ALWAYS … PATSY CLINE Glossary October 2017, Jewel …Goldie and James Patterson, Patsy’s maternal grandparents family extracted a substantial amount of money for his indiscretion.

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ALWAYS…PATSYCLINEGlossaryOctober2017,JewelTheatreCompanyShaunCarroll,Director©SusanMyerSilton,DramaturgeNote:thisglossarynotonlyprovidesworddefinitions,butincludesadditionalinformationrelevanttotheplayanditscharactersKey:DJ(discjockey),LA(LosAngeles),NYC(NewYorkCity),UK(UnitedKingdom),US(UnitedStates),WWI(WorldWarI)ACTICast,p.5 AllpagenumbersrefertothenumbersimprintedonthescriptinthelowerrightofthepagePatsyCline:PatsyClinewasbornVirginiaPattersonHensleyonSeptember8,1932,intheWinchester(Virginia)MemorialHospital.ShediedinaplanecrashMarch6,1963inthehillcountrynearCamden,Tennessee,attheageof30,justashercareerwasatitshighestpeak.CountryperformersHawkshawHawkinsandCowboyCopasdiedwithher,asdidhermanager,RandyHughes.HugheswaspilotingalloftheminhisPiperComanchehomefromabenefitconcertinKansasCity,KansasforJackWesleyCall,aka“CactusJack”,oneofCountry’swell-knownMidwesternDJs,whohaddiedinacarcrashamonthearlier.AlsoperformingintheshowwereGeorgeJones,GeorgeRiddleandTheJonesBoys,BillyWalker,DottieWest,WilmaLeeandStoneyCooper,GeorgeMcCormick,andtheClinchMountain.AccordingtoMargaretJonesinherbiography,Patsy:TheLifeandTimesofPatsyCline,“Countrypeoplearefamousforcomingtotheaidofthoseinneed”.

SamandHilda’shomeinGore,wheretheylivedbeforePatsy’sbirth

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WhenPatsywasborn,herparentshadbeenmarriedforsixdays.Hermother,HildaVirginiaPattersonwas15yearsold.HildametSamuelLawrenceHensley,43,awidowerfromhisfirstmarriage,whileheworkedinasandmineinElkton,Virginia.TheiraddresswaslistedasGore,asettlementof“flintyhillfolk”(Patsy:TheLifeandTimesofPatsyCline)intheheavilywoodedmountainsneartheWestVirginialine.AfewweeksafterVirginia,orGinny,wasborn,SammovedherandHildabacktoSolsburg,thefamilyestatejustoutsideofElkton,onthebanksoftheShenandoahRiver.TheimpressivehomesteadwasbuiltbySolomonJobeHensley,Patsy’spaternalgrandfather.TheHensleyswereamongVirginia’sfirstfamilies;theytakeupfourcolumnsintheElktontelephonebook.

SolHensley(above)andSamHensley(below)duringWWI

Solwasoneoftheoriginalhillbillies––athird-generationVirginian,bornonhisgranddaddy’sfarm,HensleyHollow,deepintheheavilywoodedBlueRidgeMountains.Bythetimehestartedafamily,Solhadalreadytransformedhimselfintoacountrysquire,withathousandacresofprimeRockinghamCountyfarmlanddistributedoverthreefarms.Hisfortuneswouldchange,however,ultimatelycontributingtothedemiseofthefamilydynastyhehadbuilt.SouthernagriculturedeclinedafterWWI,exacerbatedfurtherbyaseveredrought.Thencamethestockmarketcrashof1929,andtheGreatDepression,whichdebilitatedthefewproductivefarmsthatremained.Buriedinunsellablegoodsandmortgageforeclosures,hewasforcedtounloadhislandinbitsandchunks.Atthesametime,Solgotinvolvedinascandalwithafifteen-year-oldgirlfromElkton.Her

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GoldieandJamesPatterson,Patsy’smaternalgrandparents

familyextractedasubstantialamountofmoneyforhisindiscretion.WhenPatsywasborn,theironyofthesituationpromptedfolksinElktontoremark,“Likefather,likeson”,althoughSam,unlikeSol,couldn’tbuyhiswayout.Sam,thefirstbornson,wasindeedlikehisfatherinmanyways,inheritinghishandsomelooks,pride,musicalability,aggression,independence,extravaganttaste,“ungodly,uncontrollabletemper”(Patsy:TheLifeandTimesofPatsyCline)andtyrannicalpatriarchalattitude.Amasterblacksmith,hewasalsoanexpertwheelwright,horseshoer,toolmaker,quarrymanandgeneralmechanic.Hisgreatestgift,however,washissinging.Hehadinherited,ashewouldpassontoPatsyandhisotherchildren,theHensleymusicaltalent.Heplayedthepiano,andinhisstrong,sweettenorwithitslucid,almosttheatricaldiction,hesang––alwayssolo––inweeklymutigenerationalfamilysongfestsandthechurchchoir.ThedayaftertheUSenteredWWI,Samenlisted.HewouldparticipateincombatintheArgonneForest,oneofWWI’sbloodiestbattles.Hereturnedchanged,withanewedgetohisalreadyformidabletemper.Theslightestthingswouldsethimoff,andhebegantogoonharddrinkingbingesthatlastedtheentireweekend.ItwasaroundthistimethatSammarriedhisfirstwife,WynonaJones.Shewaspregnantwiththeirfourthchildwhenshediedinacaraccident,alsolosingthebaby.Hewasdevastated,anditdidn’thelpthat,inthewakeofWynona’sdeath,hisfatherwasswiftlylosingthefamilyfortune.Samwouldvirtuallyabandonhischildrentoahousekeeperwholateradoptedthem,and

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joinotherDepression-eranomads,livinginhiscarandtravelingtodifferentstatestoworkonfarms,quarriesandtherailroad.ItwasduringareturnvisittohishometownthathemetPatsy’smother,thefifteen-year-olddark-hairedbeauty,Hilda.Theirunionwastempestuous,characterizedbyviolentdisputesthatwerefueledbySam’sdrinking.Theimpoverishedfamily,whichwouldsoonincludeanotherdaughter,Sylviaandson,SamJr.,calledJohn,becameitinerant.Theycouldn’tpaytheirrent,sothey’d“movesometimestwoorthreetimesayearintosomebighousethatsatempty”(Patsy:TheLife

AyoungGinnyHensley(Patsy)andherbrother,SamHensleyJr.,calledJohnbythefamily

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andTimesofPatsyCline),vacatedbyitsownerswhosoughtworkoutsidetheareatheylivedduringtheDepression.Asaresult,Patsyhadsporadicschooling,droppingoutnearlyeverygradebecausethefamilymovednineteentimeswhenshewasgrowingup.Shedroppedoutforthelasttimeinhersophomoreyearofhighschool.

PatsyatJohnHandleyHighSchool,inthelastschoolphotoshewouldtake,1947

Withinayear,thefamilywouldstopsquattinginabandonedhouses,andmoveintoarun-downduplexoncrowdedKentStreetinWinchester,whereDepression-eraruralfamiliesmovedwhentheylefttheirhardscrabblefarms,hopingtofindworkinthecity.SouthKentStreetwasconsideredthewrongsideofthetracks.Becauseshewasfromthere,PatsywaslookeddownuponbythepeopleofWinchesterherentirelife,evenaftersheachievedrenownandsuccess.WhenshewonArthurGodfrey’sTalentScoutShowin1957with“Walkin’AfterMidnight,”theWinchesterEveningStarnoted,“shelivesat608S.KentSt.,withsuchtalentandability”,asiftalentcomingfromsuchanaddresswasunheardof.Threeyearslater,whenshehadherhit“IFalltoPieces”,sheperformedattheWinchesterDrive-Inbetweenthefeaturedmovies.Thepeoplewatchingleanedontheircarhornsandbooedher.EventhoughshehadmadeanameforherselfandhadalreadyperformedattheGrandOleOpry,theymadefunofher.Shebrokedowncryingandthemanagertookhertohistrailer.Sheaskedhim,“WhydopeopleinWinchestertreatmelikethis?”MargaretJonesstartsher1994biographywithanimagethatspeakstothedisdainWinchesterhadforPatsywhileshewasaliveandforyearsafterherdeath.InJones’

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vignette,Patsyistwenty-fiveyearsold,andridingonthetopofthebackseatofaredOldsmobileconvertibleintheAppleBlossomFestivalparadeinherhometownofWinchester.ThisisherthirdtimeintheannualMayparade––thefirsttwotimes,hernamewasomittedfromtheprogram.Insteadofthecowgirloutfitsheworeinherpreviousparadeoutings,asanodtohernewly-mintedstatusasapopsingingsensation,sheisattiredinhercrossoverlookofatight,red,straplesstwo-piecesequinedoutfit,rhinestoneearringsandhighheels.Shehasreturnedintriumph,havingrecently––andsingularly––brokentheapplause-o-meteronArthurGodfrey’s"TalentScouts"whilesinging"Walkin'AfterMidnight"beforeacombinedradioandTVaudienceof82millionpeople.Thesonghasalreadyclimbedtothetopofthepopandcountrycharts.

Patsyinthe1957AppleBlossomParade

InthepictureJohnsonpaints,Patsyisnotthequeenofthisparade––herconvertibleisfarbehindMissAnneDeniseDoughty-Tichborne’smassivefloat.TheQueenoftheAppleBlossoms,theidealofSouthernwomanhood,doesn’thailfromWinchesterasPatsydoes,notevenfromthe“right”sideofthetracks.Forthatmatter,sheisn’tevenfromtheSouth.HerMajestyQueenShenandoahXXXhappenstobea19-year-oldEnglishwomanwithunimpeachablecredentials,apedigreeandanaristocraticbackground––noneofwhichPatsyhas.Astheparadecomesintoitshomestretch,Patsyandsomeofherfriendsinthecrowdcanclearlyhearthecatcallsdirectedmockinglyather.Concerned,herfriendsseekheroutaftertheparadeisoverandfindheronasidestreet.Sheiscompletelyalone––evenherdriverhaddesertedher.Theparadeover,sheisignoredagain.

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Winchester’sattitudeswouldshift,andthetownwouldfinallyrecognizePatsy’slegacy(seepp.21and22oftheChronology).Despitetheir“whitetrash”status,the16-year-oldPatsylikedhernewneighborsonKentStreet.Theywerepeoplewhohadbeendownontheirluck,whoknewhardshipandhadbeenrejected.Patsyidentifiedwiththem.

ThealwaysstylishPatsyClinewearingasailor-inspiredlookinherteenageyears

WithPatsy’sfather’sabsencesandthefamily’sconstantuprootingbeforetheysettledonKentStreet,theywereconsistentinonerespect––joiningthelocalchurch.Noneofthemwerereligious––Patsywouldsay,“Toomanyhypocritesgotochurch”––butSamandHildawantedtosinginthechoir.AssoonasPatsywasoldenough,shejoinedherparentstosingwiththeminthechoir.Eventhoughshecouldplaythepianobrilliantlybyear,singingbecamethefocusofherambition.Patsyclaimsthatafteraseriousthroatinfectioninearlychildhood.whereshewasplacedinanoxygententandnearlydied,she“recoveredfromtheillnesswithavoicethatboomedlikeKateSmith’s”(Patsy:TheLifeandTimesofPatsyCline).KateSmithwasaninfluenceonhersinging,aswasHelenMorgan.OwenBradley(profiledonpp.3-7oftheChronology),whowasresponsibleforhercareermovetothemoremainstreamsongsthatcatapultedhertofame,said,“ShelovedtosingHelenMorgansongs,especially‘Can’tHelpLovin’DatManofMine’.Weworkedonsomeofthosetunes;infact,wetalkedaboutdoingsomeofthatstuffinanalbumbeforeshediedandweworkedoutthearrangementsinmyoffice”(Patsy:TheLifeandTimesofPatsyCline).

