Mike Goodwin is an Oregonian professional fund raiser currently working as CEO of the Oregon State University Foundation.^[1] He is also on the board of trusties for the Council for Advancement and Support of Education.^[2]

References[link]

1. ^ Johnson, Rebecca (3/10/11). "25 Influential People at OSU Part 4: Money Movers". The Daily Barometer.
2. ^ "Member Profile: J. Michael Goodwin".

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This article's tone or style may not reflect the encyclopedic tone used on Wikipedia. Specific concerns may be found on the talk page. See Wikipedia's guide to writing better articles for suggestions. (July 2010)

Donald Andrew McClurkin, Jr. (born November 9, 1959) is an American gospel music singer and minister. He has won three Grammy awards, ten Stellar awards, two BET awards, two Soul Train awards, one Dove award and one NAACP Image award for his work.

Early life[link]

McClurkin was born Copiague, New York and raised in Amityville. When he was eight years old, his two-year-old brother was hit and killed by a speeding driver. After the loss, McClurkin found comfort in church and through an aunt who sang background vocals with gospel music musician Andraé Crouch. He began to play piano and sing with his church youth choir. He formed the McClurkin Singers by the time he was a teenager, and later formed another group, the New York Restoration Choir.^[1][2]

Ministry[link]

He was hired as an associate minister at Marvin Winans' Perfecting Church in 1989.^[3] The Winans are a well-established family of singers who dominated the contemporary gospel charts in the 80's and 90's,while experiencing cross-over appeal, and continue to be voices of influence in 2012. McClurkin served as an assistant to Pastor Marvin L. Winans for over a decade, while living in Detroit,MI.

In 1991, a sharp pain and swelling, followed by internal bleeding, led, he says, to a diagnosis of leukemia. The doctor suggested immediate treatment, but McClurkin, who was then 31, decided to take his own advice. "I tell people to believe that God will save you," he says, "[and] I had to turn around and practice the very thing that I preached."^[4]

He was ordained and sent out by Winans in 2001 to establish Perfecting Faith Church in Freeport, Long Island, where he is now Senior Pastor.^[5][6]

Music[link]

A friendship with a Warner Alliance executive resulted in his signing to the label for his 1996 self-titled LP, with producers Mark Kibble of Take 6, Cedric and Victor Caldwell plus Andraé Crouch. The disc, which featured the perennially popular "Stand," went gold shortly after being publicly lauded by Oprah Winfrey.^[7] At the 48th Annual Grammy Awards, he won in the category Traditional Soul Gospel Album, for "Psalms, Hymns & Spiritual Songs".^[8] McClurkin is best known for his hit songs “Stand” and “We Fall Down” which were played in heavy rotation on both Gospel and Urban radio. His three solo albums have topped the Billboard charts.^[9]

Dovetailing off the success of his near double-platinum selling album,"Live in London and More" McClurkin released "Psalms,Hymns and Spiritual Songs" in 2005 and “We All Are One: Live In Detroit” in 2009 which also topped Billboard charts across various musical genres. McClurkin's love for people and desire to share gospel music,globally, is why he includes a language medley:Japanese, Russian, Spanish, and Dutch in most live performances.

Radio and television[link]

Tom Versen and Tony Sisti of T&T Creative www.tandtcreative.com signed Grammy winner Donnie McClurkin to a radio syndication deal with advertising giant Dial-Global and syndicator Gary Bernstein. T&T Creative provided a mobile recording studio in Pastor Donnie's church that he can also take on the road. He is quoted as saying "As much as I love music and singing, I really love doing radio and the direct feedback I get from my listeners all over the country. I never thought I would be having this much fun doing radio and I could touch and impact so many people."[19]

In 2009 he also broadcast his own television show titled “Perfecting Your Faith” on cable television.^[10] His television appearances include Good Morning America, CBS Saturday’s Early Show, and the View. He has also been featured in movies like “The Gospel”, “The Fighting Temptations” and television shows “Girlfriends” and “The Parkers.”

Discography[link]

Studio albums[link]

Live albums[link]

Compilation albums[link]

Singles:

• Stand (1996)
• Speak To My Heart (1996)
• Love Will Never Be (1996)
• We Fall Down (2000)
• Love Melodies (1998)
• We Love You, Lord (2000)
• Ooh Child (2005) with Kirk Franklin)
• The Prayer (2003)(with Yolanda Adams)
• I Call You Faithful (2005)
• That Great Day (2007) (with Tye Tribbett, Da' T.R.U.T.H.)
• Wait on the Lord (2009)

Filmography[link]

• Hopeville (2007)
• The Gospel (2005)
• The Prince of Egypt (1998) wrote and sang "I Am" & "Humanity"
• 25 Strong: The BET Silver Anniversary Special
• The Donnie McClurkin Story: From Darkness to Light (2004)
• Apollo at 70: A Hot Night in Harlem (2004)
• The Fighting Temptations (2003)

Notable television appearances:

• SuperBowl Gospel Celebration (2012)
• CNN Saturday Morning (2012)
• CNN Pierce Morgan Tonight (2012)
• BET Awards-performance (2011)
• Sunday's Best/ BET Sunday Best -Judge (2011)
• BET Sunday Best - Judge (2010)
• 25th Annual Stellar Gospel Music Awards-Hosted (2010)
• 24th Annual Stellar Gospel Music Awards-Co-Hosted (2009)
• An Evening of Stars: Tribute to Stevie Wonder (2006)
• 20th Annual Stellar Gospel Music Awards (2005)
• 19th Annual Stellar Gospel Music Awards (2004)
• 18th Annual Stellar Gospel Music Awards Preshow (2003)
• 17th Annual Stellar Gospel Music Awards (2002)
• Essence Awards (2003)
• The Parkers (2002)
• Girlfriends (2001)
• 1st Annual BET Awards (2001)
• Essence Awards (2001)
• An Evening of Stars: A Celebration of Educational Excellence (2001)

References[link]

External links[link]

• Donnie McClurkin: official site
• The Donnie McClurkin Show: radio broadcast
• Perfecting Faith Church: official site
• Exclusive Interview on BlackGospel.com (October 2008) : Interview

Michael Kemper Goodwin (April 28, 1939 – May 4, 2011)^[1] was an important architect in the Phoenix, Arizona area. He also served two terms in the Arizona House of Representatives in the 1970s.^[2]

Early life[link]

He was born 0n April 28, 1939 to Kemper Goodwin and Mary 'Mickey' Goodwin. Kemper Goodwin was another important local architect (one with two buildings on the National Register of Historic Places in Arizona) with whom Michael would later work. He was also the grandson of Garfield and Jenny Goodwin, pioneers in the city of Tempe, Arizona.^[2] Like his father, he attended the University of Southern California.^[1]

He joined his father's firm in 1967.^[3][4] In 1978, he was the youngest person ever to become a Fellow of the American Institute of Architects.^[1]

Major works[link]

• Tempe Municipal Building (1970)^[5]: this upside-down pyramid was designed to shade and cool itself^[1]
• Marcos de Niza High School (1971): this work was considered a revolution in open space campus design^[5]
• Corona del Sol High School (1976): a very early design in solar technology^[5]
• Many other local elementary, middle, and high schools
• The Elk Run subdivision in Flagstaff, Arizona, among his few residential designs

References[link]

This Arizona-related article is a stub. You can help Wikipedia by expanding it. v t e

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2011)

Patsy Cline
Patsy Cline at Four Star Records in March 1957
Background information
Birth name	Virginia Patterson Hensley
Also known as	Ginny, Patsy
Born	(1932-09-08)September 8, 1932 Winchester, Virginia, U.S.
Died	March 5, 1963(1963-03-05) (aged 30) near Camden, Tennessee, U.S.
Genres	Nashville sound, country, traditional pop, rockabilly, honky tonk, standards, swing
Occupations	Singer, songwriter
Instruments	Vocals, piano
Years active	1947–1963
Labels	Four Star Records (1955–1960) Decca Records (1960–1963)
Associated acts	Kitty Wells, Jean Shepard, Jimmy Dean, Jim Reeves, Eddy Arnold, Skeeter Davis, Brenda Lee, Loretta Lynn, Jan Howard, Dottie West

Patsy Cline (September 8, 1932 – March 5, 1963), born Virginia Patterson Hensley, was an American country music singer as part of the early 1960s Nashville sound. Cline successfully "crossed over" to pop music. At age 30, she died at the height of her career in a private plane crash. She was one of the most influential, successful and acclaimed female vocalists of the 20th century.^[1][2]

Cline was best known for her rich tone, emotionally expressive and bold contralto voice^[3] and her role as a country music industry pioneer. She helped pave the way for women as headline performers in the genre. Cline's was cited as an inspiration by singers in several genres.^[4] Books, movies, documentaries, articles and stage plays document her life and career.

Her hits began in 1957 with Donn Hecht's "Walkin' After Midnight", Harlan Howard's "I Fall to Pieces", Hank Cochran's "She's Got You", Willie Nelson's "Crazy" and ended in 1963 with Don Gibson's "Sweet Dreams".

