuller's concept house, which was shown as part of a house of the future store display. These were three words that Fuller used repeatedly to describe his design.

Fuller also helped to popularise the concept of Spaceship Earth: "The most important fact about Spaceship Earth: an instruction manual didn't come with it."^[49]

Concepts and buildings[link]

His concepts and buildings include:

Influence and legacy[link]

Among the many people who were influenced by Buckminster Fuller are: Constance Abernathy,^[52] Ruth Asawa,^[53] J. Baldwin,^[54][55] Michael Ben-Eli,^[56] Pierre Cabrol,^[57] Joseph Clinton,^[58] Peter Floyd,^[56] Medard Gabel,^[59] Michael Hays,^[56] David Johnston,^[60] Robert Kiyosaki,^[61] Peter Pearce,^[56] Shoji Sadao,^[56] Edwin Schlossberg,^[56] Kenneth Snelson,^[53][62][63] and Robert Anton Wilson.^[64]

An allotrope of carbon, fullerene—and a particular molecule of that allotrope C₆₀ (buckminsterfullerene or buckyball) has been named after him. The Buckminsterfullerene molecule, which consists of 60 carbon atoms, very closely resembles a spherical version of Fuller's geodesic dome. The 1996 Nobel prize in chemistry was given to Kroto, Curl, and Smalley for their discovery of the fullerene.^[65]

On July 12, 2004, the United States Post Office released a new commemorative stamp honoring R. Buckminster Fuller on the 50th anniversary of his patent for the geodesic dome and by the occasion of his 109th birthday.

Fuller was the subject of two documentary films: The World of Buckminster Fuller (1971) and Buckminster Fuller: Thinking Out Loud (1996). Additionally, filmmaker Sam Green and the band Yo La Tengo collaborated on a 2012 "live documentary" about Fuller, The Love Song of R. Buckminster Fuller.^[66]

In June 2008, the Whitney Museum of American Art presented "Buckminster Fuller: Starting with the Universe", the most comprehensive retrospective to date of his work and ideas.^[67] The exhibition traveled to the Museum of Contemporary Art, Chicago in 2009. It presented a combination of models, sketches, and other artifacts, representing six decades of the artist's integrated approach to housing, transportation, communication, and cartography. It also featured the extensive connections with Chicago from his years spent living, teaching, and working in the city.^[68]

In 2009 Noel Murphy wrote and performed the one-man show Buckminster Fuller LIVE! and then later on in 2010 Murphy directed the documentary film, The Last Dymaxion: Buckminster Fuller's Dream Restored.^{[citation needed]}

On February 25, 2011^{[citation needed]}, the indie rock band Driftless Pony Club released Buckminster, a concept album based upon the life and work of Fuller.^[69]

Patents[link]

(from the Table of Contents of Inventions: The Patented Works of R. Buckminster Fuller (1983) ISBN 0-312-43477-4)