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Thesingerwhowouldgreatlyinfluenceherstyle,inadditiontohersinging,wasRubyBlevins,whosestagenamewasPatsyMontana.Sheisdiscussedintheglossaryonpp.24-25,inthedefinitionfor“Fancycowgirloutfitandaneckscarf”.

Patsy’shomeonS.KentSt.isthethirdhousefromtheleftwithaconcreteaprontothestreet

AftertheirmovetoKent,Sam’spresencebecamemoreandmorescarce.Soonhewouldleaveforgood,butPatsydidnotlamenthisabsence.Fromtheageof11,herfatherhadsexuallyabusedher.InherbiographyofPatsy,MargaretJonesdescribesthischapterinherlife:

PatsybroadlyalludedtoanincestuousrelationshipwithSamtoahandfuloffriendswithwhomshefeltsafeinunloadingthesecretburdenofguiltandshameshebore…Understandable,manyofherfriendsremainedguardeddiscussingthedetailsofataboosubjectthatcausedPatsysomuchpainandconfusion,andforwhichshewouldextractpromises,asshedidwithLoretta[Lynn],to‘takethistoyourgrave’.

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…Patsywoulddescribehowherfathermade‘sexualadvancestowardher’,thoughavoidinganydiscussionoftheparticulars.Shealternatelylovedandloathedhim,acommonfeelingamongsexuallyabusedchildren.Ultimately,shefeltthatherearlyexperienceshadsomethingtodowithherinabilitytoestablishintimaterelationshipswithherhusbandsandlovers,acommonlong-termincestfearthatalsomanifestsitselfinanxiety,hostility,eatingdisorders,guilt,shame,sexualdysfunctionandatendencytowardsrevictimizationinadultrelationshipswithmen––allofwhichPatsyexhibitedlatertovaryingdegrees.

SamrestrictedPatsy’sactivitiesbecauseofhispossessiveness,butalsotokeepothersfromfindingoutwhatwasgoingoninhishousehold.Shecouldn’thaveanyfriendscomeover,andwhenshestartedtogetinterestedinboys,herfatherwouldembarrassherinfrontofthem.Thefamily’smovesfromabandonedhousetoabandonedhousecouldbeexplainedbyeconomicnecessity,butitcan’tbedeniedthattheeffectofallthemovingwastoensuresilenceandsecrecy.OnceherparentsseparatedandSamdisappearedfromPatsy’slife,shewasfreetopursueherpassionforsingingwithcompletefocus.Still,shehadalifetimeambivalencetowardhim,alternatelylovingandhatinghim,asmanyvictimsdowiththeirabusers.Patsyperformedfornearlyadecadebeforeherbreakthrough1957televisionappearance,whenshesang"Walkin’AfterMidnight"onArthurGodfrey’sTalentScoutsShow,discussedlaterintheglossaryandintheChronology.ShebecamealeadingfigureintheNashvillemusicworld,aswellasaPopcrossoverstar.Patsywentontorecordmanyhitsinbothgenres,including"Crazy"and"She'sGotYou,"beforeherdeath.TheensuingeventsofherlifearedetailedintheALWAYS…PATSYCLINEChronology.LouiseSeger:LouiseSeger(“Seg”in“Seger”ispronouncedlike“seg”in“segment”,withtheaccentonthefirstsyllable)wasbornMay31,1932toFredandRubyEverettinJackson,Mississippi.Herfatherdiedin1941,andhermothersubsequentlymarriedDickAlexander,apopularGulfCoastmusicianandbandleaderatthattime.HeimpartedalifelongloveofmusictoLouise.In1949,whenshewas17,LouisewontheMissBiloxibeautycontest.AmongherwinningswasatourwiththeLouisianaHayridewhereshebecamefriendswithpopularcountrystarLittleJimmyDickens.AftergraduationfromHindsJuniorCollegeinRaymondMississippi,LouisemovedtoHouston.ThereshemetandmarriedRexSeger,andbecameastay-at-homemomwiththeirtwochildren.Duringthistimeinherlife,shebecameafanofPatsyCline’swhilehearinghersing“Walkin’AfterMidnight”ontheArthurGodfreyTalentScouttelevisionshowthatherchildrenwerewatchingintheotherroom.AftersheandRexdivorced,Louiseworkedavarietyofmusic-relatedjobs,attimesinvolvedindance,singing,modelingandasanightclubownerintheHoustonarea.

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Shealsoworkedforseveralcompanies,includingMandrellIndustries,Petty-RayGeophysical,andAramco.ThelatteristhepopularnameoftheSaudiArabianOilCompany(formerlyArabian-AmericanOilCompany).ItisaSaudiArabiannationalpetroleumandnaturalgascompanybasedinDhahran,alsoknownasSaudiAramco.WhileworkingforAramco,Louisemetamanwithwhomshebecameengaged.ShedecidedtomovewithhimandherchildrentoManaus,Brazil.ThelasttimeshesawPatsy,shetoldherwhatsheintendedtodo:“ItwasafteraperformanceinHouston.ItoldherIwasgettingmarriedandmovingtoBrazil.Shesaid,‘Louise,you’vegottobecrazy.’Isaid,‘Yeah,youmightberight.’”ItwastherethatshefoundoutaboutPatsy’sdeath.EllisNassourinterviewsheraboutitinHonkyTonkAngel:TheIntimateStoryofPatsyCline:“’WhenIheardthenewsofPatsy’sdeath,itwassomethingIwouldn’tletmyselfbelieve.TherewerealotofpeoplearoundthehotelfromOklahomawhoworkedtheoilrigsandtheylikedcountrymusic.We’dgetafewunderourbeltsandwe’dstartsinging.I’dalwaysdoPatsy’ssongs.AmanfromNewYorkcameinfromtheairportandwegotrealfriendly.Isang‘IFalltoPieces.’‘Louise,’heasked,‘who’dyousaysangthatsong?’‘PatsyCline.’‘MyGod,that’sthegirlthatwaskilledinaplanecrash,isn’tit?’‘No,youmustbetalkingaboutsomebodyelse.Itcouldn’thavebeenPatsy.’‘I’malmostsureitis.‘Isaiditcouldn’thavebeen.No,youmustmeansomebodyelse.Youdon’tmeanPatsyCline.’‘I’dalmostsweartoit.IwasreadingaboutitinLifeontheplanecomingdown.’‘Idon’tcarewhatyouwerereading,you’vegottobemistaken.’‘Themagazine’sinmyroom.Here’sthekey.Ifyoudon’tbelieveme,goseeforyourself.Honey,I’mnotlyingtoyou.’Louisewenttotheroom,foundthemagazine,andstartedturningthepagesuntilthereitwas.Hehadn’tlied.PatsyClinehadbeenkilled.Louisebrokedown.”InaninterviewwithCountryWesternWeeklyin1995,writtenbyRickTaylor,Louiserecallsherreaction:“Itwaslikeaphysicalblowtomygut.Icouldn’tbelieveit.ApartofmylifehadendedandImadeplansthatdaytoreturnhome.”“ThelastglimpseIhaveofPatsyinmymindwasaftertheHoustonshow.Sheheldupabottleofbourbon,winkedandsaid,‘I’llseeyou,hoss.’Itwasafavoriteexpressionofhers.”AtthetimeofPatsy’sdeath,LouisehadknownPatsyfortwoyears,havingdevelopedafriendshipwithherwhenshesangattheEmpireBallroom,oneofHouston’sprominentcountrywesternmusicestablishments(seepp.18-20ofthisglossary).Itwas1961,andPatsywasdoingapromotionaltourforDeccafollowingthesuccessof“IFalltoPieces”,asongthatLouisewouldasktheDJ,HalHarris,toplayonherlocalradiostation,KIKK,fourorfivetimesaday.LouiserecognizedPatsywhenshearrivedattheEmpire,introducedherself,andthusmadeaconnectionthatwouldplayitselfoutovertheensuingyearsthroughfrequent,lengthylettersandphonecalls.LouisewouldvisitwithPatsywhenevershecametoHoustontoperform.LouisedescribedtheirinitialmeetinginherinterviewwithCountryWesternWeekly:“Shetoldmeaboutherlife,herhopes,herdreams.Wediscussedloveslost,lovesfound,lovesyettobe.Wetalkedabouthertroubledmarriageandthepainsheenduredbeingawayfromherchildren.Itwasjusttwopeoplebaringtheir

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ApagefromtheLifemagazinearticlethatLouisereadaboutthefatalplanecrash

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souls.WebothsangandharmonizedoldGospelsongsandhillbillytunes.Wesatthereandsmokedandsanguntil4:00inthemorning.”Thenextmorning,LouiserushedPatsytotheairport,expectingnevertohearfromheragain.Withintwoweeks,however,Louisereceivedherfirstinwhatwastobemanylettersandphonecallstheywouldexchange.“Ioftenwouldreceivecallsat1:00inthemorning”,shetoldTaylor.“She’dbesinginginsometownwantingafriendtotalkto.”Louise’slettersfromPatsyarereprintedthroughoutHonkyTonkAngel.Patsywroteseveralfromherhospitalbedafterhercaraccident,andmanyfromtheroad.She’dexultaboutherlatesthit,grumbleaboutlifeontheroad,gushaboutherchildrenandlamenttheirabsencewhenshetraveled,andcomplainaboutCharlie,recountingtheirlatestsquabble.LouiseandPatsyweresoundingboardsforoneanotherduringtheirprotractedlate-nightphonecalls.