Posthumously, millions of her records sold over a 50-year span. She won awards and accolades, leading some fans to view her as an icon at the level of Johnny Cash and Elvis Presley. Ten years after her death, in 1973, she became the first female solo artist inducted to the Country Music Hall of Fame. In 1999, she was voted number 11 on VH1's special, The 100 Greatest Women in Rock and Roll, by members and artists of the rock industry.^[5] In 2002, country music artists and industry members voted her Number One on CMT's The 40 Greatest Women of Country Music and ranked 46th in the "100 Greatest Singers of All Time" issue of Rolling Stone magazine. According to her 1973 Country Music Hall of Fame plaque, "Her heritage of timeless recordings is testimony to her artistic capacity."

Early years[link]

Childhood[link]

Cline was born Virginia Patterson Hensley in 1932, in Winchester, Virginia, to Hilda Patterson Hensley, a 16-year-old seamstress, and Sam Hensley, a 43-year-old blacksmith. Patsy soon had a younger brother and sister, Samuel and Sylvia; the siblings were called Ginny, John, and Sis. The family moved often before settling in Winchester when Patsy was 8. She grew up "on the wrong side of the tracks". Sam deserted his family in 1947, but the Hensley home was reportedly quite happy.^[6]

Cline's home in Winchester, Virginia. She lived here from age 16 to 21.

Cline was introduced to music at an early age, singing in church with her mother. She admired stars such as Kay Starr, Jo Stafford, Hank Williams, Judy Garland, and Shirley Temple. She had perfect pitch. She was self-taught and could not read music.

When she was thirteen, she was hospitalized with a throat infection and rheumatic fever. "The fever affected my throat and when I recovered I had this booming voice like Kate Smith".^[7]

Teen years[link]

To help support her family after her father abandoned them, she dropped out of high school and worked various jobs, often performing as a soda jerk and waitress by day at The Triangle Diner^[8] across the street from her school, John Handley High.

After several weeks of watching performers through the window at her local radio station, she asked WINC-AM disc jockey and talent co-ordinator Jimmy McCoy if she could sing on his show. Her first performance on radio in 1947 was so well received that she was asked back. This led to performances at local nightclubs, wearing fringed Western stage outfits that her mother made from Patsy's designs.

Cline performed in variety and talent showcases in and around the Winchester and Tri-State areas. Coupled with increasing appearances on local radio, she attracted a large following. In 1954 Jimmy Dean, a young country star in his own right, learned of her and she became a regular with Dean on Connie B. Gay's Town and Country Jamboree radio show, airing weekday afternoons live on WARL-AM in Washington, D.C..

First marriage[link]

She married contractor Gerald Cline in 1953 and divorced him in 1957. The dissolution of that marriage was blamed on their considerable age difference and on the conflict between her desire to sing professionally and his desire that she adopt the conventional role of a housewife.

Recording career[link]

Four Star Records[link]

Bill Peer, her second manager, gave her the name Patsy, from her middle name and her mother's maiden name, Patterson. In 1955 he got her a contract at Four Star Records, the label with which he was then affiliated. Four Star was under contract to the Coral subsidiary of Decca Records. Patsy signed with Decca at her first opportunity three years later.

Her first contract allowed her to record compositions only by Four Star writers, which Cline found limiting. Later, she expressed regret over signing with the label, but thinking that nobody else would have her, she took the deal. Her first record for Four Star was "A Church, A Courtroom & Then Good-Bye", which attracted little attention, although it led to appearances on the Grand Ole Opry. As these performances were not "records" per se, they were not governed by her contract, and she could sing what she wanted, within reason. This somewhat eased her "stifled" feeling.

Between 1955 and 1957, Cline recorded honky tonk material, with songs like "Fingerprints", "Pick Me Up On Your Way Down", "Don't Ever Leave Me Again", and "A Stranger In My Arms". Cline cowrote the latter two. None of these songs gained notable success. She experimented with rockabilly.

According to Decca Records producer Owen Bradley, the Four Star compositions only hinted at Patsy's potential. Bradley thought that her voice was best-suited for pop music, but Cline sided with Peer and the other Four Star producers, insisting that she could only record country songs, as her contract also stated. Every time Bradley tried to get her to sing the torch songs that would become her signature, she would panic, missing her familiar banjo and steel guitar. She recorded 51 songs with Four Star.

Arthur Godfrey and "Walkin' After Midnight"[link]

On January 7, 1956 Cline made her network television debut on the short-lived television version of the Grand Ole Opry on ABC-TV. This was followed by an appearance on the network's Ozark Jubilee later that month,^[9]:p.80 before returning to the show in April.^{[clarification needed]}

Later that year, while looking for material for her first album, Patsy Cline,, "Walkin' After Midnight" appeared, written by Donn Hecht and Alan Block. Cline initially did not like the song because it was, according to her, "just a little old pop song." However, the song's writers and record label insisted that she record it.

In the late fall of 1956, she auditioned for Arthur Godfrey's Talent Scouts in New York City, and was accepted to sing on the CBS-TV show on January 21, 1957. Godfrey's "discovery" of Cline was typical. Her scout, actually her mother, presented Patsy who initially was supposed to sing "A Poor Man's Roses (Or a Rich Man's Gold)", but the show's producers insisted she sing "Walkin' After Midnight" instead. Though heralded as a country song, recorded in Nashville, Godfrey's staff insisted that Cline appear in a cocktail dress rather than in one of her mother's hand-crafted cowgirl outfits.

The audience's enthusiastic ovations pushed the applause meter to its apex, winning the competition for her. After the Godfrey show, listeners began calling their local radio stations to request the song, so she released it as a single. Although Cline had been performing for almost a decade and had appeared on national TV three times, it took Godfrey to make her a star. For a couple of months thereafter, Cline appeared regularly on Godfrey's radio program. Disagreements over creative control caused her to move on.

"Walkin' After Midnight" reached No. 2 on the country chart and No. 12 on the pop chart, making Cline one of the first country singers to have a crossover pop hit. The single drove her success for the next year or so. She stayed visible by making personal appearances and performing regularly on Godfrey’s show, as well as performing for several years on Ozark Jubilee (later Jubilee USA). She had no other hits with Four Star.^[10]

Cline composed and recorded "A Stranger in My Arms" and "Don't Ever Leave Me Again" in 1957 under her birth name, Virginia Hensley.

A month after her recording session, she met Charlie Dick, a good-looking ladies man who frequented the local club circuit Cline played on weekends. His charisma and admiration of Cline's talents captured her attention, and their relationship resulted in a marriage that lasted until her death. Though their love affair was publicized as controversial, Cline regarded Dick as "the love of her life". After the birth of their daughter, Julie, in 1958, they moved to Nashville, Tennessee.

1961 comeback – "I Fall to Pieces"[link]

In 1959 Cline met Randy Hughes, a session guitarist and promotion man. Hughes became her manager and helped her change labels. When her Four Star contract expired in 1960, she signed with Decca Records-Nashville, directly under the direction of legendary female-singer country music producer Owen Bradley. He was responsible for much of Cline's success and positively influenced the careers of both Brenda Lee and Loretta Lynn.

Even though she was still scared of the lush Nashville Sound arrangements, Bradley considered Cline's voice best-suited for country pop-crossover songs. Bradley's direction and arrangements helped smooth her voice into the silky, torch song style for which she won fame.

Cline's first release for Decca was the country pop ballad "I Fall to Pieces" (1961), written by Hank Cochran and Harlan Howard. The song was promoted and won success on both country and pop music stations. On the country charts, the song slowly climbed to the top, garnering her first Number One ranking. In a major feat for country singers at the time, the song hit No. 12 on the pop and No. 6 on the adult contemporary charts, making her a household name and demonstrating that women could achieve as much crossover success as men.

Grand Ole Opry and Nashville scene[link]

In 1960, Cline realized a lifelong dream when the Grand Ole Opry accepted her request to join the cast, making her the only person to achieve membership in such a fashion. She became one of the Opry's biggest stars.

Even before that time, believing that there was "room enough for everybody", and confident of her abilities and appeal, Cline befriended and encouraged women starting out in the country music field at that time, including Loretta Lynn, Dottie West, Jan Howard, sixteen-year-old Brenda Lee and a thirteen year old steel-guitar player named Barbara Mandrell with whom Cline once toured, all of whom cited her as a major influence.

According to both Lynn and West, Cline always gave herself to friends, buying them groceries and furniture and even hiring them as wardrobe assistants. On occasion, she paid their rent, enabling them to stay in Nashville and continue pursuing their dreams. Honky-tonk pianist and Opry star Del Wood said, "Even when she didn't have it, she'd spend it—and not always on herself. She'd give anyone the skirt off her backside if they needed it."^[9]

The Cline[link]

She cultivated a brash and gruff exterior that allowed her to be considered "one of the boys". This allowed her to befriend male artists as well, including Roger Miller, Hank Cochran, Faron Young, Ferlin Husky, Harlan Howard and Carl Perkins all of whom she socialized with at famed Nashville establishment Tootsie's Orchid Lounge, next door to the Opry. In the 1986 documentary The Real Patsy Cline, singer George Riddle said of her, "It wasn't unusual for her to sit down and have a beer and tell a joke, and she'd never be offended at the guys' jokes either, because most of the time she'd tell a joke dirtier than you! Patsy was full of life, as I remember."

Cline used the term of endearment "Hoss" to refer to her friends, both male as well as female, and referred to herself as "The Cline". Patsy met Elvis Presley in 1962 at a fundraiser for St. Jude Children's Research Hospital and they exchanged phone numbers.^[9] Having seen him perform during a rare Grand Ole Opry appearances, she admired his music, called him The Big Hoss, and often recorded with his backup group, The Jordanaires.