• 1927 U.S. Patent 1,633,702 Stockade: Building Structure
• 1927 U.S. Patent 1,634,900 Stockade: Pneumatic Forming Process
• 1928 (Application Abandoned) 4D House
• 1937 U.S. Patent 2,101,057 Dymaxion Car
• 1940 U.S. Patent 2,220,482 Dymaxion Bathroom
• 1944 U.S. Patent 2,343,764 Dymaxion Deployment Unit (sheet)
• 1944 U.S. Patent 2,351,419 Dymaxion Deployment Unit (frame)
• 1946 U.S. Patent 2,393,676 Dymaxion Map
• 1946 (No Patent) Dymaxion House (Wichita)
• 1954 U.S. Patent 2,682,235 Geodesic Dome
• 1959 U.S. Patent 2,881,717 Paperboard Dome
• 1959 U.S. Patent 2,905,113 Plydome
• 1959 U.S. Patent 2,914,074 Catenary (Geodesic Tent)
• 1961 U.S. Patent 2,986,241 Octet Truss
• 1962 U.S. Patent 3,063,521 Tensegrity
• 1963 U.S. Patent 3,080,583 Submarisle (Undersea Island)
• 1964 U.S. Patent 3,139,957 Aspension (Suspension Building)
• 1965 U.S. Patent 3,197,927 Monohex (Geodesic Structures)
• 1965 U.S. Patent 3,203,144 Laminar Dome
• 1965 (Filed – No Patent) Octa Spinner
• 1967 U.S. Patent 3,354,591 Star Tensegrity (Octahedral Truss)
• 1970 U.S. Patent 3,524,422 Rowing Needles (Watercraft)
• 1974 U.S. Patent 3,810,336 Geodesic Hexa-Pent
• 1975 U.S. Patent 3,863,455 Floatable Breakwater
• 1975 U.S. Patent 3,866,366 Non-symmetrical Tensegrity
• 1979 U.S. Patent 4,136,994 Floating Breakwater
• 1980 U.S. Patent 4,207,715 Tensegrity Truss
• 1983 U.S. Patent 4,377,114 Hanging Storage Shelf Unit

Bibliography[link]

• 4d Timelock (1928)
• Nine Chains to the Moon (1938)
• Untitled Epic Poem on the History of Industrialization (1962)
• Ideas and Integrities, a Spontaneous Autobiographical Disclosure (1963) ISBN 0-13-449140-8
• No More Secondhand God and Other Writings (1963)
• Education Automation: Freeing the Scholar to Return (1963)
• What I Have Learned: A Collection of 20 Autobiograhical Essays, Chapter "How Little I Know", (1968)
• Operating Manual for Spaceship Earth (1969) ISBN 0-8093-2461-X
• Utopia or Oblivion (1969) ISBN 0-553-02883-9
• Approaching the Benign Environment (1970) ISBN 0-8173-6641-5 (with Eric A. Walker and James R. Killian, Jr.)
• I Seem to Be a Verb (1970) coauthors Jerome Agel, Quentin Fiore, ISBN 1-127-23153-7
• Intuition (1970)
• Buckminster Fuller to Children of Earth (1972) compiled and photographed by Cam Smith, ISBN 0-385-02979-9
• The Dymaxion World of Buckminster Fuller (1960, 1973) coauthor Robert Marks, ISBN 0-385-01804-5
• Earth, Inc (1973) ISBN 0-385-01825-8
• Synergetics: Explorations in the Geometry of Thinking (1975) in collaboration with E.J. Applewhite with a preface and contribution by Arthur L. Loeb, ISBN 0-02-541870-X
• Tetrascroll: Goldilocks and the Three Bears, A Cosmic Fairy Tale (1975)
• And It Came to Pass — Not to Stay (1976) ISBN 0-02-541810-6
• R. Buckminster Fuller on Education (1979) ISBN 0-87023-276-2
• Synergetics 2: Further Explorations in the Geometry of Thinking (1979) in collaboration with E.J. Applewhite
• Buckminster Fuller Sketchbook (1981)
• Critical Path (1981) ISBN 0-312-17488-8
• Grunch of Giants (1983) ISBN 0-312-35193-3
• Inventions: The Patented Works of R. Buckminster Fuller (1983) ISBN 0-312-43477-4
• Humans in Universe (1983) coauthor Anwar Dil, ISBN 0-89925-001-7
• Cosmography: A Posthumous Scenario for the Future of Humanity (1992) coauthor Kiyoshi Kuromiya, ISBN 0-02-541850-5

See also[link]

	Biography portal
	World War I portal
	Sustainable development portal

• The Buckminster Fuller Challenge
• Cloud nine (Tensegrity sphere)
• Design science revolution
• Emissions Reduction Currency System
• Noosphere
• Old Man River's City project
• Spome
• Whole Earth Catalog

References[link]

Further reading[link]