Louisein1980

TheirfriendshipwasdocumentedintheaforementionedNassourbiography,HonkyTonkAngel:TheIntimateStoryofPatsyCline,anditspredecessor,PatsyCline:AnIntimateBiography.ItformedthebasisofALWAYS…PATSYCLINE,thedialogueofwhichcame

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directlyfromthepagesofHonkyTonkAngel.ALWAYS…PATSYCLINE,wascreatedandoriginallydirectedbyTedSwindleyin1988inHouston,Texas,premieringatHouston’sStagesRepertoryTheatre,whereSwindleywasthefoundingartisticdirector.IthasbeenperformedextensivelyintheUS,UK,CanadaandAustraliaeversince.Theshow'stitlewasinspiredbyPatsy'sletterstoLouise,manyofwhichshe’dsign"LoveALWAYS…PatsyCline."DespitethesuccessofALWAYS…PATSYCLINE,Louise,“anelegantandwittyblonde”,asdescribedinCountryWesternWeekly,wasequallypleasedanddismayedwithhercharacter’sportrayalas“theplay’scomicrelief”.Sheexplained,“I’veneverhadredhair,certainlynotinabeehive.Idon’tweartackyclothesorhavethataccent.WhenmydaughtersawitinNashville,shejustbrokedownandcried.Shesaid,‘You’veneverbeenthatwayinyourlife.Idon’twantyoutoberememberedthatway.’”Nevertheless,ALWAYS…PATSYCLINEendearedhertothousandsofherfansfromaroundtheworld.Louise’slifeincludedthreemarriagesandthetragicdeathofhersonin1979.ShediedatherhomeonLakeConroeinWillis,TexasonOctober28,2004ofemphysemaafterseveralyearsofpoorhealth.Sheleftherhusband,daughter,twostep-granddaughters,agranddaughterandherhusbandandagreat-granddaughter.Herson,son-in-lawandherchildren'sfatherprecededherindeath.ThispagefromComfortTheatre’swebsitehasthefullinterviewwithLouisefromCountryWeeklymagazine,herobituaryfromtheHoustonChronicle,aletteraboutherpassingfromherthirdhusband,EdZurbuchen,andmorephotos:http://www.comforttheatre.com/htmdocs/louise.htmTheBodaciousBobcatsBand:anhomagetoCline'straditionofcallingherbackupband"TheBodaciousBobcats”(fromDLOnline,Jul11,2017)Settings TheGrandeOleOpry:FromtheofficialGrandOleOprywebsite:

Whatbeganasasimpleradiobroadcastin1925istodayaliveentertainmentphenomenon.Dedicatedtohonoringcountrymusic’srichhistoryanddynamicpresent,theGrandOleOpryshowcasesamixofcountrylegendsandthecontemporarychart-topperswhohavefollowedintheirfootsteps.TheOpry,anAmericaniconandNashville,Tennessee’snumber-oneattraction,isworld-famousforcreatingone-of-a-kindentertainmentexperiencesforaudiencesofallages.It’sbeencalledthe“homeofAmericanmusic”and“country’smostfamousstage.”…FromPhiladelphiatoFiji,everyoneknowstheGrandOleOpryistheshowthatmadecountrymusicfamous.Howitearnedthatreputationisquiteatale.ItbeganonthenightofNov.28,1925,whenanannounceronNashvilleradiostation

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WSMintroducedfiddleplayerUncleJimmyThompsonasthefirstperformeronanewshowcalled"TheWSMBarnDance."Now,morethan80yearslater,theshowHaystartedisstillgoingstrong.Alongtheway,ithaslaunchedcountlesscountrymusiccareersandledthewayforNashvilletobecomeMusicCity.EarlyOpryperformerssuchasRoyAcuff,MinniePearl,ErnestTubb,andBillMonroebecamemusicalfoundationsfortheOpryduringitsyearsinresidenceatthehistoricRymanAuditorium,laterwelcomingtothestageartistswhowouldbecomeentertainmenticonsintheirownrightincludingLorettaLynn,DollyParton,andBillAnderson.TheOprysaidgoodbyetotheRymanAuditoriumonFridaynight,March15,1974totakeupresidenceatthenewlybuiltGrandOleOpryHouse.Thenextnight,PresidentRichardNixonjoinedRoyAcuffonstageattheGrandOleOpryHouse.Still,theycouldkeepintouchwiththetraditionsoftheRymanbecauseasix-footcircleofhardwoodwastakenfromtheRymanandplacedcenterstageattheOpryHouse.

ThousandsofpeoplecontinuetomakepilgrimageseveryyeartoseeandheartheirfavoritecountrystarsperformattheOpry,whilemillionstuneintoenjoytheOpryvia650AMWSM,SiriusXMSatelliteRadio,syndicatedradio,oropry.com.

Frontviewofapostcardfromthe1950s,showingtheGrandeOleOpry

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Backviewofthesamepostcard

TheArthurGodfreyShow:BornonAugust31,1903,ArthurGodfreyworkedinradiountilhisfirsttelevisionshow,''ArthurGodfrey'sTalentScouts,''wasintroducedinDecember1948onCBS.Theaimoftheshowwastodiscovernewtalent,withanapplausemeterthatmeasuredaudiencereactiontoeachcontestant.LouisewaswatchingtheshowonJanuary21,1957whenPatsyfirstperformed“Walkin’AfterMidnight”.Thesonggarneredsuchastrongresponsefromviewersthatitwasrush-releasedasasingleonFebruary11,1957."Walkin'AfterMidnight"wouldgoontobecomePatsy’sfirstmajorhitsingle,reachingNo.2ontheBillboardcountrymusicchartandNo.12onitspopchart.Althoughthesongwasheronlyhituntil1961,thesingleversionsoldoveronemillioncopiesandisoftenincludedonauthoritativelistsoftheall-timegreatestsongsincountrymusic.GodfreyandPatsyClinewereeachinvolvedinsevereautomobileaccidentsrightbeforetheirrespectivecareerstookoff.FromtheNewYorkTimesobituaryofArthurGodfrey(http://www.nytimes.com/1983/03/17/obituaries/arthur-godfrey-television-and-radio-star-dies-at-79.html),“Hiscareerseemedfairlysuccessfulatfirst,butnotsensationaluntilafterhesufferedsevereinjuriesinanautomobileaccident.Whileinthehospital,'Ilistenedtoalotofradio,hourafterhour,'hesaid,'andIdecidedtotaketheinformalapproachinmyownwork.'

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Afterhisreleasefromthehospital,Mr.GodfreywenttoworkforNBCinWashingtonandin1941hecametoNewYork.In1945,CBSradiogavehimhisbigbreakwithahalf-hourmorningshow.”

ArthurGodfreyandMinniePearlunderthemarqueeforhisTalentScoutsshowoutsideCBSstudiosAccordingtoaprogramaboutPatsyonPBS’sAmericanMastersseries,“At29yearsold,withasuccessfulcareerandseveralhitsclimbingthecharts,PatsyClinewasalmostkilledinahead-oncarcollision.Permanentscarringandchronicpaincould’veendedtheyoungmusician’scareer,butClinerefusedtoletitslowherdown.Sixweeksaftertheaccident,stilloncrutches,sheappearedontheGrandOleOpry’sstagetoperformherbiggesthityet:Crazy.”Seatbeltsweren’tfittedincarsuntil1968,andPatsy,asshedescribedinalettertoLouise,“wentthroughthewindshieldandback,”sustainingfacialinjuriesthatleftadeepscaracrossherforehead,overaneyebrow,andinotherpartsofherfaceandneck.Shehadtouseheavymake-uptocoverthem,andwasplanningplasticsurgerybeforeshedied.Theaccidentpulledherrighthipoutofitssocket,pulledligaments,andfracturedherrightwrist.

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ThecarinwhichPatsycrashed

Patsyin1961,shortlybeforethecarcrash In1963,herscarsstillvisibleundermakeupTheEsquireBallroom:TheEsquireBallroomwasfoundedin1955byRaymondProskeinHouston,Texasat11410Hempstead,northwestofdowntown.Inthe1970sand1980stheclubwasconsideredthemainrivaltoGilley'sClubacrosstowninPasadena.

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TheEsquireBallroombuildingbackintheday

AfterhissonBillywasbornin1958,WillieNelson,whowouldgoontowriteoneofPatsy’sbiggesthits,“Crazy”,movedhisfamilytoHouston.Ontheway,Nelson,whowasknownat

JimmyDayandWillieNelson(right)attheEsquireBallroominthe1950s

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thetimeasHugh,stoppedbytheEsquireBallroomtosellhisoriginalsongstohousebandsingerLarryButler.Butlerrefusedtopurchasethesong"Mr.RecordMan"for$10($85now)insteadgivingNelsonasix-night-a-weekjobsingingintheclubanda$50($425now)loantorentanapartment.NelsonrentedanapartmentnearHouston,inPasadena,Texas,wherehealsoworkedattheradiostationasthesign-ondiskjockey.Nelsonwasinspiredtowritethesong"NightLife"duringoneofhistripsfromhishomeinPasadenatohisjobsingingnightsattheEsquire.Thelyricsspeaktobrokendreamsandthestruggletomakeitasamusician:https://www.azlyrics.com/lyrics/willienelson/nightlife.htmlNotableappearancesandperformancesattheEsquireBallroom,inadditiontothoseofPatsyClineandWillieNelson,include(amongothernotableperformers)BobWillsandtheTexasPlayboys,JimmyDay,BuckOwens,CharleyPride,ConwayTwitty,CrystalGayle,DollyParton,EarlScruggs,ErnestTubb,FloydTillman,GeneWatson,GeorgeJones,GlenCampbell,HankLocklin,JeanShepard,JeannieC.Riley,JimmyCopeland,JimmyDean,JohnnieLeeWills,KennyRogers,KittyWells,LesterFlatt,LorettaLynn,MelTillis,MerleHaggard,RitaHardt&TheRhinestones,RonnieMilsap,RoseMaddox,RoyClark,TammyWynette,TanyaTucker,WandaJackson,andWaylonJennings.TheEsquireBallroomclosedin1995andremainedunusedforanumberofyears.ItreopenedasNeonBootsDancehall&SalooninAugust2013,becomingthelargestgayCountryandWesternbarintheSouthernUnitedStates,thesecondlargestgaybarinthestateofTexas,andlargestgaybarinHouston.Ithasasignificantheterosexualandmainstreamfollowingaswell,andcontinuestohostmusicactsonthesamestagethatitusedastheEsquireBallroom.NeonBootshassetasideaseparatebardedicatedtoitshistorycalledthe“EsquireRoom”whereyoucanseeallthenamesandmemorabiliaofthehistoricartiststhatperformedatthevenue.AHoustonRadioStation:Inthe1950sand1960s,CountryMusicwasknownasCountryandWesternmusic,andradiostationsinHoustonandacrosstheUSwereplayingit,aswellaspopularmusicfromGeorgeJones,EddyArnold,ElvisPresley,FaronYoung,SlimWhitman,MartyRobbins,EarlScruggs,andTheWilburnBros,amongothers.IfoundseveralHoustonradiostationsthatbroadcastcountrymusicatthattime.KRCTwasaleadingAMcountrystationthatchangeditscallletterstoKIKKin1961,butretaineditscountryprogramming.Onthenextpageisanewspaperadfromtheweekendthecallletterswerechanged.KIKKwasmentionedbyLouiseonp.11ofthescriptasthestationthatplayedatherworkplace,wheresheheardPatsyClineagainafterbeingintroducedtoherontheArthurGodfreyshow.KIKKhadmanyreputablediscjockeysinadditiontoHalHarris,theDJLouisewouldcalltorequestPatsy’smusic(seepp.30-31ofthisglossary).GabeTucker,acountryDJwhohadworkedonKLEEinIowa,wouldbeonKRCTandKIKKforyears.HehadbeenacountryDJinHoustonintheearly50sonKNUZ,aswellasKATL,wherehewasoneoftheirlastDJsafterthestationswitcheditscalllettersin1954toKYOKanddroppeditscountryprogramminginfavorofrhythmandblues.TuckerspentacoupleofyearsinNashvillemanagingErnestandJustinTubbandtheWilbourneBrothersbeforereturningto

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HoustontoKRCT.Hiswifewasalsointhemusicbusiness.TwoHoustonstationsthathadpreviouslybeencountry,KCOHandKATL,startedmovingtowardsservingtheAfrican-Americancommunity,in1953and1954respectively.ForKCOH,theofficialswitchoverofprogrammingwassupposedtobeonAugust21,1953,butalookatthedailylistingsforthatdateindicatesthechangesmayhavebeenmadegradually.ProgramslikeHarlemBreakfastandHarlemNights,TuxedoJunctionandCoolandEasysuggestthatthestationmighthavealreadybeenprogrammingtowardtheAfrican-Americanaudiencebeforethechangeofownership.Theschedulepostedinthenewspaperonthe21stalsoshowedprogramsthathadacountrycontent:ChambersCorner,KingBeeandHattieHolmes,SweetandSolid,Jammin’Jamboree,SwingLow,theRhythmParadeandthePMRamble.AsimilarswitchseemedtobetakingplaceonKATLinthesametimeperiod.Programlistings,includingDixieDownbeat,RFD1590,andtheChuckWagonCall,thestation’smorningshowforyears,werepurecountry.Twoprograms,TrummieCainandRamblin’Round,soondroppedwiththenewformat,resurfacedonKCOHschedules.Inearly1954,thestationwassold,becomingKYOK,Houston’ssecondAfrican-Americanradiostation.AswithKCOH,programchangeswerebroughtintoplacegradually;inthesummerof1954,programlistingsstillincludedChuckWagonCall,Let’sPolka,GabeTucker,SerenadeinBlue,KosherKitchenandHillbillyHits,alongwithSweetChariot,HotsyTotsy,SpiritualSunbeams,andLittleBetty.Hotsy-TotsywastobeanameofaKYOKjockforyears.