By this time, Cline controlled her own career, making it clear to all involved that she could stand up to any man, verbally and professionally, and was ready to challenge their rules if they interfered with her. In a time when concert promoters often cheated stars by promising to pay them after the show but skipping out with the money before the concert ended, Cline demanded her money before she took the stage by proclaiming: "No dough, no show", a practice that became the rule.^{[citation needed]} According to friend Roy Drusky in the The Real Patsy Cline: "Before one concert, we hadn't been paid. And we were talking about who was going to tell the audience that we couldn't perform without pay. Patsy said, 'I'll tell 'em!' And she did!" Friend Dottie West stated in amazement some 25 years later in an interview that "It was common knowledge around town that you didn't mess with 'The Cline!'"

Car crash[link]

Cline bore a son, Randy in 1961. On June 14, she and her brother Sam were involved in a head-on collision on Old Hickory Boulevard in Nashville, the second and more serious of two crashes during her lifetime. The impact threw Cline into the windshield, nearly killing her. Upon arriving at the scene, Dottie West picked glass from Patsy's hair, and went with her in the ambulance.

When help arrived, Patsy insisted that the other car's driver be treated first, an event which had a long-term detrimental effect on Dottie. When in 1991 West was fatally injured in a car accident, she too insisted that her driver be treated first, possibly causing her own death.^[11] Cline later stated that she saw the female driver of the other car die before her eyes.^[11]

Cline spent a month in the hospital, suffering from a jagged cut across her forehead that required stitches, a broken wrist and a dislocated hip. Both Nassour and friend Billy Walker (who died in a vehicle accident in 2006) reported that Cline rededicated her life to Christianity while in the hospital, where she received thousands of cards and flowers from fans.^[9]

When she left the hospital, her forehead was visibly scarred. For the remainder of her career, she wore wigs and makeup to hide the scars, along with headbands to relieve the forehead pressure that caused headaches if left unattended. Six weeks later, she returned to the road on crutches with a new appreciation for life.

A series of recordings entitled Patsy Cline: Live at the Cimarron Ballroom from her first concert after the crash were released in 1997 and feature dialogue of Cline interacting with the audience, reviewing her live performances. Recorded in Tulsa, Oklahoma as a sound check, these archives were found in the attic by a later owner of one of Cline's residences and were given to the family.

"Crazy"[link]

Unable to capitalize upon the success of "I Fall to Pieces" due to her hospital stay, Cline sought another recording to re-establish herself. When introduced to "Crazy", a song written by Willie Nelson, Cline expressed a vehement dislike for the composition and the inaugural recording session was unsuccessful.^{[12] [13]}

Undertaken in the Quonset Hut (where the original Bradley's Barn Studio was located before moving to Opryland), the singer tried from the outset to record "Crazy" like Nelson's demo recording, which featured his idiosyncratic style. Cline claimed that the song was too difficult for her; not only because of the demo style, but also because her ribs, injured in the crash, made it difficult for her to reach the high notes. The problems during the session created conflict with Bradley. In an era where it had become a standard to record four songs in a three-hour period, those present at the Quonset Hut "Crazy" session had to cope with a four hour session for a single song. It was eventually decided that Cline would overdub her vocals over the best instrumental recording of the track. This came a week later when the singer's ribs had further healed. Upon returning to the studio, Cline could reach the high notes and recorded her part in a single take.^[14]

The popular appeal of the final version of the recording was attributed to Bradley's management of Cline's fear of the Nashville Sound, because he convinced her to imbue the recording with her unique persona. The song become an intimate representation of Cline and is perceived to be completely unlike Nelson's version. Now considered a classic, "Crazy" ultimately became Cline's signature song.

By late 1961, "Crazy" was a crossover success, straddling the country and pop genres, and reached the Top 10 on the charts. It became Cline's biggest pop hit.^[12][15] The song subsequently reached #9 on the US Hot 100 and #2 on both the Hot Country Songs and the Adult Contemporary lists. An album released in November 1961, entitled Patsy Cline Showcase, featured both of Cline's hits of that year.^{[citation needed]} Loretta Lynn later reported on her album, I Remember Patsy, that on the night Cline premiered "Crazy" at the Grand Ole Opry, she received three standing ovations.

At the top[link]

Cline was the first female country music star to headline her own show and receive billing above the male stars with whom she toured.

While bands typically backed up the female singer, Cline led the band through the concert instead.^{[clarification needed]} She was so respected by men in the industry that rather than being introduced to audiences as “Pretty Miss Patsy Cline” as her female contemporaries often were, she was given a more stately introduction such as that given by Johnny Cash on their 1962 tour: “Ladies and Gentlemen, The One and Only – Patsy Cline.” As an artist, she held her fan base in extremely high regard, many of whom became friends, staying for hours after concerts to chat and sign autographs.

Cline was the first woman in country music to perform at New York’s Carnegie Hall, sharing the bill with fellow Opry members. The performance garnered sharp disapproval from gossip columnist Dorothy Kilgallen in the process—at whom Cline eloquently fired back. She headlined the famous Hollywood Bowl with Cash. Later in 1962, she became the first woman in country music to headline her own show in Las Vegas at the Mint Casino, the sign from which can still be seen at its home on Pico Boulevard near La Brea in Los Angeles.

This success enabled Cline to buy her dream home in the Goodlettsville suburb of Nashville, decorating it in her own style. It featured gold dust sprinkled in the bathroom tiles and a music room with the finest sound equipment. In The Real Patsy Cline, Lynn stated: "She called me into the front yard and said, 'Isn't this pretty? Now I'll never be happy until I have my Mama one just like it.'" Cline called it "the house that Vegas built" since the money from the Mint covered its cost. After her death in 1963, Cline's home was sold to singer Wilma Burgess who told Nassour that "strange occurrences" happened during her years there.^[9]

With this new demand for Cline came higher earnings. Reportedly she was paid at least $1000 for appearances towards the end of her life—a then an unheard-of sum for country music women, whose average fee was less than $200. Her penultimate concert, held in Birmingham, Alabama, grossed $3000.^{[verification needed]}

To match her new sophisticated sound, Cline also reinvented her personal style, shedding her trademark Western cowgirl outfits for more elegant gowns, cocktail dresses, spiked heels, and gold lame pants. In the days before Tanya's skintight leather pants and Reba's famous red dress shocked the country music establishment out of complacency, Patsy's new image was considered riskier and sexier than anything that anybody had ever seen. Country music industry personnel in those more conservative times were more accustomed to girls in gingham and calico dresses. Like her sound, Cline’s style in fashion was mocked at first, then copied. She also loved dangly earrings, ruby-red lipstick and her favorite perfume was Wind Song.

During her five-and-a-half year career, Cline received a dozen awards for her achievements, and three more following her death from the Music Reporter, Billboard Awards and Cashbox.

Cline wrote of her success in a letter to friend Anne Armstrong: "It's wonderful—but what do I do for '63? It's getting so even Cline can't follow Cline!"^[16]

[edit] Sentimentally Yours

In the fall of 1961, Cline was back in the studio again to record songs for an upcoming album released in early 1962. One of the first songs^[17] was "She's Got You", written by Hank Cochran. Cochran pitched the song over the phone to Cline and she fell in love with it at first listen. It became one of the few songs that she enjoyed recording. The song was released as a single in January 1962, and soon crossed over, reaching No. 14 on the pop charts, No. 3 on the adult contemporary charts (originally called "Easy Listening"), and as her second and final chart-topper, No. 1 on the country chart. She would never again enter the pop charts during her lifetime.

"She's Got You" was also Cline's first entry in the United Kingdom singles chart, reaching No. 43. The cover by Alma Cogan, one of Britain's most popular female artists of the 1960s, performed notably as well. The biggest Hit Parade UK record sales entry before her death was her version of the standard Heartaches reaching the Top 30 in late 1962.^[18]

Following this success, Cline released a string of smaller country hits, including the Top 10 "When I Get Thru' With You", "Imagine That", "So Wrong", and "Heartaches". These were not big crossover hits, but still reached the Top 20 and Top 10.

In late 1962, Cline appeared on Dick Clark's American Bandstand and released her third album, Sentimentally Yours in August of that year. When asked in a WSM-AM interview about her vocal stylings, Cline stated, "Oh, I just sing like I hurt inside."

Life on the road was beginning to wear on Cline. She longed to spend more time raising her children, Julie and Randy, and was starting to talk about a hiatus. But Randy, her manager insisted that they had to strike while the iron was hot.

A month before her death, Cline was back in the Quonset Hut to record her fourth album, originally entitled Faded Love. Recording a mix of country standards and such vintage pop classics as Irving Berlin's "Always" and "Does Your Heart Beat for Me", these sessions proved to be the most contemporary-sounding of her career. The sessions featured a full string section without any conventional country music instruments. Before her death, as Owen Bradley told Patsy author Margaret Jones, he and Cline had talked of doing an album of show tunes and standards, including Can't Help Lovin' Dat Man, since Cline was such a fan of Helen Morgan, who had recorded the song back in 1927.

Cline got so involved with the stories in the songs' lyrics, she reportedly cried through most of her final sessions. The raw emotion can be plainly heard on such tracks as "Sweet Dreams" and at the end of "Faded Love". At the playback party, according to singer Jan Howard in the documentary Remembering Patsy, Cline held up a copy of her first record and a copy of her newest tracks and stated, "Well, here it is...the first and the last."