• Applewhite, E. J. Cosmic Fishing: An account of writing Synergetics with Buckminster Fuller. 1977 (ISBN 0-02-502710-7)
• Applewhite, E. J., ed. Synergetics Dictionary, The Mind Of Buckminster Fuller; in four volumes. Garland Publishing, Inc. New York and London. 1986 (ISBN 0-8240-8729-1)
• Chu, Hsiao-Yun. "Fuller's Laboratory Notebook." Collections, Volume 4 Issue 4 Fall 2008 (Lanham, MD: Altamira Press), 295–306.
• Chu, Hsiao-Yun and Roberto Trujillo. New Views on R. Buckminster Fuller.(Stanford, CA; Stanford University Press, 2009) ISBN 0-8047-6279-1
• Eastham, Scott: American Dreamer. Bucky Fuller and the Sacred Geometry of Nature; The Lutterworth Press 2007, Cambridge; ISBN 978-0-7188-3031-1
• Edmondson, Amy: "A Fuller Explanation"; EmergentWorld LLC. 2007 (ISBN 978-0-6151-8314-5)
• Hatch, Alden Buckminster Fuller At Home In The Universe. 1974 (ISBN 0-440-04408-1) Crown Publishers, New York.
• Hoogenboom, Olive (1999). "Fuller, R. Buckminster". American National Biography. 8. New York: Oxford University Press. pp. 559–562. 
• Kenner, Hugh. Bucky: a guided tour of Buckminster Fuller. 1973 (ISBN 0-688-00141-6)
• Krausse, Joachim and Lichtenstein, Claude. ed. Your Private Sky, R. Buckminster Fuller: The Art Of Design Science. Lars Mueller Publishers. 1999 (ISBN 3-907044-88-6)
• McHale, John. R. Buckminster Fuller. George Brazillier, Inc., New York. hardback. 1962.
• Pawley, Martin. Buckminster Fuller. Taplinger Publishing Company, New York. 1991. hardcover (ISBN 0-8008-1116-X)
• Potter, R. Robert. Buckminster Fuller (Pioneers in Change Series). Silver Burdett Publishers. 1990 (ISBN 0-382-09972-9)
• Robertson, Donald. Mind's Eye Of Buckminster Fuller. 1974 (ISBN 0-533-01017-9) Vantage Press, Inc., New York.
• Sieden, Lloyd. Buckminster Fuller's Universe, His Life and Work. 1989 (ISBN 0-7382-0379-3), explores Fuller's personal life, his beliefs and drives.
• Snyder, Robert. Buckminster Fuller: An Autobiographical Monologue/Scenario. St. Martin's Press, New York. hardback. 1980 (ISBN 0-312-24547-5)
• Sterngold, James. "The Love Song of R. Buckminster Fuller." The New York Times [Arts Section], June 15, 2008.
• Ward, James, ed., The Artifacts Of R. Buckminster Fuller, A Comprehensive Collection of His Designs and Drawings in Four Volumes: Volume One. The Dymaxion Experiment, 1926–1943; Volume Two. Dymaxion Deployment, 1927–1946; Volume Three. The Geodesic Revolution, Part 1, 1947–1959; Volume Four. The Geodesic Revolution, Part 2, 1960–1983: Edited with descriptions by James Ward. Garland Publishing, New York. 1984 (ISBN 0-8240-5082-7 vol. 1, ISBN 0-8240-5083-5 vol. 2, ISBN 0-8240-5084-3 vol. 3, ISBN 0-8240-5085-1 vol. 4)
• Wong, Yunn Chii, The Geodesic Works of Richard Buckminster Fuller, 1948–1968 (The Universe as a Home of Man), PhD thesis, Cambridge, Massachusetts: Massachusetts Institute of Technology, Department of Architecture, 1999.
• Wühr, Paul, Das falsche Buch. (Fuller appears as a character in this book.)
• Zung, T.K. Thomas. Buckminster Fuller: Anthology for a New Millennium. St. Martin's Press. 2001 (ISBN 0-312-26639-1)