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HalHarrisDJ’dforKYOK,KRCTandKIKK.KTHT97.1isanFMstationwiththeslogan,“Houston'sOnlyHomeforTheCountryLegends”.Itcontinuestoretainitsclassiccountryprogramming.Ifoundsomeevidencethatitwasontheairinthelate1950s,ostensiblyunderdifferentcallletters.Page7 HonkyTonk:MerriamWebsterdefineshonkytonkas:

1: ausuallytawdrynightclubordancehall;especiallyonethatfeaturescountrymusic

2: adistrictmarkedbyplacesofcheapentertainment3: countrymusicthathasaheavybeatandlyricsdealingusuallywithviceor

misfortuneMorethanonepersonwouldobjecttotheuseof“tawdry”.Simplyput,aHonkyTonkisanamegiventoatypeofbarthatprovidescountrymusicforentertainmenttoitspatrons.Thetermappliestoavarietyofmusicgenreswithacountrytheme,andcanrefertoalocalcountrybaroranewtrack.Itisstillwidelyusedtoday.Whenthetermwasfirstused,aHonkyTonkwasconsideredtobeaplacethatservedalcoholtoworkingclassfolk.Theyalsotypicallyfeaturedsomeelementoflivemusicsuchasapianoplayeroraliveband.Dancingwasverycommonattheseestablishmentsasthenightwenton,andveryoftentheywerealsowellknownforbeingcentersofprostitution.TheGrizzlyRose,aHonkyTonkinDenverColorado,hastracedtheetymologyofthewords,butexplainsthat,“thesadtruthabouttheword‘HonkyTonk’isthatnoonecanreallyagreehowitcameabout.TheearliestevidenceofthewordbeingusedwasbyanewspaperinFortWorth,Texasin1889.Thewordwascapitalizedandfollowedbytheword‘theater’inthearticle,whichwassimplyapetitiontore-opentheestablishment.Thissuggeststhatperhapsitwasjustthenameoftheestablishmentratherthanthetype.Inanothernewspaperarticlein 1894, this time inOklahoma, theword honk-a-tonkwas used in an article, but it hadnothingtodowithabarortheaterofanykind.Historiansbelievethewordmighthavebeenmeanttodescribecattledrivetrailswherecowboyswouldbringtheirlivestocktomarket.ThesewereverycommonaroundtheborderofTexasandOklahomaduringthattimeperiod.Ascowboyswerecommoninthesetypesofestablishments,thislocalizedslangmayhavedevelopedintothenamefortheirlocaldrinkingholesovertime.OnefinalothertheoryaboutthetermsoriginationcomesfromthenameofanAmericanpianomanufacturer. ‘WilliamTonk&Bros’ startedmaking pianos in the late 1880’smany ofwhichwere likely beingplayedintheseHonkyTonkestablishments.Asmusicwasacommonalityforthesetypesofbars,it’sveryplausiblethat‘HonkyTonk’developedfromthebrandnameofthesepianos.”Justastheoriginsofthetermitselfaredisputed,soisthehistoryofHonkyTonkbars.MostpeoplewouldagreethattheyoriginatedsomewherearoundTexasanditsneighboringstates.AstheGrizzlyRosementionsabove,TexasandOklahomahavetheoldestnewspaperrecordofthewordbeingused.Basically,wheretherewerecowboys,therewereHonkyTonks.Inthelate1800s,WyattEarpandotherslikehimmentionedvisitingHonkyTonksin

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avarietyofcowtownsfromKansastoMontana.InaccountsoftheSpanish-AmericanWarintheearly1900s,HonkyTonkswereevenmentionedasfarwestasNewMexico.Today,ifacountrywesternbarofferslivemusic,it’softencalledaHonkyTonk.HonkyTonksarenolongerlimitedtotheWildWest(Oklahoma,theNativeAmericanTerritoriesandTexas),butcanbefoundinmajorcitiesandsmalltownsfromCaliforniatoNorthCarolina.Wikipedia,whichhyphenatesthetwowords,offersothernamesforthehonkytonk,alsocallingitahonkatonk,honkey-tonk,andjustplaintonk.Itcontinues,“Manyeminentcountrymusicartists,suchasJimmieRodgers,LorettaLynn,PatsyCline,ErnestTubb,andMerleHaggardbegantheircareersasamateurmusiciansinhonky-tonks…Thefirstmusicgenretobecommonlyknownashonky-tonkwasastyleofpianoplayingrelatedtoragtimebutemphasizingrhythmmorethanmelodyorharmony;thestyleevolvedinresponsetoanenvironmentinwhichpianoswereoftenpoorlycaredfor,tendingtobeoutoftuneandhavingsomenonfunctioningkeys.Thishonky-tonkmusicwasanimportantinfluenceontheboogie-woogiepianostyle.BeforeWorldWarII,themusicindustrybegantorefertohillbillymusicbeingplayedfromTexasandOklahomatotheWestCoastas"honky-tonk"music.Inthe1950s,honky-tonkentereditsgoldenage,withthepopularityofWebbPierce,HankLocklin,LeftyFrizzell,RayPrice,FaronYoung,GeorgeJonesandHankWilliams.GrandOleOprymicrophone:InphotosfromPatsyCline’sera,theGrandeOleOpry’smicrophoneisdistinguishedbyatallwhitesignthatisattachedverticallyandrunsuptheheightofitsbase.It’spaintedwiththeletters“GrandeOleOpry”inblack.Youcanseeitinthephotobelow.ThemicrophoneintheleftofthephotoiseasiertoreadthantheonethatPatsyisusing.

PatsyClineperforms“Crazy”atNashville’sGrandOleOpryin1961

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Fancycowgirloutfitandaneckscarf:Patsy’s“fancycowgirloutfit”isdescribedbyMargaretJonesinherbook,Patsy:TheLifeandTimesofPatsyClineas“hertrademarkcowgirlcouture––tailoredandsequinedaffairswithcolorfulappliquesandfive-inchfringeshimmyingfrombosomandhem”.Patsysaysonpage22ofthescriptthathermothersewedhercowgirloutfits.PatsyClinedressedthiswayinthebeginningofhercareer,modelingherlookatthattimeafterherchildhoodidol,cowgirlcountrysingerPatsyMontana.AccordingtoMargaretJonesinherbook,Patsy:TheLifeandTimesofPatsyCline,Montanawasthefirstfemalecountrysoloisttodressinfullcowgirlregalia,completewithfringe,bootsandhat.

OneofPatsy’sCowgirlStageCostumes

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PatsyMontana,circa1935

Asearlyastheseventhgrade,Patsy(thenGinnyHensley)hadadoptedthestyle.Inaclassphotofromthen,sheispicturedwearingabrightlycoloredscarfaroundherneck,tiedcowboystyle.Accordingtoaformerclassmate,itwasanaccessoryshewasneverwithout.Inanearlypublicityphoto,takenwhenshewas16yearsold,shewearsafringedvestandskirtandcowboyboots.WhenDeccaproducerOwenBradleystartedworkingwithher,thingschanged.Hewantedhertohaveamoresophisticatedimagetogowithhermoresophisticatedsound.Thoughsheenjoyedthedress,shewasn’t100%onboardwiththegenre.Shewrotetoherfriend,MarieFlynt,anaspiringsinger,inAugust1961,thatshewasnotatallhappyaboutOwenBradleyforcinghertorecordpop:“…Icouldspitdust[,]I’msomad.Andhewantstoputviolins(youheardme)onmynewsession…I’lldie&walkoutbeforeI’llgoallthewaypop…”

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PatsyClineinherseventh-gradeclassphoto,secondrow-thirdfromright,

wearingherscarftiedcowboystylePage8 Hoss:PatsycalledeveryoneHoss.Itwasapartofhercrass,brassy,tomboyishpersonality.Page10 MuntzblackandwhiteTV:atelevisionsetthatwasthebrainchildofEarlMuntz,huckster,TVcommercialpioneer,automaker,electronicsmanufacturerandacknowledgedmarketinggenius.MuntzwasbornonJan.3,1904,inElgin,IL,andshowedanearlyinterestinelectronics.Attheageof8,hehadalreadybuilthisfirstradio,andafewyearslater,hadbuiltoneforhisparents'car.Hedroppedoutofhighschoolandwenttoworkinhisparents'hardwarestoreinElgin.Whenhewas20yearsold,heopenedwhatwouldbecomeasuccessfulused-carlotintown.AfteratriptoCaliforniaafewyearslater,henoticedthatusedcarsweresellingforfarhigherpricesthantheywereinElgin,soheopenedupalotinGlendale,CA.Inthelate'30s,afterrealizingthatLAwaswherethemoneywas,heclosedhisElginlotandrelocatedpermanentlytoCalifornia.Therehedevelopedthepersonaof"Madman"Muntz,asomewhatcrazedused-carsalesmanwhodressedinoutrageouscostumesandperformedwildstuntsforaseriesofquirky,humorous,andveryprofitableTVcommercialsthatblanketedtheLosAngelesarea.Inonesuchcommercial,heclaimedthatifacardidn'tsell,he'dsmashittopiecesonTVwithasledgehammer.Itdidn'tsell,ofcourse,andhekepthispromise."Madman"Muntzquicklybecamealocalcelebrity.Peoplewouldcometohisused-carlotnottobuyacarbut

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toseehim,andatonepointhislotwasratedbyalocaltravelagencyasthe7thmostvisitedsiteinSouthernCalifornia.Besideshiscommercials,MuntzwasknownformanufacturingTVsets.Hemadehisfirstonein1946.Asaself-taughtelectricalengineer,hewasabletodiscernthattherewasasimplerwaytomakeaTVset.AccordingtohisbiographyontheInternetMovieDataBase(IMDB),thefewTVsetsavailableatthetimewere“big,bulky,complicated,heavy,hadsmallscreensandwereexpensive.BytakingapartandexaminingthevariousmakesofTVsonthemarket,hefiguredouthowtobuildagoodset,usingaminimumamountofpartsbutdeliveringagoodpicture,forlessthan$100(theaverage12-inchTVsetwentforabout$450).Healsoincludedabuilt-inaerialinhissets,amajorinnovation--mostTVshadtouseanaerialthatattachedtotheroofofthebuildinginordertogetreception,andapartment