Death[link]

Patsy Cline Memorial at the 1963 crash site near Camden, Tennessee

Twenty-eight days later, according to Tennessee State Trooper Troy Odle, Patsy Cline died in "one of the worst wrecks in the country", along with her manager Randy Hughes and long-time country musicians Hawkshaw Hawkins and Cowboy Copas.

Cline's flight encountered inclement weather and crashed on the evening of March 5, 1963. Her recovered wristwatch had stopped at approximately 6:20 pm. The plane wreckage was located appromimately 90 miles (140 km) from its Nashville destination in a forest outside Camden, Tennessee. Forensic examinations concluded that everyone aboard had been killed instantaneously from their injuries and did not suffer.^[19][20] Until the wreckage was discovered the following dawn and reported on the radio, friends and family had not given up hope. Endless repetitions of calls such as "Did you hear anything?" "No, did you?" tied up the local telephone exchanges to such a degree that other emergencies occurring over the same period had trouble getting through. The lights at the destination Cornelia Fort Airpark were kept on throughout the night as reports of the missing plane were broadcast on radio and TV.

Friends Dottie West, June Carter Cash, and Loretta Lynn recalled Cline telling them during 1962–1963 that she felt a sense of impending doom and did not expect to live much longer.^[21] Cline, known for her generosity, had begun giving away personal items to friends, writing her will on Delta Air Lines stationery and asking close friends to care for her children should anything happen to her. She told Jordanaires back-up singer Ray Walker as she exited the Grand Ole Opry the week before her death: "Honey, I've had two bad ones (accidents). The third one will either be a charm or it'll kill me."

Reports vary as to whether Cline, ill with the flu, gave two or three performances at a show held on March 3. Some sources say the shows were at 2 p.m. and 5:15 p.m., but other sources say an 8 p.m. show was added due to popular demand. The performance was a benefit, held at the Soldiers and Sailors Memorial Hall, Kansas City, Kansas for the family of disc jockey Cactus Jack Call. He had died in an automobile crash a little over a month earlier. Call was a longtime DJ for KCKN, but had switched to KCMK a week before his death in January 25, 1963 at the age of 39.^[22] Also performing on the show were George Jones, George Riddle and The Jones Boys, Billy Walker, Dottie West, Wilma Lee and Stoney Cooper, George McCormick, the Clinch Mountain Boys as well as Copas and Hawkins.

The shows were standing-room only. For the 2 p.m. show, she wore a sky-blue tulle-laden dress, for the 5:15 show a red shocker, and for the closing show at 8 p.m., Cline wore white chiffon and closed the show to a thunderous ovation. Her final song was the last she had recorded the previous month, "I'll Sail My Ship Alone".

Cline, who had spent the night at the Town House Motor Hotel, was unable to fly out the day after the concert because Fairfax Airport was fogged in. West asked Patsy to ride in the car with her and husband, Bill, back to Nashville (approximately a 16 hour drive), but Cline refused, saying, "Don't worry about me, Hoss. When it's my time to go, it's my time." She called her mother from the motel and checked out at 12:30 p.m. to go the short distance to the airport to board the Piper Comanche. The plane stopped once in Missouri to refuel and subsequently landed at Dyersburg Municipal Airport in Dyersburg, Tennessee at 5 p.m.^[23]

Hughes was the pilot, but was not trained in instrument flying. Hawkins had accepted Billy Walker's seat after Walker left on a commercial flight to take care of a stricken family member. The Dyersburg, Tennessee airfield manager suggested that they stay the night after advising of high winds and inclement weather, and even offered them free rooms and meals, but Hughes responded, "I've already come this far. We'll be there before you know it." The plane took off at 6:07 PM. (Hughes' flight instructor had also trained Jim Reeves, whose plane crashed the following year. Neither pilot was instrument-rated and both attempted to fly by sight—impossible in the driving rain faced by both flights.)

The grave of Patsy Cline

Early the following morning, Roger Miller and his friend went searching for survivors: "As fast as I could, I ran through the woods screaming their names—through the brush and the trees, and I came up over this little rise, oh, my God, there they were. It was ghastly. The plane had crashed nose down"^[20] Shortly after the bodies were removed, looters scavenged the area. Some of the items which were recovered were eventually donated to The Country Music Hall of Fame. Included in those donations were Cline's wrist watch, Confederate flag cigarette lighter, studded belt and three pairs of gold lamé slippers. Cline's fee and attire from that last performance were never recovered.^[20]

As per her wishes, Cline was brought home for her memorial service, which thousands attended. She was buried at Shenandoah Memorial Park in her hometown of Winchester, Virginia. Her grave is marked with a bronze plaque, which reads: "Virginia H (Patsy) Cline 'Death Cannot Kill What Never Dies: Love'". With the help of Lynn and West, a bell tower was erected at the cemetery in her memory, which plays hymns daily at 6:00 p.m., the hour of her death. Another memorial marks the exact place off Fire Tower Road in Fatty Bottom, Tennessee, where the plane crashed in the still-remote forest outside of Camden.

Family[link]

Cline’s mother, Hilda Hensley, died in 1998 of natural causes at 82, while her father died of cirrhosis of the liver in the mid-1950s. Mrs. Hensley lived as an accomplished seamstress in Winchester, Virginia, helping to raise her grandchildren, and rarely granted interviews. Cline's daughter, Julie Dick Fudge, stated in 1985: "Grannie loved my mother so much that it's still hard for her to talk about (the accident)." In her later years, Hensley stated "I never knew so many people loved my daughter" about the outpouring of love by Cline's fans.

As Hilda was only 16 years older than Patsy, the two were very close. She Cline commented that her mother was the one person she could always depend on, and Hensley commented that Patsy was a "wonderful daughter" who never let her family down in hard times. Cline's brother died in 2004 Her sister still lives in Virginia.

As of 2011 husband Charlie Dick resided in Nashville, producing documentaries on his late wife and attending fan functions. He married singer Jamey Ryan in 1965, who signed a brief contract with Columbia Records before bearing a son. They divorced in the early 1970s. In the film Sweet Dreams, Ryan provided the vocals for three songs: "Bill Bailey, Won't You Please Come Home", "Rollin' in My Sweet Baby's Arms" and "Blue Christmas" (a tune Cline never recorded).

Daughter Julie joins him in representing Cline’s estate at public functions and has four children (one, Virginia, named for Cline, was killed in an automobile accident in 1994) and six grandchildren. Son Randy was a drummer for a Nashville band for a time, and Charlie's younger brother, Uncle Mel as he is known to fans, heads up the "Always... Patsy Cline" fan organization.

Legacy[link]

Impact and influence[link]

In the 2003 book Remembering Patsy, guitarist-producer Harold Bradley said of Cline: "She's taken the standards for being a country music vocalist, and raised the bar. Even now, women, are trying to get to that bar.... If you're going to be a country singer, and if you're not going to copy her – and most people do come to town doing just that – then you have to be aware of her technique. It's always good to know what was in the past because someone might think they're pretty hot until they hear her.... It gives all the female singers coming in something to gauge their talents against. And I expect it will forever."

When Cline made her first commercial recordings in 1955, Kitty Wells was the top female vocalist in the field. By the time Cline broke through as a consistent hit-maker in 1961, Wells, known as The Queen of Country Music, was still country's biggest female star. Cline dethroned her in 1961 however by winning the Billboard Magazine Award for Favorite Female Country & Western Artist for two years in a row as well as the Music Reporter Star of The Year Award for 1962.

Given that Cline's full-throated sophisticated sound was a marked contrast to Wells' pure-country, quivering vocals, the two country queens could not have been more different. Though Cline had gained attention on country and pop charts, she did not think of herself as anything other than a country singer and was known for her humility in her motto: "I don't want to get rich – just live good."

Wikiquote has a collection of quotations related to: Patsy Cline

1963–1985[link]

Three of her songs became posthumous Top 10 Country hits: "Sweet Dreams", "Leavin' on Your Mind" and "Faded Love". Starting that June, more albums of unreleased material followed, beginning with The Patsy Cline Story and A Portrait of Patsy Cline, released the following Spring. The Story album replaced Cline's planned fourth album, originally to have been titled Faded Love and released that March. The majority of the all-Bradley-produced tracks featured the legendary back-up vocal group The Jordanaires, who also appeared on many albums featuring Elvis Presley and Connie Francis during the period. The cover photo and design of the Story album, featuring Patsy in a smoky haze of gold, with simple titles across the top, is considered to be the first contemporary album cover art in country music history.^{[citation needed]}

By the 1960s, MCA had acquired Decca and continued to issue Cline albums up to the early 1970s, garnering the artist several posthumous hits along the way. Some of the more notable start in early 1964 with a Top 25 country hit "He Called Me Baby", a song recorded during her "last sessions" in 1963. The track was released on her 1964 album That's How a Heartache Begins. Her Greatest Hits album, released in 1967, continues to occasionally appear on the country music charts and was the longest album to stay on the country charts in country music history until Garth Brooks surpassed it in the 1990s. The album still holds the record for an album by a female artist.