External links[link]

Wikiquote has a collection of quotations related to: Buckminster Fuller

Wikimedia Commons has media related to: Buckminster Fuller

• Buckminster Fuller Institute
• Remarks at the Presentation Ceremony for the Presidential Medal of Freedom – February 23, 1983
• Works by Buckminster Fuller on Open Library at the Internet Archive
• Buckminster Fuller, a portrait by Ansel Adams

Articles about Fuller

• WIRED article about Buckminster Fuller
• Dymaxion Man: The Visions of Buckminster Fuller by Elizabeth Kolbert, The New Yorker (June 9, 2008)
• The Love Song of R. Buckminster Fuller New York Times article questioning Fuller's supposed consideration of suicide, (June 15, 2008)

Collections

• Buckminster Fuller Digital Collection at Stanford includes 380 hrs. of streamed audio-visual material from Fuller's personal archive
• Buckminster Fuller Papers 1,200 feet (370 m) housed at Stanford University Libraries
• Clara Thomas Archives and Special Collections, York University – Archival photographs of Buckminster Fuller from the Toronto Telegram.

Everything I Know

• "Everything I Know" Session, Philadelphia, 1975 at Stanford University Libraries archives
• The "Everything I Know" 42-hour lecture session — video, audio, and full transcripts.

Media

• R. Buckminster Fuller on PBS
• Buckminster Fuller discussed on The State of Things
• The World of Buckminster Fuller at the Internet Movie Database, a 1974 documentary
• Buckminster Fuller: Thinking Out Loud at the Internet Movie Database, a 1996 episode of American Masters
• Critical Path: R. Buckminster Fuller at the Internet Movie Database, a 2004 short animated documentary

Other resources

• CJ Fearnley's List of Buckminster Fuller Resources on the Internet
• Buckminster Fuller at Pionniers & Précurseurs. Includes a bibliography

Lynn Anderson
Background information
Birth name	Lynn Rene Anderson
Also known as	The Great Lady of Country Music
Born	(1947-09-26) September 26, 1947 (age 64)
Origin	Grand Forks, North Dakota, USA
Genres	Country Pop
Occupations	Singer, Equestrian
Instruments	Vocals
Years active	1966–present
Labels	Chart Columbia Permian MCA Mercury
Associated acts	Liz Anderson, Glenn Sutton, Mentor Williams, Jerry Lane, Ed Bruce, Gary Morris
Website	The Lynn Anderson Show

Lynn Rene Anderson (born September 26, 1947) is an American country music singer and equestrian known for a string of hits throughout the 1970s and early 1980s, most notably her Grammy Award-winning, worldwide mega-hit, "(I Never Promised You A) Rose Garden." Helped by her regular exposure on national television, Anderson was one of the most popular and successful female country singers of the 1970s.^[1] In addition to being named "Top Female Vocalist" by the Academy of Country Music twice and "Female Vocalist of the Year" by the Country Music Association, she has charted 11 #1, 18 Top 10, and more than 50 Top 40 hits. She was the first female country artist to win an American Music Award in 1974, as well as the first to headline and sellout Madison Square Garden that same year. Anderson was named Billboard Magazine's Female Artist of the Decade (1970–1980).^[2]

Anderson debuted in 1966, at the age of 19, and had her first major hit with Ride, Ride, Ride. After a series of Top 10 hit singles on the country charts during the late 1960s, Anderson went on to sign with Columbia Records in 1970. Under Columbia, she had her most successful string of hits. Her signature song, (I Never Promised You A) Rose Garden, remains one of the biggest selling country crossover hits of all time. The song even made it to #3 on the Billboard Pop Chart and was later ranked #83 on CMT's "100 Greatest Songs in Country Music History."