A1959adforaMuntzTVset

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buildingsatthetimeoftenhadrulesprohibitingtheuseofaerialsontheirroofs,somanyapartmentresidentsdidn'thaveTVs,makingthemprimecustomersforMuntz'ssets.HemarketedhisTVswiththesametypesofoutrageousTVcommercialsandradioandnewspaperadsashedidwithhiscars,andthesetssoldlikewildfire.In1951alonehiscompanygrossedalmost$50million.Unfortunately,bythemid-1950scolorTVwasintroducedandthemarketforblack-and-whiteTVslikeMuntz'sshrankprecipitously.In1953hiscompanylostalmost$1.5million.Hehungonforafewmoreyears,butby1959Muntz'sTVoperationwasforcedtodeclarebankruptcyandshutitsdoors.”Chunkylittlecountrygirlleaningbackandleadingintoawonderfulcountrysongcalled“Walkin’AfterMidnight”:WhenPatsywonArthurGodfrey’sTalentScoutShowonJanuary21,1957,thedayPresidentEisenhowertookhisoathofoffice,theWinchesterEveningStarmanagedtosqueezeinastoryaboutitamongstthecoverageoftheinaugurationfestivities.Underthecaption,“TOPSINTALENT”,iterroneouslycalledthesong,“IWalkAloneatMidnight”.Inamonth,thesongwouldcatchoninvirtuallyeveryimportantmarket,withBillboardnoting,“Hereisthemostrecentexampleofacountryartistcomingintothepopmarketandcleaningup.MissClinehascrackedNewYork,Philadelphia,Baltimore,WashingtonandotherEastCoastcitiesaswellasSouthernandMidwesternkeymarkets,wheretheactionisbothpopandcountryandwestern.Itiscomingupfastnowandshouldmakethecharts.”Abonafidehit,thesongpeakedonFebruary23atnumber12onthepopchartsandonMarch2,itbecameanumber2countryhit.PatsywouldperformthesongonseveraltelevisionshowsinMarch,receivingherbiggestfeetodate,$1500($13,121.30today)fromtheBobCrosbyShowforthreeperformances.Televisionwouldshowcasehersingingstyle.Shewasan“enactor”ofsongs,workingwiththecameraeffectively,“hergesturesandbodylanguageminimal,hereyessayingitall”(p.141,Patsy:TheLifeandTimesofPatsyCline).AboutPatsybeing“chunky”:shestruggledtomaintainathinfigureforthecamerathroughouthercareer.BeforeaperformanceattheGrandOleOpryonOctober14,1960,shewasintroducedbyJimReeves:"Asspecialguest,wegotthetalentsofthatsweetsingin'115lbs.offemininedynamite,thenewcomertotheOpry,MissPatsyCline."Inresponse,Patsytoldhimandtheaudience,“That’snotquitetrue…Idon’tweigh115lbs.”Reevesresponded,“Well,116maybe,butwhatdifferencedoesitmake?We’reheretosing,nottobeweighed…”Shealludedtoherweightduringhersecond-to-lastconcertinBirminghamonMarch2,1963,whichalsofeaturedTexRitter,CharlieRich,JerryLeeLewisandFlattandScruggs.“Anyofyougalsouttherehaveanyweightproblems?”,sheaskedtheaudience.“I’vebeenbusytryingtoloseweight,andthisisthefirsttimeinalongtimeI’vebeenabletowearwhite.I’mtellin’ya,don’titjustlookgood?”Shethenproceededtosharetheresultsofherlatestdiet,includingthenumberofpoundsshehadlostandhercurrentweight.

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PatsyatherMarch2,1963concert,slimandgorgeous

inherwhitedressandsignaturewhitepumpsBrendaLeereminiscesinHonkyTonkAngelaboutcookinginPatsy’skitchen:“Welovedthatkitchen!Alittletoomuch!PatsyandIhadonethingincommon.Wegainedweightsoeasilyandwewerealwaysonadiet.IhavewonderfulmemoriesofDottieandLorettacomingover.They’dexchangerecipesandcook.We’dsitinthereandeatandtalkabouttheroad,whichdidn’thelpourdietsonebit.”Stylish50sstylecocktaildress,fullskirtwithneckscarf:AccordingtoMargaretJonesinherbook,Patsy:TheLifeandTimesofPatsyCline,thisisPatsy’s“makeoverlook”,andincluded“rhinestoneearringsandnosebleedinglyhighheels”.Patsy’sheelswerealmostalwayswhite,hersignature.Post-OwenBradley,thecombinationwouldreplacehercowgirloutfits.Page11 LittlegirlfromVirginia:Winchester,Virginia,tobeexact.HeroriginsandearlylifeinVirginiaarediscussedinthebioofPatsy,startingonp.1ofthisglossary.By1961,Iwasdivorced.Yahoo!hallelujah!:Louiseistalkingaboutherdivorcefromherfirsthusband,RexSeger,thefatherofherson,David,anddaughter,Donna.Shewouldlatermarrytwomoretimes,remainingwithherthirdhusband,EdZurbuchen,untilherdeath.

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KIKK:aHoustonradiostationdescribedonpp.20-22ofthisglossary[localstation]:I’duseKPIGhereifIwereyouhttp://www.kpig.com.IthasbroadcastoutofFreedom,California,nearWatsonville,since1988.It’sknownworldwideforitsunconventionalprogrammingandiconiclogo,picturedbelow.

WikipediadescribesKPIG’sappeal:

KPIGhasstrongcommunitytiesfeaturinglocaldiscjockeys,localsponsors,localnewsandcommentary,andtheHogCallline,afreecommunitycall-inlineforleavingrecordedannouncementsthatwillbeplayedontheair.Muchlikenewspaperclassifieds,common"HogCalls"areregardingitemsforsaleorupcomingcommunityevents.Amongitsmostwell-knownprogramsare"CousinAl'sBluegrassShow"onSundaynights,"UncleSherman'sDirtyBoogie"onSaturdaynights,"PleaseStandBy"thein-studiolivemusicshow,onSundaymornings."PleaseStandBy",hostedbySleepyJohnSandidge,featureslocalandworld-famousCountry,Folk,andBluesacts.ThestationalsohostsseveralpopularmusicfestivalseachyearincludingtheHumbugHoedowninDecember,andistheradiovolunteerforthefreemusicfestivaleachOctoberinGoldenGateParkcalledHardlyStrictlyBluegrass.KPIGiswellknownworldwideaswell.Itwasoneofthefirstradiostationsintheworldtowebcasttheirprogram,goingonlineonAugust2,1995duringCousinAl'sshow.Frequentlysongrequestsaresubmittedviae-mailfromlistenersaroundtheglobe.IndirectreferencestoKPIGappearinthesongs"I'mComingHome"byRobert

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EarlKeenand"BeerRun"(whichreferencestheRobertKeensong)byToddSnider,bothofwhomarefrequentlyfeaturedontheairandperformatKPIG'sevents.

AnotherlocalcountrystationisKRTYhttp://www.krty.com.ItbroadcastsoutofSanJose,soit’snotexactlylocal.It’sknowntocountrymusicfans,butnearlyeveryoneknowsKPIG.HalHarris,thelocaldiscjockey:IfoundanexcellentbiographyofHalHarrisbyDavePennyfromThisIsMyStory,acollectionofbiographiesofrockabillymusicians.ThebiowaspostedonRockabilly.nl,adivisionofRockabillyEurope.

BornHaroldFHarris,27September1920,nearPike,AlabamaDied11January1992,Jackson,MississippiOneofthemostcelebratedoftheearlyrockabillyguitaristsofthe1950s,"Fuzzy"HalHarris'chaoticandspine-chillinglybluesysolosonhisFenderStratocasterforStardayRecordsinHoustonwereasdistinctive(andvaluable)asRolandJanes'inMemphis,GradyMartin'sinNashvilleorJoeMaphis'inHollywood.SpendinghisearlyyearsinAlabama,playinginastringbandwithhisbrothersRoyHarrisandClyde"Boots"Harris,HaljoinedtheFlorida-basedbandof"Pappy"NealMcCormickintheearly1940sandmovedtoLosAngeles,atBoots'insistence,afterthewar,wherehemadehisrecordingdebutwithCurleyWilliams'GeorgiaPeachPickersforColumbiaRecordsin1946.HemovedbacktoAlabama,andbythedawnofthe1950s,Harriswasdisc-jockeyinginMississippiandwasbasedinJackson.ItwasherethathecuthisfirstsolorecordforWebbPierce'sPacemakerlabelin1951.Oneofthesides,"PoorBoyRag"givesusatasteofwhattoexpectlaterinthedecade!In1953,HaltookhisfamilytoHouston,Texas,havingbeenofferedaDJjobatKYOKwherehespunrecordsandfeaturedhisownband,TheSouthernPlayboys.HemovedtoKRCTaround1954wherehewasbilled"Fuzzy"Halduetohisnewflat-topcrewcutandremainedwiththestationuntil1963.By1954,coincidingwithHarris'movetoKRCT,PappyDaily'slocalStardaylabelwasstartingtohititsstrideandwasestablishedenoughtoexperimentwiththenewTexas"CatMusic",invariablyrecordedatBillQuinn'sGoldStarrecordingstudioat3104TelephoneRoad.ThesmallcoterieofseasonedsessionmusicianschosentosupportthisnewbreedofwildyoungsingerincludedHerbRemingtononsteelguitar,DocLewisonpiano,LinkDavisonfiddleortenorsax,andHalHarrisonleadelectricguitar.HarriswouldsoonbecomethesessionleaderonclassicHoustonrockabillyandrock'n'rollsessionsbyJoeClay(Vik),George&Earl(Mercury),AlUrban(Sarg),FloydLee(Enterprise)aswellasaplethoraofStarday/Dixie/DsessionsbythelikesofSleepyLaBeef,RockRogers,LinkDavis,BobDoss,EddieNoack,BennyBarnes,GlennBarber,Jimmy&Johnny,RayCampi,TheBigBopperandGeorge"Thumper"Jones.Itwasreportedlyattheendofa1957JonessessionthatHarriswasgiventherareopportunitytocutacoupleoftracksinhisownright,andthetwostrongrockabillysides-"JitterbopBaby"and"IDon'tKnowWhen"-becameabigsuccessin1978whenAceRecordsissuedthemona10"LPand,subsequently,backtobackona45(rumourspersistthatthecouplingwasreleasedin1957onStardayoroneofitssubsidiaries,butnocopyhaseverbeenuncovered).Heenjoyedtwomorereleasesinthe'50s;"PleasePassTheBiscuits"(Dixie529)and"BoyCrazyJane"(Rainbow1203)andactedasSleepy

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LaBeef'smanagerbriefly,butbytheearly1960stheHoustonscenewasatalowebb;QuinnhadsoldhisGoldStarstudiotoHueyMeauxandRadioKRCTchangeditscallletterstoKIKKanditsformattoatop40Popstation.In1963,HalmovedbacktoJackson,remarried,andspenthislastthreedecadesquietlyasaborn-againChristian,workingasagospelDJandrecordingthreesoloreligiousLPs,untilhisdeathaged71in1992.