In 1973 Cline was the first female solo artist to be elected into The Country Music Hall of Fame. Johnny Cash announced the honor for the live CMA Awards show, televised from Ryman Auditorium. Along with the standard induction bronze plaque, the hall houses a few of Cline's stage outfits, personal effects recovered from the crash site, including her "Dixie" cigarette lighter, donated by singer Carl Perkins and letters to her fan club president Louise Seger, about whom the musical Always, Patsy Cline was created.

MCA continued to release Singles throughout much of the 1970s, but none charted.

In the late 1970s, Cline’s name occasionally appeared in magazine articles and television interviews with West and Lynn, who credited her with inspiration for their success. Shortly after stating in her 1976 autobiography that she would never record an album of Patsy's hits "because it would hurt too much", Lynn did just that a year later.

The tribute album entitled I Remember Patsy, was released in 1977 and contained the single "She's Got You" a hit with Cline in 1962 and renditions of other Cline favorites such as Crazy, Back in Baby's Arms and Sweet Dreams. The candid interview which closes the album, recorded with producer Owen Bradley late one night between sessions, gives an intimate look at the ordinary backstage life of a country superstar who was still a housewife and mother – "washing the clothes and waxing the floor".

These encounters Lynn led Ellis Nassour, then-manager of MCA artist relations, to create a series of magazine profiles, and ultimately to write Honky Tonk Angel, the first of his two biographies.^[9] The book featured interviews with Cline's mother, both husbands and intimate friends and peers such as West, Brenda Lee and Faron Young.

Lynn's own 1976 autobiography, Coal Miner's Daughter, featured an entire chapter dedicated to her friendship with Cline. Viewers were reintroduced to Patsy when the biopic of the same name was released four years later. After Coal Miner's Daughter opened big, MCA re-released "Always". The soundtrack released used the original 1963 vocal and overdubs by many of the Nashville Sound musicians who had been a part of the original scene. The song reached No. 18 on the Hot Country Songs list in 1980. The following year, two electronically produced duets were released between Cline and Jim Reeves, another legendary country singer who died the year after Cline in another plane crash. Their duet of "Have You Ever Been Lonely (Have You Ever Been Blue)" was a No. 5 country hit that year and their duet of "I Fall to Pieces" became an interesting footnote in music history. Like Cline, Reeves gained a massive fan following his death, as well as a string of re-issued singles.

In 1983 the movie Sweet Dreams and in 1990 the book Patsy by Margaret Jones appeared, based on research by Bernard Schwartz.

1990–2000[link]

In 1992, the U.S. Postal Service created special-issue postage stamps to honor Patsy Cline, along with other country superstars such as Hank Williams, the Carter Family and Bob Wills.

MCA released a 4-disc comprehensive collection of much of her Four Star and Decca discography, called The Patsy Cline Collection. This boxed set, featuring remixed and remastered sound, included a booklet featuring rare photos and chronicling her short career. According to SoundScan, the set remained one of the top 10 bestselling boxed collections in the record industry as of 2010.

A Patsy Cline exhibit was featured in 1993 when the Grand Ole Opry opened its doors in Nashville for its inaugural season. Several of her awards, stage outfits, wigs, make-up, hairbrush, and a fully furnished replica of her dream home’s music room were on display. The year marked the 30th anniversary of her death, so the Opry made its Saturday night segment as a tribute to Cline, Hawkins and Copas. With Cline's widower, Charlie, and their daughter, Julie, on hand, her longtime friend Jan Howard paid tribute to Cline, singing "I Fall to Pieces", co-written by her ex-husband, Harlan Howard, followed by Lynn, performing the classic "She's Got You".

Later that year, Lynn, Dolly Parton and Tammy Wynette included Cline's cover of "Lovesick Blues" on their Honky Tonk Angels trio album, singing along with Cline's original vocals lifted off the early multi-track tapes. A year later, Cline became a member of the Texas Cowgirl Hall of Fame.

The Delta (TV series) starring Delta Burke featured the actress as a Nashville waitress trying to make it into country music. The show referenced Patsy Cline throughout its run, and included several Burke covers of Cline's hits. In one episode she paid homage to Cline's grave, where she meets another mourner, singer Tanya Tucker.

Cline was portrayed on film again in the 1995 CBS biopic Big Dreams and Broken Hearts: The Dottie West Story,. At that year's Grammy Awards, Cline was honored with a Grammy Lifetime Achievement Award, by Barbra Streisand and Peggy Lee. On the Grand Ole Opry's 70th Anniversary Special on CBS, singer Martina McBride celebrated her induction as the Opry's newest member by paying tribute to Cline with her version of "Crazy."

In 1996, thirteen-year-old LeAnn Rimes was discovered by Dallas disc jockey, songwriter, and promoter Bill Mack. The center of Mack's plan to introduce Rimes was to give her his composition, "Blue," which he had released as a single in the late 1950s (covered by several artists prior to Rimes). "Blue" was slated for Cline when his version did not become popular, but she died before recording it.

In 1997, Cline's recording of "Crazy" was named the number one jukebox hit of all time; "I Fall to Pieces" came in at No. 17. In 1998, she was nominated to The Hollywood Walk of Fame by a dedicated fan, and received her star in 1999; later a street was named after her on the back lot of Universal Studios.

Also in 1999, VH1 named Cline number eleven on its 100 Greatest Women of Rock and Roll. She was also honored with the Nashville Golden Voice Award in its Legend Category that same year. Singer Trisha Yearwood celebrated her induction to the Opry by paying tribute to Cline, singing "Sweet Dreams" and receiving a necklace worn by Cline to commemorate the event from Charlie and Julie.

2000–present[link]

In 2002, CMT named her number one on its 40 Greatest Women of Country Music, voted by members of the music industry. She was followed by women who had said she inspired them, Tammy Wynette and Loretta Lynn.

Cline's hit song, "I Fall to Pieces" was listed at No. 107 on RIAA's list of Songs of the Century in 2001. Lynn released a sequel to her autobiography, Coal Miner's Daughter, called Still Woman Enough and again dedicated a chapter to her friendship with Cline (called "Still Thinking of Patsy"). One of Lynn's daughters is named after Cline, and one of Brenda Lee's daughter's is named after Cline's daughter, Julie.

Throughout her career, country legend Reba McEntire cited Cline as a childhood inspiration and, upon reaching stardom in the 1980s, featured Cline's hits on a number of her early albums. For a number of years, McEntire closed all her live shows with "Sweet Dreams", but stopped after closing a show with it hours before the airplane carrying her band crashed in the pre-dawn hours of March 15, 1991, killing everyone aboard. Six months later, Dottie West would ultimately die from injuries sustained in a car crash not unlike the 1961 crash which scarred Patsy.

Early in 2005, Patsy Cline’s Greatest Hits was certified by the RIAA as Diamond, recognizing the sale of 10 million copies. The album was listed as Longest-Charting Title by a Female Artist in the 2005 edition of the Guinness Book of World Records. For its 40th anniversary reissue in 2007, Bob Ludwig remastered the album and featured the original 1967 cover art.^[24]

Later that year, her childhood home in Winchester, Virginia was awarded a prominent on-site marker cast in bronze for an honored place on The National Register of Historic Places. The house was placed on the Virginia Landmarks Register and features a State of Virginia Historical Marker on the street in front of the house. Cline was further memorialized on a slab of concrete in Owen Bradley Park in downtown Nashville, featuring three of the hits that she and Bradley made famous. On the life-size grand piano upon which Bradley's statue sits is the sheet music for "I Fall to Pieces".

Each year, on Labor Day weekend, thousands of fans celebrate Patsy's birthday at Shenandoah Memorial Gardens. Husband Charlie, daughter Julie and all of the grandchildren and great-grandchildren as well as other family members attended the 20th annual gathering on September 8, 2007.

After a multi-million dollar renovation at her former school, built in 1923, authorities dedicated "The Patsy Cline Theatre" there in the summer of 2009. The dedication was celebrated with a concert by longtime Patsy Cline friend and songwriter Willie Nelson.

The following year, the "Patsy Cline Classic" at the theater welcomed Rock and Roll Hall of Fame members The Beach Boys on October 5, 2010.

In 2011, her childhood home opened for public tours, proceeds from which benefit a number of organizations dedicated to keeping Patsy's memory alive for future generations.

Portrayals[link]

Movies and documentaries[link]

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2012)

In Coal Miner's Daughter, Beverly D'Angelo portrayed Patsy alongside Sissy Spacek as Lynn. The film gained a wide audience. Instead of lip-synching to the original as was common during the period, both actresses sang. Contrary to the movie script, Cline and Lynn never toured together. Cline never owned a bus and stars during her time usually traveled in caravans and limousines.

In 1985, HBO/Tri Star Pictures released Sweet Dreams: The Life and Times of Patsy Cline, starring Jessica Lange in the lead role with Ed Harris and Ann Wedgeworth as her husband Charlie Dick and her mother Hilda Hensley respectively. The film was based on research by Bernard Schwartz. Lange lip-synched to Cline's original vocals.

The film depicted Cline's marriage to Dick as abusive, portraying Cline as a victim of domestic violence, however, as Dottie West commented in a 1986 interview: "It was always very interesting to watch – because you always knew Patsy was going to win! He was her man. He was her lover." Cline's mother was quoted in a 1985 issue of People saying "The producers told me they were going to make a love story. I saw the film once. That was enough. Jessica (Lange) did well with what she had to work with". Charlie Dick stated in the same article: "It's a great film – if you like fiction." The remainder of Cline’s family and close friends claimed that numerous sequences in the film had been inaccurately fictionalized for Hollywood and were not pleased with the final product.