Early life[link]

Anderson was born in Grand Forks, North Dakota and raised in Fair Oaks, California.^[3] She is the daughter of country music songwriters Casey and Liz Anderson.^[1] Lynn Anderson's grandfather was born in Aremark, Norway. ^[4]

Anderson became interested in singing at the young age of six, but she had her first success in the horse show arena in and around California, where she would eventually win a total of 700 trophies,^[5] including the "California Horse Show Queen" title in 1966. Into her teens, she performed regularly on the local television program Country Caravan.^[3]

In 1965, she was working as a secretary at Top 40 radio station, KROY in Sacramento, California, when one of her mother's compositions, "All My Friends Are Gonna Be Strangers" was recorded and became a #10 country hit by Merle Haggard.^[3] Her mother would sign as a country music recording artist with RCA Records that same year.^[1] While accompanying her mother to Nashville, Anderson participated in an informal sing-along at a local hotel room with country stars Merle Haggard and Freddie Hart. One of the people present at the sing-along, Slim Williamson, owned Chart Records, a local record label. Williamson recognized Lynn Anderson's talent and invited her to record for his label. She began recording on Chart Records in 1966.^[3]

Music career[link]

1966 – 1969: Country music success[link]

In 1966, Lynn Anderson released her debut single, "For Better or for Worse," a duet with Jerry Lane which did not chart. Her first charting single and her third release on the Chart Label, "Ride, Ride, Ride," hit the Country Top 40.^[5] She had her first major hit single, "If I Kiss You (Will You Go Away)", the following year. It peaked at #5 on the Billboard country chart. It was followed by another Top 5 hit, "Promises, Promises,"^[1] from an album of the same name, which would also spawn a second Top 10 hit, "No Another Time", in 1968. Then she released "Mother May I", a Top 25 duet that she recorded with her mother. (The elder Anderson also achieved success as a country artist around the same time, achieving two Top 10 hits---"Mama Spank" (1966) and a trio with Bobby Bare and Norma Jean, "The Game of Triangles" (1967).)

In 1967, Lynn Anderson became a regular performer on The Lawrence Welk Show.^[3] She toured with the Welk Road Show as well. Her appearances on the show would later redound to her benefit. Because of the Welk show's widespread appeal, she was able to achieve success on the pop charts. In 1969, as her popularity grew, she left the Welk show in favor of sporadic guest appearances.^[3] In 1968, Anderson married songwriter and producer Glenn Sutton, who would later produce and write many of her records during her tenure with Columbia. Their marriage would last for approximately nine years.^[5] Anderson released her biggest hit single under the Chart label, "That's a No No",^[1] which peaked at #2 on the Billboard Country Chart in 1969. Soon after, she left the label, signing with Columbia Records in 1970.^[5] Chart Records would continue to release Lynn Anderson singles thru the end of 1971, including five Top 20 hits: "He'd Still Love Me", "I've Been Everywhere", "Rocky Top", "It Wasn't God Who Made Honky Tonk Angels", and "I'm Alright."^{[citation needed]}

1970 – 1980: Pop crossover[link]

After signing with Columbia in 1970, Anderson released the Joe South song, "(I Never Promised You A) Rose Garden," which became a major crossover pop hit in 1970 and early 1971.^[1] The song was produced by her husband Glenn Sutton. Anderson actually had to do some arm-twisting to get her producer husband to record the song, and Sutton eventually gave in. It was not until Columbia record executive Clive Davis heard the song that it was released as a single.^[6] The single peaked at #1 on the Billboard country chart and also peaked at #3 on the Billboard pop chart. It would go on to become her signature song.^[1] The song was Anderson's biggest international success. In the United Kingdom, the single reached #3^[7] and in Germany it peaked at #1 and stayed there for four weeks.^[8] The album, Rose Garden was released in 1971, and was also hugely successful, receiving platinum certification by the RIAA.^[9] Anderson won the Academy of Country Music's "Top Female Vocalist" Award and the Country Music Association's "Female Vocalist of the Year" Award in 1970 and 1971. In addition, she won a Grammy Award.^[10]