Page12 EsquireballroomnextFridaynight…:Thisbig,barnlikestructureoutontheHempsteadHighwayinHoustonisdescribedonpp.18-20ofthisglossary.Page13 Forcryin’inabucket:afavoritephraseofLouise’sboyfriend,theMcGraw-HillDictionaryofAmericanIdiomsandPhrasalVerbsdefinesitas“anexclamationofshock,anger,orsurprise”.AmericanHeritageDictionaryofIdiomscallsit“anexclamationofangerorexasperation”,synonymouswith“forcryingoutloud”.Itisdefinedas“aeuphemismfor‘forChrist'ssake.’[Colloquial;early1900s]”PinkandblackPontiac: The image below was the only one I found that was black and pink All the others were primarily pink, and I couldn’t see Louise naming a pink car “SEXY DUDE”. It’s a 1960 Pontiac Bonneville with a pink roof and hubcaps.

Pinkandblack1960PontiacBonneville

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White high-heeled pumps: Patsy’s signature shoe once she ditched the cowgirl garb Page17 Do-si-do:AccordingtoWikipedia,“Do-si-doordos-à-dosisabasicdancestepinsuchdancestylesassquaredance,contradance,polka,varioushistoricaldances,andsomereels.“ThetermisacorruptionoftheoriginalFrenchtermdos-à-dosforthedancemove,whichmeans‘backtoback’,asopposedto‘vis-à-vis’whichmeans‘facetoface’.Itisprobablythemostwell-knowncallinsquaredancingasidefrom,perhaps,"Promenade".Here’showit’sdone:https://www.youtube.com/watch?v=N_cQuBSo_jkPage18 Schlitz:SchlitzisthenamesakebeeroftheJosephSchlitzBrewingCompany,abrewerybasedinMilwaukeeWisconsin,whichwasoncethelargestproducerofbeerintheUS.

AnimageofSchlitzfroma60sad

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Schlitzwasknownas"ThebeerthatmadeMilwaukeefamous"andwasadvertisedwiththeslogan"Whenyou'reoutofSchlitz,you'reoutofbeer".AccordingtoWikipedia,“SchlitzfirstbecamethelargestbeerproducerintheUSin1902andenjoyedthatstatusatseveralpointsduringthefirsthalfofthe20thcentury,exchangingthetitlewithAnheuser-Buschmultipletimesduringthe1950s.”$350dollars…fourandonehalfhourswithonlyonefifteenminutebreak:WhenshemetLouise,PatsyhadonlyjustbeenreleasedfromherFour-Starcontract,whichdrainedherfinancially.Shehadn’thadahitinthethreeyearssince“Walkin’AfterMidnight”.“IFalltoPieces,”whichwasreleasedthreemonthsbeforesheandLouisemet,wasmakingaslowclimbupthecharts.AfterPatsy’scaraccidentfiveweekslater,“IFalltoPieces”wouldjumptothetopofthecharts,becominga#1hitandcatalyzingPatsy’sswiftandspectacularrise.AtthetimeshemetLouise,however,Patsywasstillneedingmakemoneybygoingontheroad.Thepayoffforahitrecordtookayear,shewasstillhurtingfromhercostlyFour-Starcontract,andsheneededtocontinuetogooutandmeetherpublicorthey’dforgether––commonwisdomoftheentertainmentworld,espousedbyhermanager,RandyHughes.Theequivalenttodayof$350is$2,835.61,notreallyalotwhenyouconsidertravel,musicians,andotherassociatedcosts.Page19 Charts:Patsywouldhavehadabinderofherownhand-writtenchordcharts,whichshe’dtaketoallhergigsanddistributetothemusiciansinherband.Achordchart––usuallysimplycalleda“chart”–isthemostcommonformofnotationusedbyprofessionalsessionmusiciansplayingjazzorpopularmusic.Aformofmusicalnotation,itdescribesthebasicharmonicandrhythmicinformationforasongortune.ForsingerslikePatsy,itisintendedprimarilyforarhythmsection,whichusuallyconsistsofpiano,guitar,drumsandbass.Musiciansareexpectedtobeabletoimprovisetheindividualnotesusedforthechords,knownasthe"voicing”,andtheappropriateornamentation,countermelodyorbassline.Wikipediadescribesthechartfurther:

Insomechordcharts,theharmonyisgivenasaseriesofchordsymbolsaboveatraditionalmusicalstaff.Therhythmicinformationcanbeveryspecificandwrittenusingaformoftraditionalnotation,sometimescalledrhythmicnotation,oritcanbecompletelyunspecifiedusingslashnotation,allowingthemusiciantofillthebarwithchordsorfillsanywayheorsheseesfit(called"comping").InNashvillenotation,thekeyisleftunspecifiedonthechartbysubstitutingnumbersforchordnames.Thisfacilitateson-the-spotkeychangestosongs.Chordchartsmayalsoincludeexplicitpartswritteninmodernmusicnotation(suchasamusicalriffthatthesongisdependentonforcharacter),lyricsorlyricfragments,andvariousotherinformationtohelpthemusiciancomposeandplaytheirpart.

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Achartfor“Crazy”doneinstandard,notNashvillenotationArpeggio:thenotesofachordplayedinsuccession,eitherascendingordescending.Sequinedcocktaildress:seedescriptionsonpagessixand24ofthisglossary.Burlesque:therhythmasdescribedhereasburlesquewouldbe“bump-and-grind”,likethatwhichwouldaccompanythemovementsofdancersinaburlesquedancehall.“cut-offs”:Cut-offs,cutoffsorcutoffsaresignalsaconductormakestomusicianstoindicatewhentostopthemusic.Theyareusuallyexecutedinthesametempo,dynamics

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andstyleasthemusic.Toachieveacutoff,thehandorhandsaremovedinsomevariationofacircularmotion.Page20 Frogstrangler:afrog-drowner,frogstorm,frogstrangler,isasuddenhardrain.Itcanalsobecalledagullywasher.Afrograinisaveryheavyrainaccompaniedbywindsproutsthatpickupsmallfrogsandshowerthemonnearbyland.(fromtheDictionaryofSmokyMountainEnglishbyMichaelB.MontgomeryandJosephS.Hall,UniversityofTennesseePress,2004)“jiving”:Louisehereisdancing.Thetermoncereferredtoaspecificwayofdancingtojazzorswingmusic,buthascomemoretomeanjust“groovin’”tothebeat.Page22 Workinginadrugstoreduringthedaytohelpsupportmymomma:AfterSamleftthefamily,PatsyquitHandleyHighSchooltosupporthermotherandsiblingsbyworking.Herfirstjobwasinachickenfactory,RockinghamPoultryonNorthKentStreet.RockinghamPoultryrequireditsemployeestobeatleast18,butPatsyliedaboutherage.Herjobwastostandinrubberhipbootsandcutthenecksofchickensastheydangledfromlinestiedtotheirfeet.Whentheforemandiscoveredshewasonly16,hefiredher.Patsycriedandpleadedtostay,explaininghowbadlythefamilyneededher(meager)paycheck,sohekeptheronanothertwoweeksuntilshesecuredajobworkingthecounterattheGreyhoundBusDepotinWinchester.ShesoonapproachedHunterGauntandhiswifeforajob.TheGauntsownedadrugstoreandsodafountainrightaroundthecornerfromPatsy’shomeonKentStreet.ThecouplesympathizedwithPatsy’sfamilysituationandgavetheresponsible

PatsyinherGauntsuniform.Shesignedthephoto“Virginia,”thenameshewascalledthen.

youngwomanajobasaclerkandfountainattendantattheirdrugstoreforminimumwage,whichwas75¢anhour,or$7.74now.HerjobatGaunts,coupledwithheremergingsinging

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career(describedbelow),gaveherlittletimeforsleep,letalonethecarefreeactivitiesofanormalteenager.Nevertheless,Patsywasexhilaratedbyherlife.“We[sheandthemusicians]wouldn’tgethomeuntilaboutthreeo’clockinthemorning.AfewhourslaterIwasupgettingreadytoworkinthedrugstore”(Patsy:TheLifeandTimesofPatsyCline).

SinginginclubsatnightinWinchester,Virginia:Intheearlierdaysofhercareer,Patsysanginclubs,butalsoinMooseHalls,firestations,carnivals,androadhouses.Patsypursuedhersingingcareerwithasingle-mindedintensityintheevenings,butstillmanagedtoworkherdayjobsdiligently.Herfirstclubgigwasataginmill,theMelodyLane,ontheoutskirtsofWinchester.Oneevening,thethen16-year-oldPatsyshoweduptherewithhermother.Hildaapproachedthepianoplayer,Ralph“Jumbo”Rinker,andintroducedherselfandPatsy.SheaskedJumboifhewould“playacoupleofsongsandletVirginiasing”.Shedid,thepatronslikedher,andshereturned.Shewouldgoontowinlocalamateurtalentcontests,andperformincharityeventsandonthelocalradiostation.Soon,shehadaregularSaturdaynightgigasthegirlsingerforthehouseband,theJackFretwellOrchestra,attheYorksInnonRoute11ontheoutskirtsoftown.Shewasacigarettegirlandhostessintheearlypartoftheevening,andlateronwouldsingfiveorsixnumberswiththeband,including“EmbraceableYou”,“TimeonMyHands”.“Stardust”,andaclubfavorite,“YouMadeMeLoveYou”.Shealsosangatanothervenue,innearbyFrontRoyal’sJohnMarshallNightclub.AccordingtoMargaretJonesinPatsy:TheLifeandTimesofPatsyCline,“Throughoutthistime,PatsycontinuedtosingatbeerjointsanddancehallslikeDonaldPatterson’sindowntownWinchesterwhereshewasstillsinging‘alittleonthepopmodernside,atfirst’,accordingtolocalmusicianBobArmel.”Patsy’slocalclubexperienceandexposureatothervenuesenabledhertoeventuallymovetoregionalTVpopularity,andfinallytonationaltelevisionstardom.YouknowthemcowgirloutfitsIusedtowear?Mymommasewedeachandeveryoneofthembyhand.Ilookdifferentnow,don’tI?:Hilda,aprofessionalseamstress,didindeedsewPatsy’scowgirloutfits.Only15yearsolderthanherdaughter,shewashergreatestchampion.Shevowedtohelpherdaughteranywayshecould.“ShecouldstretchpotatosandwichesandpenniestolastanydistancebetweenwheretheywereandthestagePatsyneededtogetto”(Patsy:TheLifeandTimesofPatsyCline).ToqualifyPatsyfortheArthurGodfreyTalentScoutsshow,Hildapretendedtobeheragent:https://www.youtube.com/watch?v=2IPoLm5XNawTheshowrequireditscontestantstobeaccompaniedbytheiragentortalentscout,andtheshow’stalentcoordinator,JanetteDavis,specificallytoldPatsyitcouldn’tbehermotherbecauseitmightprejudicetheaudience.Becausethetwowomenhaddifferentlastnames,PatsyandHildagotawaywithit.

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HildafittingPatsyearlyinhercareer HildaHensleyinlaterlife,holdingoneofthe manystageoutfitsthatshesewedforPatsy

JulieDickFudge,Patsy’sdaughter,isquotedinWikipedia,sayingofHildain1985:"Grannielovedmymothersomuchthatit'sstillhardforhertotalkabout[theaccident]."Thephotoontherightatteststothat.