The picture became a hit and Lange was nominated for an Academy Award for her performance, one that she credited as a favorite. The soundtrack, featuring several numbers overdubbed with a new orchestral arrangement, was a success, and Cline’s recordings began to climb the charts again.

Since the earlier overdubbed recordings had done so well, Bradley and arranger Bill McElhiney laid her original vocals onto a digitally-recorded background for a fresh new sound. These new recordings returned Cline's voice to attention once again, producing several hits with Walkin' After Midnight Lovesick Blues and Foolin' Round from the soundtrack.

Subsequently, a more accurate series of video documentaries was produced, including most recently Sweet Dreams Still: The Live Collection as well as The Real Patsy Cline and Remembering Patsy. The latter was re-edited and used on the show Biography on the A&E Cable Channel in the mid 1990s.

Ten years after Sweet Dreams, Patsy was portrayed again in Big Dreams and Broken Hearts: The Dottie West Story, a 1995 CBS made-for-television movie featuring Tere Myers as Patsy and Michelle Lee as Dottie. In 2007, a biopic entitled Crazy about the life of Hank Garland, lead guitarist on many of Patsy's records, featured Mandy Barnett of Always...Patsy Cline fame as Patsy.

Plays and musicals[link]

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2012)

A Closer Walk with Patsy Cline, created by Dean Regan, and Always...Patsy Cline are the only plays approved by the Patsy Cline Estate and licensed by Legacy, Inc., the family company.

A Closer Walk with Patsy Cline, created by Dean Regan in 1991, is a musical tribute which showcases her life and music. It has been produced across the United States and Canada with multiple productions by the Springer Opera House and Troupe America, Inc. It ran under the name Patsy! at the Grand Palace in Branson, Missouri for a year, starring Gail Bliss as Patsy Cline. Other celebrated performers in the role are Julie Johnson, Sara-Jeanne Hosie and Bridget Beirne.

Always...Patsy Cline, produced by Ted Swindley, premiered in 1993. The story was taken and expanded from a section of the Cline biography, Honky Tonk Angel. It chronicled the real-life story of her encounter in 1961 with Louise Seger, a fan and Mississippi native who arrived early at The Esquire Ballroom in Houston for Cline's performance. In a chance encounter before the show, the two met and formed a lasting friendship.

In the musical, Cline expresses her worry to Seger over the attendance that night, and Seger tells her she'll have no problem filling the hall. She later persuades Cline to spend the night at her house rather than a hotel. They stay up all night talking, and do a radio spot in the morning.

The musical relied on letters that Seger received from Cline over the period prior to the singer's death. They gave the audience an up-close look at Patsy's daily life. The title of the musical came from the sign-off Cline used at the end of each letter. The revue has played across the U.S., running off-Broadway in New York City and for over a year at Nashville's Ryman Auditorium, where it sold out nightly, starring singer Mandy Barnett.

Discography[link]

Studio albums

• 1957: Patsy Cline
• 1961: Patsy Cline Showcase
• 1962: Sentimentally Yours

Posthumous studio albums

• 1964: A Portrait of Patsy Cline
• 1964: That's How a Heartache Begins
• 1980: Always

Cover versions of Cline songs[link]

• "Walkin' After Midnight" was recorded by Kellie Pickler and Madeleine Peyroux. Pickler originally sang the song on the 2006 season of American Idol. A live version of the song was covered by Bryan Adams, Garth Brooks, Kelly Clarkson and Megan Joy. Fiona Apple has also performed the song. Tejana punk band Girl in a Coma included a cover of this song on their 2010 album Adventures in Coverland. Canadian folk-rockers Cowboy Junkies also recorded a version of the song, which appears on the band's 1990 album, The Trinity Sessions. Also, the industrial band Braindead Soundmachine covered this in the early 1990s on the Wax Trax label including remixes by Industrial Rock Gurus KMFDM.
• "I Fall to Pieces" was covered by country artists Michael Nesmith, LeAnn Rimes, Lynn Anderson, Linda Ronstadt, Loretta Lynn, Ray Price, the Greg Kihn Band and Willie Nelson. In 1992, it was covered by jazz guitarist Marc Ribot on the album Yo! I Killed Your God. In 1995, a cover by pop-punk band Screeching Weasel was included on their compilation release Kill the Musicians. In 2003, it was covered by Natalie Cole on a tribute CD to Cline.
• "Crazy" (written by Nelson) has been covered by artists including Linda Ronstadt, Kenny Rogers, LeAnn Rimes, Diana DeGarmo, Loretta Lynn, Dottie West, Wanda Jackson, Julio Iglesias, Don McLean, Norah Jones, Kidneythieves and The Kills. The song has also been remixed by DJ Simple Simon and The Fabulous Wonder Twins.
• "She's Got You" was recorded by Loretta Lynn, Jimmy Buffett, Dottie West, Lee Ann Womack, LeAnn Rimes, and Cat Power. It became a No. 1 hit for Lynn in 1977. Also, a version of the song titled "He's Got You" was covered by Ricky Van Shelton in 1990 and in 2004 by Elvis Costello on the album "Almost Blue".
• "Leavin' on Your Mind" has been covered by LeAnn Rimes, Loretta Lynn and Rissi Palmer.
• "Sweet Dreams", originally a hit for Faron Young in the 1950s, has been remade by both Emmylou Harris and Reba McEntire became hits for both of them in the 1970s. Other versions include performances by Skeeter Davis, songwriter Don Gibson, Elvis Costello and Tommy McLain. There is also an instrumental version by guitarist Roy Buchanan, which was featured along with Cline's original in 2006's The Departed.
• "Faded Love" has been recorded by Ray Price, Willie Nelson and Loretta Lynn. It was originally a hit for Bob Wills in 1950 and before that, an original fiddle instrumental Wills's father created. Wills's younger brother Billy Jack Wills wrote the lyrics.
• "Imagine That" was covered by Sara Evans and was in her album Three Chords and the Truth.
• "Strange" is covered by Sharam and Kid Cudi in a house remix titled "She Came Along" that was released in 2009. It was also was covered by Alex Turner (Arctic Monkeys) in an acoustic radio session with Triple J in January 2012.

References[link]

Wikimedia Commons has media related to: Patsy Cline

Further reading[link]

• Bego, Mark. I Fall to Pieces: The Music and the Life of Patsy Cline. Adams Media Corporation.
• Hazen, Cindy and Mike Freeman. Love Always, Patsy. The Berkley Publishing Group.
• Jones, Margaret (1998). "Patsy Cline". In The Encyclopedia of Country Music. Paul Kingsbury, Editor. New York: Oxford University Press. pp. 98–9.
• Wolff, Kurt. Country Music: The Rough Guide. Penguin Publishing.
• Gomery, Douglas Patsy Cline: The Making of an Icon. Trafford Publishing. ISBN 1-4269-5988-5, ISBN 978-1-4269-5988-2

External links[link]

• Patsy Cline at the Open Directory Project
• Patsy Cline at the Country Music Hall of Fame
• Patsy Cline Museum
• The Patsy Cline Plane Crash
• Listing of all Patsy's songs and alternatives, dubs etc.
• Love Always, Patsy – tribute site
• Patsy Cline singing "Life's Railway to Heaven" duet with Willie Nelson backed by the Jordanaires

The Times is a British daily national newspaper, first published in London in 1785 under the title The Daily Universal Register (it became The Times on 1 January 1788). The Times and its sister paper The Sunday Times (founded in 1821) are published by Times Newspapers, since 1981 a subsidiary of News International, itself wholly owned by the News Corporation group headed by Rupert Murdoch. The Times and The Sunday Times do not share editorial staff, were founded independently and have only had common ownership since 1967.

The Times is the first newspaper to have borne that name, lending it to numerous other papers around the world, including The Times of India (1838), The Straits Times (1845), The New York Times (1851), The Irish Times (1859), the Los Angeles Times (1881), The Seattle Times (1891), The Daily Times (Malawi) (1900), The Canberra Times (1926), and The Times (Malta) (1935). For distinguishing purposes it is therefore sometimes referred to, particularly in North America, as the "London Times" or "The Times of London".^[2][3]

The Times is the originator of the ubiquitous Times Roman typeface, originally developed by Stanley Morison of The Times in collaboration with the Monotype Corporation for its legibility in low-tech printing. In November 2006 The Times began printing headlines in a new font, Times Modern. The Times was printed in broadsheet format for 219 years, but switched to compact size in 2004 in an attempt to appeal more to younger readers and commuters using public transport. The Sunday Times remains a broadsheet.

Though traditionally a moderate newspaper and sometimes a supporter of the Conservatives, it supported the Labour Party in the 2001 and 2005 general elections.^[4] In 2004, according to MORI, the voting intentions of its readership were 40% for the Conservative Party, 29% for the Liberal Democrats, and 26% for Labour.^[5] The Times had an average daily circulation of 394,102 in March 2012.^[1] An American edition has been published since 6 June 2006.^[2]

History[link]

Front page of The Times from December 4, 1788.