Lynn Anderson had two #1 hit singles on the Billboard country chart in 1971 with "You're My Man" and "How Can I Unlove You",^[1] both peaking at #63 on the Billboard pop chart. In 1972, Anderson had three Top 5 hits on the country charts, beginning with a cover version of the 50s pop hit, "Cry", followed by "Listen to a Country Song" and "Fool Me".^[5] These songs were included on the Listen to a Country Song album. "Cry" peaked at #3 on the Billboard magazine country chart and at #16 on the Adult Contemporary chart. In 1973, she had a fourth #1 country hit with "Keep Me in Mind," and an album of the same name was released. Then followed a second 1973 album, Top of the World, whose title track was a #1 country hit. It was also a #1 pop hit for The Carpenters that same year. Anderson's version, however, was the first to be released as a single and become a hit. The second single released from the Top of the World album, "Sing About Love", also peaked at #3. In 1974, "What a Man My Man is" was Anderson's eighth #1 country hit. That same year, she also won the American Music Awards' "Favorite Female Country Artist" Award.

Throughout the 1970s, Anderson made frequent guest appearances on many television specials, talk shows and variety shows. Because of her crossover appeal, she often appeared on shows on which country artists were not regularly seen. At the height of the show's popularity, she had a starring role in an episode of Starsky & Hutch. She made several appearances on The Tonight Show, and appeared on three Bob Hope television specials. Anderson frequently guest-starred on various Dean Martin television specials. She also hosted her own television special in 1977, with guest star Tina Turner.^[11]

Anderson's success slowed down toward the end of the '70s.^[10] She continued making appearances on the country charts every year for the rest of the decade.^[1] Anderson hit the Top 20 with two from her I've Never Loved Anyone More album in 1975: "He Turns it into Love Again" and the title track. She had a Top 20 hit with "All the King's Horses" in 1976 from an album of the same name. In 1977, "Wrap Your Love All Around Your Man", due to its promotion on the television show Starsky & Hutch, became a major hit. In 1979, she had her first Top 10 hit since 1974 with "Isn't It Always Love" ^[1] from her Outlaw is Just a State of Mind album. The album also produced the Top 20 hit, "I Love How You Love Me" and the Top 40 hit "Sea of Heartbreak". In 1980, she recorded her final album for Columbia, Even Cowgirls Get the Blues, which featured two Top 30 hits. Following her separation from Columbia she did not record for three years.

1983 – 1989: Commercial resurgence[link]

After three years away from recording, Anderson signed with the Permian Records label in 1983, and had a Top 10 country hit with "You're Welcome to Tonight", a duet with Gary Morris ^[5] At Permian she recorded Back, her first studio album since 1980. The album's first single, "You Can't Lose What You Never Had", peaked outside the Top 40, but the second single, "What I've Learned from Loving You", was a Top 20 hit. She left Permian in 1984. In 1986, she recorded "Fools for Each Other", a duet with Ed Bruce, which was included on his Night Things album. The single peaked just outside the Top 40.

That same year, Anderson recorded a single for MCA Records. In 1986, she signed with Mercury Records, which produced one album, What She Does Best, and five singles that were minor hits on the Billboard country chart in the late 1980s.^[5] She had two Top 40 hit singles with MCA---"Read Between the Lines" and a cover version of The Drifters' "Under the Boardwalk", which hit Top 25 country in 1988. In 1989, Anderson released her last charting single to date with "How Many Hearts", which peaked at #69.