Page23 Atigerbythetail:thestandarddefinition,tobeinadifficultordangeroussituationinwhichoneideallyshouldnotremain,butfromwhichonecannotwithdraw,don’tseemtoworkforwhatishappeningwithLouisehereaswellasthisstoryIfound.ItmakesmoresensebecauseitincludesthemovementthatLouseseemstobereferencingmorethantheperil:“Onceamanwaswalkinginthejungleandsawsomethingmovebehindatreeandgrabbedit.'It'turnedouttobethetailofatigerthatwasrestingontheothersideofthetree.Startledthetiger,triedtorunaroundthetreeandencounteredthemanholdingtheendofitstail.Asittriedtocatchhim,itstailyankedthemanawayfromit.Themansoonrealizedthathehadmadeaterriblemistakebuthadnorealchoice.Heheldontothetiger'stailasitchasedhimaroundthetree.”Shakealeg:atermmeaningtodance.Italsomeanstohurryup,somethingmydadwouldexhortustodowhenwehadtogetsomewhere.Page25 Shetakesoffherhighheels:somethingyoucouldexpecthertododuringaperformance.Adeledoesit,too.It’sacharacteristicofeachperformer.

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ALWAYS…PATSYCLINEGlossaryOctober2017,JewelTheatreCompanyShaunCarroll,Director©SusanMyerSilton,DramaturgeNote:thisglossarynotonlyprovidesworddefinitions,butincludesadditionalinformationrelevanttotheplayanditscharactersKey:DJ(discjockey),LA(LosAngeles),NYC(NewYorkCity),UK(UnitedKingdom),US(UnitedStates),WWI(WorldWarI)ACTIIPage28 MontagueHotel,Houston:TheMontagu(no“e”)HotelatFanninandRuskonthesoutherntipofdowntownHoustonwasfoundedinMarch1913asitsoriginalname,HotelCotton.Whenitopened,the11-storyskyscraperofferedresidentsposhroomsinaprimelocationforthebustlinglifeofHouston.Oneofthefirsthigh-risesinHoustontobemadefromconcreteandsteel,itsearlyadstouted"175fireproofrooms."Thehotel'sothersellingpointwasabathroomineveryroom.

AprintadforHotelCotton,1913 AnadforHotelMontaguinHoustonMagazine,Feb1955Aroundthetimeofthenamechangein1960totheMontaguHotel,however,theestablishmentbeganseeingmoreandmoresketchycharactersandactivities.Theonce

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prominentblockofdowntownbegantosuccumbtoeconomiccollapseandthedegradingsocialfabricofthearea.Theneighborhooddowngraded,itsbuildingswereboardedandtheMontaguandotherhotelsintheareaattractedcriminalactivitysuchasdruguseandprostitution.FrankandAlbertKalasboughttheMontaguin1975inhopestorestoreittoitsformerglory,butforthem,asfortheirpredecessors,thetaskproveddauntinglyexpensive.Theirnephew,GeorgeKalas,tookoverasgeneralmanagerinJuly2005,initiatingaslow,low-profilerenovation.Hishopewastofillanicheindowntownformidrange-pricedrooms,aswellasmaintainthefacilityforthehotel’slong-termmonthlyresidentsuntiltheynolongerneedtherooms.Manyhavelivedthere20yearsorlonger;othershavetransitionedintonursinghomes.

PatsywouldhaveseentheoriginalfrontstepfromtheHotelCottonhadshestayedattheMontagu

insteadofLouise’sthenighttheymetAnarticleintheHoustonChroniclein2007describedthe800blockofMainStreetas,“themostblightedblockinallofdowntown.”ThefacilitiesbecamenearlyimpossibleforKalastoupkeep,andwiththeriseofcompetinghotelsintheareaandthelackoffundingtoupdatethebuilding,hesoldittoHines,aninternationaldevelopmentfirm.TheMontaguwasimplodedonJanuary20,2008;HinesdemolishedtheentirecityblockexceptfortheStowersBuildingtomakewayforBGGroupPlace(atthetimeMainPlace).Partofa46-

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storyskyscrapernowsitsintheMontagu’splace.Deccarecords:DeccaRecordsisaUKrecordlabel,whichEdwardLewisestablishedin1929.Lewis,alongwithAmericanDecca'sfirstpresidentJackKappandlaterAmericanDeccapresidentMiltonRackmil,establisheditsUSlabelinlate1934.In1937,LewissoldtheAmericanarmofDecca,breakingthelinkbetweentheUKandUSDeccalabelsforseveraldecades.TheBritishlabelwasrenownedforitsdevelopmentofrecordingmethods,whiletheAmericancompanydevelopedtheconceptofcastalbumsinthemusicalgenre.BothwingsarenowpartoftheUniversalMusicGroup,whichisownedbyVivendi,amediaconglomerateheadquarteredinParis,France.Thename"Decca"waschosenasabrandnamebyWilfredS.Samuel,alinguist,asitwaseasytopronounceinmostlanguages.Hemergedtheword"Mecca"withtheinitialDoftheirlogo"Dulcet"ortheirtrademarkDecca"Dulcephone”,aportablegramophonepatentedin1914bymusicalinstrumentmakersBarnettSamuelandSons.AccordingtoWikipedia,“thatcompanywaseventuallyrenamedtheDeccaGramophoneCo.Ltd.andthensoldtoformerstockbrokerEdwardLewisin1929.Withinyears,DeccaRecordsLtd.wasthesecondlargestrecordlabelintheworld,callingitself‘TheSupremeRecordCompany’”.Inthe1950s,whentheDeccastudiosintheUSwerelocatedinthePythianTempleinNewYorkCity.Patsy’srelationshipwithDeccaisdetailedonpp.3-6ofthechronology.Page31 Crazy:“Crazy,whichhasgoneontosellmillionsofcopiesandcontinuestoholdthestatus,establishedin1997,asthenumberonejukeboxhitofalltime.ThecircumstancesaroundPatsy’srecordingofthesongaresointerestingthatNPRmadeaprogramandapodcastaboutit.AccordingtoNPRMusic’s“NPR100”,CharlieDickhelpedtofind"Crazy"forPatsy.HewasinabarwaitingforPatsy,andhefoundarecordonthejukeboxbyPaulBuskirkandHisLittleMenthathewantedhertohear.ThefeaturedvocalistwasHughNelson,nowknownasWillieNelson."LaterthatweekonSaturdaynight,IwasattheOpry,andItriedtobuythatrecordsomeplace,andtheydidn'thaveitbecauseitwasonasmalllabel,"Dicksaid.Nelson,whomhehadsubsequentlymet,gavehimacopy.“ItookithomeandlistenedtoitabouthalfthenightandkeptPatsyuphalfthenight,andshedidn'tthinktoomuchofthat.Andthat'swhenwefinallygotthedemoon'Crazy.'Shedidn'tthinktoomuchofthesong.Shejustdidn'tevenwanttohearWillieNelson'snamementioned.AndthenHankCochran,whowasasongpluggerforthepublishingcompanyWilliewaswritingfor,whenhecameovertobringthistapeof'Crazy'thathethoughtwassogood—Willieactuallysatinthecar;he

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didn'tcomeinthehouse,'causeI'dtoldhimwhatPatsysaidaboutmekeepingherupallnight.Sohewaitedoutside.Hedidn'twanttoloseasale."EveryoneinvolvedwithPatsy’seventualrecordingofthesongagreesthatitwasatoughsale.Atthetime,PatsyClinehadfinallyscoredthejobshehadalwaysdreamedof:shewaspartofthecastoftheGrandOleOpry.Sheconsideredherselfasacountrysinger,anddidn'tlikethevulnerableheartbrokensoundofsongslike"Crazy"and“Walkin’AfterMidnight”.ShebattledOwenBradley,insistedthosesongswereexactlyrightforher.Heeventuallywon,andwhen“IFalltoPieces”roseto#1onthecharts,shestoppeddoubtinghim.NPRcontinues:

"Patsyhadincrediblevocaltechnique,"saysPaulKingsbury,amusichistorianattheCountryMusicHallofFameandMuseum."Shewasaverypowerfulsingerandveryversatile,capableofgrowlingorpurring,vaultingoctaveswithease.Butbeyondjusttherawtechnique,Patsywasabletogiveyouawindowintohersoul.Youfeelthatyou'rehearingexactlyhowPatsyfeels,almostasifshewereaneighborcomingoverforacupofcoffeeandspillingherheartouttoyou."

Decca’s1962EP(extendedplay)releaseof“Crazy”

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Patsyrecorded"Crazy"inthesummerof1961,afterherterriblecaraccident.Shewasn’treallyreadytogobacktoworkatthetime,eitherphysicallyormentally.Infact,shewasunderdoctor’sordersnotto.However,OwenBradleyhadscheduledthefirstrecordingsessionandshecameintohearwhatBradleyhadinmindfortherecord.HehadplannedafairlycomplicatedproductionforWillieNelson'sunusualpieceofmusic.PaulKingsburysaid,

"Williewroteandwaswritingatthattime,early'60s,verydifferentsongsfromtypicalcountrymusicfare,"saysKingsbury."Insteadoftheusualthreeorfourchordsthatwerejustmajorchordsandsevenths,hewaswriting'Crazy'withjazzyminorsevenths,majorsevenths,minors.Ifyoucountthechords,thereareaboutsevenchordsin'Crazy,'verydifferentforacountrysongatthetime.AndalsoWilliewrotesomegreatlyrics.Therearesomewonderfulalliterationinthat,andWilliewasgoingthroughhisownromantictroubleswithhiswife,Martha,atthetime,andyouhearthatinhissongslike'Crazy'and'HelloWalls.'"

OwenBradleywantedtoproduceanewformofcountrymusic,andhadplannedanumberofinnovationsfor“Crazy”.Hewantedabackgroundvocaltoaddrichnessandsophistication,sohebroughtinTheJordanaires(seepp.56-57ofthisglossary),knownforrecordingwithElvisPresley.Bradleyalsohiredayoungpianoplayer,FloydCramer,toprovidewhattheothermusicianscalled"tinkling."Owenhadabassguitartoaddakindofjazzypercussiontothemix,andhesetasideanentirerecordingsessiontolaydownthebackgroundsoundwithoutPatsy'svocal,whichwasaddedaweeklater.Atatimewhenfoursongswereproducedinanaverageafternoonsession,Bradleygavethesongunusualattentiontodetail.Threeofthesessionmusicianswhowereontheoriginalrecordingof"Crazy"talkedtoNPRaboutit:BobMoore,thebassplayer,GordonStoker,thetopvoiceofTheJordanaires,andguitaristHaroldBradley,brotherofOwenBradleyandco-founderofthe“QuonsetHut”,where“Crazy”andsomanyotherseminalsongswererecorded.Aswasstandard,theyworkedthatdayfromaratherunadorneddemoofWillieNelsonsinging"Crazy".AccordingtoGordonStoker,PatsywasunimpressedwithNelson’sinterpretationofthesong.

"IrememberwhenPatsyheardthedemo,shesaid,'Look,Hoss,thereain'tnowayIcouldsingitlikethatguy'sa-singingit,'"Stokersays."Ialwaysgotsuchakickoutofthewayshetalked.Phrasing.Thephrasingofit.Thewayhecuthiswordsoffandchoppy.Shedidn'twanttodoitlikethat.Shewasn'tgoingtodoitthatway.""Yeah,"Mooreadds."Williewaitstillthechordhits,andthenhestartshisphrasing,andthenhe'llendupwithhisphrasingaheadonthat."