1785 to 1890[link]

The Times was founded by publisher John Walter on 1 January 1785 as The Daily Universal Register, with Walter in the role of editor. Walter changed the title after 940 editions on 1 January 1788 to The Times. In 1803, Walter handed ownership and editorship to his son of the same name. Walter senior had spent sixteen months in Newgate prison for libel printed in The Times, but his pioneering efforts to obtain Continental news, especially from France, helped build the paper's reputation among policy makers and financiers.

The Times used contributions from significant figures in the fields of politics, science, literature, and the arts to build its reputation. For much of its early life, the profits of The Times were very large and the competition minimal, so it could pay far better than its rivals for information or writers.

In 1809, John Stoddart was appointed general editor, replaced in 1817 by Thomas Barnes. Under Barnes and his successor in 1841, John Thadeus Delane, the influence of The Times rose to great heights, especially in politics and amongst the City of London. Peter Fraser and Edward Sterling were two noted journalists, and gained for The Times the pompous/satirical nickname 'The Thunderer' (from "We thundered out the other day an article on social and political reform.").The increased circulation and influence of the paper was based in part to its early adoption of the steam-driven rotary printing press. Distribution via steam trains to rapidly growing concentrations of urban populations helped ensure the profitability of the paper and its growing influence.^[6]

The Times was the first newspaper to send war correspondents to cover particular conflicts. W. H. Russell, the paper's correspondent with the army in the Crimean War, was immensely influential^[7] with his dispatches back to England.

In other events of the nineteenth century, The Times opposed the repeal of the Corn Laws^{[citation needed]} until the number of demonstrations convinced the editorial board otherwise, and only reluctantly supported aid to victims of the Irish Potato Famine. It enthusiastically supported the Great Reform Bill of 1832, which reduced corruption and increased the electorate from 400 000 people to 800 000 people (still a small minority of the population). During the American Civil War, The Times represented the view of the wealthy classes, favouring the secessionists, but it was not a supporter of slavery.

The third John Walter, the founder's grandson, succeeded his father in 1847. The paper continued as more or less independent, but from the 1850s The Times was beginning to suffer from the rise in competition from the penny press, notably The Daily Telegraph and The Morning Post.

During the 19th century, it was not infrequent for the Foreign Office to approach The Times and ask for continental intelligence, which was often superior to that conveyed by official sources.^[8]

1890 to 1981[link]

The Times faced financial extinction in 1890 under Arthur Fraser Walter, but it was rescued by an energetic editor, Charles Frederic Moberly Bell. During his tenure (1890–1911), The Times became associated with selling the Encyclopædia Britannica using aggressive American marketing methods introduced by Horace Everett Hooper and his advertising executive, Henry Haxton. Due to legal fights between the Britannica's two owners, Hooper and Walter Montgomery Jackson, The Times severed its connection in 1908 and was bought by pioneering newspaper magnate, Alfred Harmsworth, later Lord Northcliffe.

In editorials published on 29 and 31 July 1914, Wickham Steed, the Times's Chief Editor, argued that the British Empire should enter World War I.^[9] On 8 May 1920, also under the editorship of Steed, The Times in an editorial endorsed the anti-Semitic forgery The Protocols of the Learned Elders of Zion as a genuine document, and called Jews the world's greatest danger. In the leader entitled "The Jewish Peril, a Disturbing Pamphlet: Call for Inquiry", Steed wrote about The Protocols of the Elders of Zion:

What are these 'Protocols'? Are they authentic? If so, what malevolent assembly concocted these plans and gloated over their exposition? Are they forgery? If so, whence comes the uncanny note of prophecy, prophecy in part fulfilled, in part so far gone in the way of fulfillment?".^[10]

The following year, when Philip Graves, the Constantinople (modern Istanbul) correspondent of The Times, exposed The Protocols as a forgery, 'The Times retracted the editorial of the previous year.

In 1922, John Jacob Astor, son of the 1st Viscount Astor, bought The Times from the Northcliffe estate. The paper gained a measure of notoriety in the 1930s with its advocacy of German appeasement; then-editor Geoffrey Dawson was closely allied with those in the government who practised appeasement^{[citation needed]}, most notably Neville Chamberlain.

Kim Philby, a Soviet double agent, was a correspondent for the newspaper in Spain during the Spanish Civil War of the late 1930s. Philby was admired for his courage in obtaining high-quality reporting from the front lines of the bloody conflict. He later joined MI6 during World War II, was promoted into senior positions after the war ended, then eventually defected to the Soviet Union in 1963.^[11]

Between 1941 and 1946, the left-wing British historian E.H. Carr was Assistant Editor. Carr was well known for the strongly pro-Soviet tone of his editorials.^[12] In December 1944, when fighting broke out in Athens between the Greek Communist ELAS and the British Army, Carr in a Times editorial sided with the Communists, leading Winston Churchill to condemn him and that leader in a speech to the House of Commons.^[13] As a result of Carr's editorial, The Times became popularly known during World War II as the threepenny Daily Worker (the price of the Daily Worker was one penny)^[14]

On 3 May 1966 it started printing news on the front page for the first time - previously the front page featured small advertisements, usually of interest to the moneyed classes in British society.^{[citation needed]} In 1967, members of the Astor family sold the paper to Canadian publishing magnate Roy Thomson, The Thomson Corporation merged it with The Sunday Times to form Times Newspapers Limited.

An industrial dispute prompted the management to shut the paper for nearly a year (1 December 1978 – 12 November 1979).

The Thomson Corporation management were struggling to run the business due to the 1979 Energy Crisis and union demands. Management were left with no choice but to save both titles by finding a buyer who was in a position to guarantee the survival of both titles, and also one who had the resources and was committed to funding the introduction of modern printing methods.

Several suitors appeared, including Robert Maxwell, Tiny Rowland and Lord Rothermere; however, only one buyer was in a position to meet the full Thomson remit, Australian media magnate Rupert Murdoch.

1981 to present: Murdoch-era[link]

In 1981, The Times and The Sunday Times were bought from Thomson by Rupert Murdoch's News International.^[15] The acquisition followed three weeks of intensive bargaining with the unions by company negotiators, John Collier and Bill O'Neill.

After 14 years as editor, William Rees-Mogg resigned the post upon the completion of the change of ownership.^[16] Murdoch began to make his mark on the paper by appointing Harold Evans as his replacement.^[17] One of his most important changes was the introduction of new technology and efficiency measures. In March–May 1982, following agreement with print unions, the hot-metal Linotype printing process used to print The Times since the 19th century was phased out and replaced by computer input and photo-composition. This allowed print room staff at The Times and The Sunday Times to be reduced by half.^{[citation needed]} However, direct input of text by journalists ("single stroke" input) was still not achieved, and this was to remain an interim measure until the Wapping dispute of 1986, when The Times moved from New Printing House Square in Gray's Inn Road (near Fleet Street) to new offices in Wapping.^[18]

Robert Fisk,^[19] seven times British International Journalist of the Year,^[20] resigned as foreign correspondent in 1988 over what he saw as "political censorship" of his article on the shooting-down of Iran Air Flight 655 in July 1988. He wrote in detail about his reasons for resigning from the paper due to meddling with his stories, and the paper's pro-Israel stance.^[21]

In June 1990, The Times ceased its policy of using courtesy titles ("Mr", "Mrs", or "Miss" prefixes) for living persons before full names on first reference, but it continues to use them before surnames on subsequent references. The more formal style is now confined to the "Court and Social" page, though "Ms" is now acceptable in that section, as well as before surnames in news sections.

In November 2003, News International began producing the newspaper in both broadsheet and tabloid sizes. On 13 September 2004, the weekday broadsheet was withdrawn from sale in Northern Ireland. Since 1 November 2004, the paper has been printed solely in tabloid format.

The Conservative Party announced plans to launch litigation against The Times over an incident in which the newspaper claimed that Conservative election strategist Lynton Crosby had admitted that his party would not win the 2005 General Election. The Times later published a clarification, and the litigation was dropped.

On 6 June 2005, The Times redesigned its Letters page, dropping the practice of printing correspondents' full postal addresses. Published letters were long regarded as one of the paper's key constituents. Author/solicitor David Green of Castle Morris Pembrokeshire has had more letters published on the main letters page than any other known contributor – 158 by 31 January 2008. According to its leading article, "From Our Own Correspondents", removal of full postal addresses was in order to fit more letters onto the page.

In a 2007 meeting with the House of Lords Select Committee on Communications, which was investigating media ownership and the news, Murdoch stated that the law and the independent board prevented him from exercising editorial control.^[22]

In May 2008 printing of The Times switched from Wapping to new plants at Broxbourne on the outskirts of London, and Merseyside and Glasgow, enabling the paper to be produced with full colour on every page for the first time.

Some^[who?] allege that The Times' partisan opinion pieces also damage its status as 'paper of record,' particularly when attacking interests that go against those of its parent company – News International. In 2010 it published an opinion piece attacking the BBC for being 'one of a group of' signatories to a letter criticising BSkyB share options in October 2010.^[23]

In March 2012, it became the first British newspaper to formally endorse same-sex marriage.

Content[link]

Copies of The Times and supplements from December 2005

The Times features news for the first half of the paper with the leading articles on the second page, the Opinion/Comment section begins after the first news section with world news normally following this. The business pages begin on the centre spread, and are followed by The Register, containing obituaries, Court & Social section, and related material. The sport section is at the end of the main paper.