1990 – Present: Present music career[link]

In 1990, Anderson starred as singer Betsy Hall in the BBC Scotland TV drama, "The Wreck On The Highway." She performed the song "Dream On" in the film, which consequently became a minor hit in a BBC collection of country standards. In 1992, she recorded a new studio album titled Cowboy's Sweetheart, released by Laselight Records.^[10] Emmylou Harris and Marty Stuart appeared as guest performers on the album.^[11] During the same time, the American Rose Society created a hybrid tea rose and named it "The Lynn Anderson" ^[2] Anderson did not record any studio albums for the rest of the decade and became more focused on touring and performing, as well as non-musical projects. In 1999, she was inducted into the North American Country Music Association's International Hall of Fame.^[12]

In 2000, Tennessee governor Don Sundquist made June 15 "Lynn Anderson Day" throughout the state. Anderson produced a TNN special, "American Country Cowboys," which helped handicapped groups also during this time.^[2] In 2002, Anderson was ranked at #29 on CMT's television special of the 40 Greatest Women of Country Music. In 2000, she recorded a live album titled, Live at Billy Bob's Texas.^[1] In 2004, she recorded her first studio album in 12 years, The Bluegrass Sessions, a Bluegrass album that consisted of Anderson's major hits from the 60s and 70s re-recorded in a Bluegrass format.^[5] The album was nominated for a Grammy award for Best Bluegrass Album in 2005, along with Ricky Skaggs' album Brand New Strings, Ralph Stanley II's Carrying on, as well as a multi-artist album.^[13] In 2005, she performed on the Grand Ole Opry with Country singer, Martina McBride, performing a duet version of "(I Never Promised You A) Rose Garden".

In June 2007, she performed as part of the CMA's 2007 Music Festival in Nashville. She performed an outdoor concert at the Riverfront Park area, which also included concerts by Aaron Tippin and Jason Michael Carroll.^[14] At the festival, Anderson duetted with songwriter and fiance Mentor Williams on his composition recorded by Dobie Gray and later Uncle Kracker, "Drift Away".

In April 2009, she was part of the concert line-up at the annual Stagecoach Festival in Palm Springs, which also included concerts by Charlie Daniels, Kevin Costner, and Reba McEntire. Throughout 2010 and 2011, she performed a series of concerts backed by the Metropole Symphony Orchestra. Lynn Anderson remains a popular concert attraction, regularly headlining major casinos and performing arts centers.

Equestrian career[link]

Outside of her music career, Anderson has also maintained an equestrian horse racing career since the 1960s. As a horsewoman, she has won 16 national, eight world, and several celebrity championships.^[2]

Her most recent championships include the National Chevy Truck Cutting Horse Champion in 1999, the American U.S. Open Invitational Champion in 2000,and the National Cutting Horse Association Champion in 1999.^[2] Anderson continues to raise horses at her ranch in New Mexico. Anderson has worked with the "Special Riders of Animaland," which is a horseback-riding therapy program for children.^[2]

Her sorrel Quarter Horses "Lady Phase" and "Skipster's Chief" were produced as plastic models by Breyer Animal Creations.

Personal life[link]

Lynn Anderson was married to country music producer Glen Sutton from 1968 to 1977. Anderson and Sutton had one child together. Her second husband was the Louisiana oilman, Harold Stream III, with whom she had two children. Stream and Anderson divorced in 1982.

On December 2, 2004, Anderson was charged with driving while intoxicated in Denton, Texas. A driver who was following Anderson called the police after noticing that her car was weaving in and out of lanes. After failing a field sobriety test, Anderson was arrested and taken to jail. She was later released on bond.^[15]

On May 3, 2006, Anderson was arrested on a second driving under the influence of alcohol charge following a minor traffic accident near Espanola, New Mexico. According to police, Anderson failed a sobriety test and refused to take a breathalyzer test after her car hit the back of another car. No one was injured in the collision. Anderson was later released on bond.^[16]

Anderson currently resides in Nashville, Tennessee.

Major industry awards and honors[link]

Discography[link]

References[link]

Source[link]

• Bufwack, Mary A. (1998). "Lynn Anderson". In The Encyclopedia of Country Music. Paul Kingsbury (editor); New York: Oxford University Press, page 14.

External links[link]

• Official website

Walter Louis "Hank" Garland (November 11, 1930 – December 27, 2004) was a Nashville studio musician who performed with Elvis Presley, Patsy Cline, Roy Orbison and many others.