[edit] Times2

The Times's main supplement is the times2, featuring various lifestyle columns.^{[clarification needed]} It was discontinued on 1 March 2010 but reintroduced on 11 October 2010 after negative feedback. Its regular features include a puzzles section called Mind Games. Its previous incarnation began on 5 September 2005, before which it was called T2 and previously Times 2. Regular features include columns by a different columnist each weekday. There was a column by Marcus du Sautoy each Wednesday, for example. The back pages are devoted to puzzles and contain sudoku, "Killer Sudoku", "KenKen", word polygon puzzles, and a crossword simpler and more concise than the main "Times Crossword".

The supplement contains arts and lifestyle features, TV and radio listings and reviews.

[edit] The Game

The Game is included in the newspaper on Mondays, and details all the weekend's football activity (Premier League and Football League Championship, League One and League Two.) The Scottish edition of The Game also includes results and analysis from Scottish Premier League games.

Saturday supplements[link]

The Saturday edition of The Times contains a variety of supplements. These supplements were relaunched in January 2009 as: Sport, Weekend (including travel and lifestyle features), Saturday Review (arts, books, and ideas), The Times Magazine (columns on various topics), and Playlist (an entertainment listings guide).

Saturday Review is the first regular supplement published in broadsheet format since the paper switched to a compact size in 2004.

At the beginning of summer 2011 Saturday Review switched to the tabloid format

The Times Magazine features columns touching on various subjects such as celebrities, fashion and beauty, food and drink, homes and gardens or simply writers' anecdotes. Notable contributors include Giles Coren, Food and Drink Writer of the Year in 2005.

Online presence[link]

The Times and The Sunday Times have had an online presence since March 1999, originally at the-times.co.uk and sunday-times.co.uk, and later at timesonline.co.uk.^[24] There are now two websites: thetimes.co.uk is aimed at daily readers, and the thesundaytimes.co.uk site at providing weekly magazine-like content. There are also iPad and Android editions of both newspapers. Since July 2010, News International has required readers who do not subscribe to the print edition to pay £2 per week to read The Times and The Sunday Times online.^[25]

Visits to the websites have decreased by 87% since the paywall was introduced, from 21 million unique users per month to 2.7 million.^[26] In April 2009, the timesonline site had a readership of 750,000 readers per day.^[27] As of October 2011, there were around 111,000 subscribers to the Times' digital products ^[28]

Ownership[link]

John Walter, the founder of The Times

The Times has had the following eight owners since its foundation in 1785:

• 1785 to 1803 - John Walter;
• 1803 to 1847 - John Walter, 2nd;
• 1847 to 1894 - John Walter, 3rd;
• 1894 to 1908 - Arthur Fraser Walter;
• 1908 to 1922 - Lord Northcliffe;
• 1922 to 1966 - Astor family;
• 1966 to 1981 - Roy Thomson; and
• 1981 to present - News International (a wholly owned subsidiary of News Corporation, run by Rupert Murdoch).

Readership[link]

At the time of Harold Evans' appointment as editor in 1981, The Times had an average daily sale of 282,000 copies, in comparision to the 1.4 million daily sales of its traditional rival The Daily Telegraph.^[29] By November 2005 The Times sold an average of 691,283 copies per day, the second-highest of any British "quality" newspaper (after The Daily Telegraph, which had a circulation of 903,405 copies in the period), and the highest in terms of full-rate sales.^[30] By March 2012 The Times' average daily circulation had fallen to 394,102 copies, compared to The Daily Telegraph's 576,378, with the two retaining respectively the second-highest and highest circulations among British "quality" newspapers.^[1] In contrast The Sun, the highest-selling "tabloid" daily newspaper in the United Kingdom, sold an average of 2,614,725 copies in March 2012, and the Daily Mail, the highest-selling "middle market" British daily newspaper, sold an average of 1,952,524 copies in the period.^[1]

In a 2009 national readership survey The Times was found to have the highest number of ABC1 25–44 readers and the largest numbers of readers in London of any of the "quality" papers.^[31]

Typeface[link]

An example of the Times New Roman font

In 1908 The Times started using the Monotype Modern typeface.^[32]

The Times commissioned the serif typeface Times New Roman, created by Victor Lardent at the English branch of Monotype, in 1931.^[33] It was commissioned after Stanley Morison had written an article criticizing The Times for being badly printed and typographically antiquated.^[34] The font was supervised by Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older font named Plantin as the basis for his design, but made revisions for legibility and economy of space. Times New Roman made its debut in the 3 October 1932 issue of The Times newspaper.^[35] After one year, the design was released for commercial sale. The Times stayed with Times New Roman for 40 years, but new production techniques and the format change from broadsheet to tabloid in 2004 have caused the newspaper to switch font five times since 1972. However, all the new fonts have been variants of the original New Roman font:

• Times Europa was designed by Walter Tracy in 1972 for The Times, as a sturdier alternative to the Times font family, designed for the demands of faster printing presses and cheaper paper. The typeface features more open counter spaces.
• Times Roman replaced Times Europa on 30 August 1982.^[36]
• Times Millennium was made in 1991,^[36] drawn by Gunnlaugur Briem on the instructions of Aurobind Patel, composing manager of News International.
• Times Classic first appeared in 2001.^[37] Designed as an economical face by the British type team of Dave Farey and Richard Dawson, it took advantage of the new PC-based publishing system at the newspaper, while obviating the production shortcomings of its predecessor Times Millennium. The new typeface included 120 letters per font. Initially the family comprised ten fonts, but a condensed version was added in 2004.
• Times Modern was unveiled on 20 November 2006, as the successor of Times Classic.^[36] Designed for improving legibility in smaller font sizes, it uses 45-degree angled bracket serifs. The font was published by Elsner + Flake as EF Times Modern; it was designed by Research Studios, led by Ben Preston (deputy editor of The Times) and designer Neville Brody.^[38]

Political allegiance[link]

The Times had declared its support for Clement Attlee's Labour at the 1945 general election; the party went on to win the election by a landslide over Winston Churchill's Conservative government. However, the newspaper reverted to the Tories for the next election five years later. It supported the Conservatives for the subsequent three elections, followed by support for both the Conservatives and the Liberal Party for the next five elections, expressly supporting a Con-Lib coalition in 1974. The paper then backed the Conservatives solidly until 2001.

For the 2001 general election The Times declared its support for Tony Blair's Labour government, which was re-elected by a landslide. It supported Labour again in 2005, when Labour achieved a third successive win, though with a reduced majority.^[39] For the 2010 general election, however, the newspaper declared its support for the Tories once again; the election ended in the Tories taking the most votes and seats but having to form a coalition with the Liberal Democrats in order to form a government as they had failed to gain an overall majority.^[40]

This makes it the most varied newspaper in terms of political support in British history.^[41]

Sponsorships[link]

The Times, along with the British Film Institute, sponsors the "The Times" bfi London Film Festival.

The Times sponsors the Cheltenham Literature Festival and the Asia House Festival of Asian Literature at Asia House, London.

Notable people[link]

Editors[link]

Notable columnists and journalists[link]

Related publications[link]

[edit] Times Literary Supplement

The Times Literary Supplement (TLS) is a separately-paid-for weekly literature and society magazine.

[edit] The Times Science Review

Between 1951 and 1966 The Times published a separately-paid-for quarterly science review, The Times Science Review. Remarkably, in 1953 both the newspaper and its science supplement failed to report on the discovery of the structure of DNA in Cambridge, which was reported on by both the News Chronicle and The New York Times.

The Times started a new (but free) monthly science magazine, Eureka, in October 2009.

Times Atlases[link]

(Times Books Group Ltd)

• The Times Comprehensive Atlas of the World, 2007 ISBN 978-0-00-780150-3

In fiction[link]

• In the dystopian future world of George Orwell's Nineteen Eighty-Four, The Times has been transformed into the organ of the totalitarian ruling party, its editorials—of which several are quoted in the book—reflecting Big Brother's pronouncements.
• Rex Stout's fictional detective Nero Wolfe is described as fond of solving the London Times' crossword puzzle at his New York home, in preference to those of American papers.
• In the James Bond series by Ian Fleming, James Bond, reads The Times. As described by Fleming in From Russia, with Love: "The Times was the only paper that Bond ever read."

See also[link]

Journalism portal

• List of newspapers by date

[edit] References

Further reading[link]

• Evans‏, Harold (1983). Good Times, Bad Times. Weidenfeld and Nicolson. ISBN 0-297-78295-9  - includes sections of black-and-white photographic plates, plus a few charts and diagrams in text pages.

External links[link]

Wikimedia Commons has media related to: The Times

Wikisource has original text related to this article: The Times

Wikiquote has a collection of quotations related to: The Times

• Official website (Mobile)
• The Sunday Times site
• Times World Atlases official website including a History and Heritage section detailing landmark Times atlases
• Archive from 1785 to 2006 – full text and original layout, searchable (not free of charge, registration required)
• Neil, Andrew; Griffiths, Ian; Fitzpatrick, Barry (15 January 2006). "Three views of the industrial dispute twenty years on". The Observer (UK). http://observer.guardian.co.uk/business/story/0,,1686500,00.html. 
• The Times editor Robert Thomson lecture online: From the editorial desk of The Times, RMIT School of Applied Communication Public Lecture series
• Anthony Trollope's satire on the mid-nineteenth century Times
• Journalism Now: The Times Winchester University Journalism History project on the Times in the nineteenth century

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