Biography[link]

Born in Cowpens, South Carolina,^[3] Garland began playing the guitar at the age of 6. He appeared on local radio shows at 12 and was discovered at 14 at a South Carolina record store.^[4] He moved to Nashville at age 16, staying in Ma Upchurch's boarding house, where he roomed with upright bassist Bob Moore and fiddler Dale Potter.

At age 19, Garland recorded his million-selling hit "Sugarfoot Rag", although some attribute the song to Bernie B. Smith, Jr., published two years earlier by M.M. Cole/BMI as "Bernie's Reel". An instrumental version was the opening theme for ABC-TV's Ozark Jubilee from 1955–1960. Garland appeared on the Jubilee with Grady Martin's band, and on Eddy Arnold's network and syndicated television shows.

He is best known for his work on Elvis Presley's recordings from 1957 to 1961 which produced such rock hits as "Little Sister", "I Need Your Love Tonight" and "A Big Hunk O' Love". However, Garland also worked with many country music as well as rock 'n roll stars of the late 1950s and early 1960s including Patsy Cline, Brenda Lee, Mel Tillis, Marty Robbins, the Everly Brothers, Boots Randolph, Roy Orbison and Conway Twitty. He also played with jazz artists such as George Shearing and Charlie Parker in New York and went on to record Jazz Winds From a New Direction, showcasing his evolving talent.^[5] It is also believed that he is the first to explore the use of the Power chord in popular music.

At the request of Gibson Guitar company president, Ted McCarty, Garland and fellow guitarist Billy Byrd strongly influenced the design of the Byrdland guitar, which derived from the Gibson L-5 guitar Garland is seen holding in the photograph.^[6]

In September 1961, he was playing for the soundtrack of Presley's movie, Follow That Dream when a car accident left Garland in a coma that lasted for a week. With the help of his wife, he re-learned how to walk, talk, and play the guitar though he never recovered sufficiently to return to the studios. It was believed electroconvulsive therapy, prescribed by his doctors, may have caused more damage to his brain, but little evidence exists to support this theory. Garland's brother, Billy, claimed the crash was actually an attempted murder by someone in the Nashville music scene,^[7] but there is no evidence of that. Garland was widely respected by his peers and Nashville producers such as Chet Atkins, Don Law and Owen Bradley.

Garland died on December 27, 2004 of a staph infection in Orange Park, Florida. He is survived by two Daughters, Cheryl and Debra. He is also survived by 4 Grandsons: Derek & Chris Gruendemann and Jason & Mark Garland.

On May 10, 2012, Hank's Daughter, Cheryl Norene Garland Gruendemann passed away in McHenry, IL. She is survived by two sons, Derek(Betsy) & Chris, and 2 Granddaughters, Abby & Callie, a sister, Debra Garland, a nephew, Jason Garland(Tearie), great (step) grandson, Brandon, along with Uncle's Leroy Peterson(June), Orville Peterson Jr(Audrey) & Aunt Gladys(Steve) Marionovits also numerous cousins.

Discography[link]

• After the Riot at Newport (with The Nashville All-Stars) (1960)
• Velvet Guitar (1960)
• Jazz Winds From a New Direction (1961)
• The Unforgettable Guitar of Hank Garland (1962)
• Holiday for the Harp (with the Daphne Hellman Quartet)

See also[link]

• The Nashville A-Team

Notes[link]

References[link]

• Duchossior, Andre. Gibson Electrics: The Classic Years. Hal Leonard Corp. 1998 ISBN 0-7935-9210-0
• Kienzle, Rich (1998). "Hank Garland". In The Encyclopedia of Country Music. Paul Kingsbury, Editor. New York: Oxford University Press. pp. 194–5.
• Word, Ron "Obit-Garland" (December 28, 2004), The Associated Press
• A-Team Musicians
• Official Web site

External links[link]

• Hank Garland biography and interview
• More on Hank Garland from his family