Butwhatabouttheartisticdisagreement—oratleasttension—betweenOwenBradleyandPatsyCline?"Whentheygotthehit'IFalltoPieces,'theydidn'thaveanymorearguments,"Mooresays."Butbeforethat,thereweresomeargumentsanddisagreements.Andoneofthethings,Ithink,wassomethingOwendidwastomake

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herslowdownthesongs.Andshedidn'twanttoslowthemdown.Andwhenyouslowthemdown,she'dputalotoffeelinginthere,butsometimesIthoughtshejusthadalotoffeeling'causeshewaskindofmadatOwenbecause,youknow,shewasn'treallythrilledoverdoingsomethingthatslow."

"Well,youknow,"Stokerchimesin,"atfirstwhenOwentoldushewasgoingtouseTheJordanairesonherrecording,she'dsaid,`Look,Idon'twantfourmalevoicescoveringmeup.'Hesaid,`Youjustleavethattome,Patsy.Youjustleavethattome,andyou'llbeallright.'"Thetick-tackbass—anoctavelowerthananormalguitar,andit'sanoctavehigherthanabass,inthemiddlebetweenapercussiveinstrumentandamusicalinstrument–wasimportanttotheuniquesoundoftherecording."Right,"Mr.Mooreconfirms."AndHaroldcouldturnthattrebleonituptowhereitwasrealtreble,anditwouldpickuphispick,andyougetaclick.Ifyouwanttoheararealgoodexample,rightattheveryend,Patsysays,'I'mcrazyforloving'—rightthere,thebandstops.Andwhenshesays,'you,'wecomebackinandplayjustabarandthreebeats.Andthetick-tackisverypredominantrightinthatplace.""HedefinedhisversionoftheNashvillesoundwiththetick-tackbassandthechinkguitar,"Bradleyadds."IrememberhowmuchIlovedit,"Mr.Stokersays."IknowIrememberthat.IrememberIwaspleasantlysurprisedathowgreatshedidit,withhowmuchfeelingshedidit."

Amusiclegendexiststhat"Crazy"wasrecordedinonetake;it’sbothtrueandnottrue.Thestudiomusicianswouldrecordtheirpartafterwhattheydeterminedwastherightamountofrehearsingandexperimentation.WhenPatsyClinecameinaweeklatertorecordthevocalof"Crazy,"shedidinfactsingitonlyonce.Thatonemagicalversionisstillsellingrecords.Youngsingersarestillmeasuringtheirowneffortsagainsthers.KathyMattea,acontemporarycountrysinger,marvelsattheideathatawomanlikePatsyClinecouldwalkintoastudioandsing"Crazy"onetimefromtheheart.

"Oneofthedownsidesoftechnologyisthatithasallowedusnottobelieveinmagicanymore,"saysKathyMattea."Andwhenmusicisatitsbest,it'slikethrowingupabutterflynetandcatchingamomentintime.And,youknow,whenyouworkittoohardandmakeittooperfect,youknow,it'slikeyoudon'tseetheforestforthetrees.Sometimestheflawsinsomethingorthemomentswhereit'snotperfectarewhatmakesitspecial."

Page35 Sheisawomanwithmanystrugglesandherlifeisnotaseasyasitmayseem:ItwasheartbreakingformetoreadallthatPatsyenduredthroughouthershortlife:thebiasagainstherbecauseofherbeginningsandwhereshelived;herchildhoodpoverty,

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itinerancy,lackofeducationalopportunities,exploitationbymenintheindustry,abuseatthehandsofbothherhusbands––nottomentionhercaraccidentandthesubsequentpain,disabilityandscarring.ShehadtopostponeaplannedplasticsurgerywhenCharliepunchedhersohardinthefacethatheopenedsomeofthescars.Theplanecrashoccurredsoonafter,sothesurgerywasneverdone.EllisNassour,inHonkyTonkAngel,quotesPatsy’ssisterSylvia,talkingaboutthehardtimeshestillhaslisteningtoPatsy’sfinalrecordings,suchas“SweetDreams(ofYou)”and“FadedLove,”becauseof“thehurt[shehears]inPatsy’svoice”overhermarriagetoCharlie,whomsheplannedtodivorce.LettersPatsywrotetoaspiringsingerMarieFlynt,publishedonNassour’swebsite,detailhertroubleswithCharlie.MarieandPatsybecame“fastandendearingfriends”aftertheymetin1959whenPatsyappearingataMarylandnightclubownedbyMarie’sfamily.Theirintimatecorrespondencelastedfouryears,untilamonthbeforePatsy’sdeath.InMay1961,withanewDeccaalbum,Showcase,zoomingupthecountrycharts,Patsy’smarriagetoCharlieDickbecamerockierthanever.InalettertoMarie,Patsywrote:“…Iwasreadytogetadivorce[.]I’mtiredofbeingleftonenightaweek[,]allnightlong&neverknowingwherehewas…”ShecomplainedthatCharliehadbeen“outallnightdrunk…I’msickofthis#%&#…Ifthese2kidsweren’there[,]Iwouldneverhavecomehome[fromaroadtour,]I’lltellyouthatforsure.I’matthepointwhereI’mjustsickinhealth,happiness&mymind&nervesareshot…”PorterWagoner,atall,lankycountrysingerknownforhisglitterysuitsandblondpompadour,touredwithBrendaLeeandPatsyin1957.Laterdubbed“Mr.GrandOleOpry,”WagonerwouldbecomefamousforintroducingnewCountrysingers(DollyPartonwasone)onhisCountrymusicvarietytelevisionshow,whichairedfrom1960-1981.InaninterviewwithNassourforhisbook,Wagonersaid,““...Stardom,whetherahusband’sorawife’s,isaterriblethingtobringtoamarriage...“.NotonlydidPatsyprioritizehercareeroverhermarriage,shehadaffairswhileontheroad.PorterandFaronYoung,anotherCountrysingerwhotouredwithPatsy,spoketoNassourabouttheiraffairswithherwhiletouring.“WhenPatsywasoutworkingwithme,”Youngstated,“Charlie’dgetdrunkandcalltoaccuseherofthings.Andhe’dbehomedoingjustwhathewasaccusingPatsyof.”“WhatreallybotheredCharlie,”FaronYoungasserted,“especiallyifhewasdrinking,waswhensomeonecalledhim‘Mr.Cline’orintroducedhimas‘PatsyCline’shusband.’That’sanaturalegothingtopissyouoff.Whetheryou’rethehusbandorwife,whenyouhavesomebodyinthebusiness,youhavetoacceptbeingrelegatedtothebackground.”YoungdescribedthetwosidesofCharlie.“Sober,Ilovehim.HetriedtodoalotforPatsy.Helovedherandthemkids.HehadajobatthenewspaperprintingplantbutworkedlikethedickensforPatsy.He’dgoaroundtotherecordcompaniesandcallandwritethedeejays.“But,hotdamn,ifhe’sdrunkandIseehimcoming,I’llcrossthestreettogetawayfrom

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him.Hegetssodamnbelligerent.CharliewouldbeatPatsyaroundandchewheroutsomethingterrible.HewasjustaJekyllandadamnHyde!”

FaronYoungandPatsy,1957

InSeptember1961,fromaletterpostedonNassour’swebsite,PatsywroteMarie:“…it’sthesameolething[.]…heproceededtogetdrunkeverydam[n]night…Igetsodam[n]fedup[,]Icouldscream.I’matthatpointagainwhereitdon’t[sic]matterwhereheistomeanymore.He’sjustnotmanenoughtotakeit…ImeanthehavingmewhereIamnow[asastar]&awife.ButI’mgonnaputawayasmuchofthismoneyasIcan&thenwhenIgetsickenoughofitI’llbeabletolivewithout[sic]mydam[n]man…”ByOctober1961,PatsywroteMariethatshewasfilingfordivorce.Infact,PatsytoldjustaboutanybodywhowouldlistenthatshewasreadytodumpCharlie,but,inspiteofbitterarguments,accusationsandwildfights,theyalwaysmanagedtopatchtheirdifferences.However,early1963when,accordingtoPatsy’smother,HildaHensley,andbestfriendsDottieWestandRogerMiller,Patsysawanattorneyandhaddivorcepapersdrawnup.Nassourwritesinhisbook,“TheonlythingsPatsybequeathedtoCharliewere‘mywesterndesigneddenfurniture,ahi-fistereorecordplayerandradio,recordsandalbumsandtaperecorderandblondfloormodeltelevisionset...[and]whatevermakecarwehaveatthetimeofmydeath.’HegotPatsy’sCadillac—andalifetimeofhugeroyalties.”Ifhedidindeedgetallherroyalties,thatwascontrarytothewillPatsywroteonApril22,1961,lessthantwomonthsbeforehernear-fatalcaraccident.Shestatedthather“royaltiesof5%ofeach

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recordingsoldofthesaidrecordingcompanytowhomI’mcontractedwithatthetimeofmydeathoranyroyaltiespaidtomethereafter,IwishthemoneytogotothecareandeducationofJulieS.andAllenR.Dick”.Page37 Greasedlightning:AccordingtoThePhraseFinder,greasedlightningmeans“veryfast”.Itgoeson:

Lightninghasbeensynonymouswithspeedformanycenturies.Itis,afterall,anaturalphenomenonknowntoeveryoneintheworld,thatisevidentlyrapid.…Lightningwasawardedits'fast'meaningasearlyasthe17thcentury;forexample,ThomasComberuseditinthedevotionaltext,ACompaniontotheTemple,1676:"NowiftheAttendantsbebrightastheSun,quickasLightning,andpowerfulasThunder;whatisHethatistheirLord?"'Greased'isclearlyanintensifier,alinguisticdeviceeversincepeoplefirstfelttheneedtoexaggerate.Inthewaythatpeoplewerefirst'mad'andthosewhowerealittlemoremadwere'ravingmad'andthemoremadstillwere'stark,ravingmad','greasedlightning'ismeanttoconveythemeaningof'veryfastlightning'.Incidentally,lightningboltsdon'ttravelatthespeedoflightasonemightimagineandtheirspeedisvariabledependingonatmosphericconditions;theyarefingersofplasmaratherthanbeamsoflightandtheirrateoftransmissionisconsiderablyslowerthanthatoflight.Thefirstusesof'greasedlightning'arefromtheearly19thcentury;forexample,theEnglishnewspaper,TheBoston,Lincoln,Louth&SpaldingHerald,publishedastoryinJanuary1833,whichincludedthetext"Hespokeasquickas'greasedlightning'".

Squawboots:“Squaw”bootsareastyleofWesternbootsonamedastheyreplicatethetall,rawhidemoccasinswornbyNativeAmericanwomenandmenaspartoftheirtribaldress.Thebootswereoftenadornedwithfringe,buttons,beadingandrawhidelaces,andforthewintermonths,wereoftenlinedinfur.Theywenttothekneeandhadaflatsole,oftenstitchedliketheshortermoccasins.Thephotosonthenextpageshow,clockwise,apairofKIOWAwomen'sbeadedhideboots,Comanchehighmoccasinsfromthelate19thcentury,andbeadedbootsfromthe1800s.Thebeadedbootsaredescribedashaving“whatlookslikeSiouxbeadwork,butbootsweretypicallySouthernplains”.ThephotooftheComanchebootsisdescribedintheJohnMollaryGalleryofNativeAmericanantiqueandcontemporaryart;“Thispairoflate19thcenturyComanchehi-topsmoccasinspaintedwithgreenandyellowochrepaintandheavilyornamentedwithGermansilverbuttonswascollectedbyAmosGottschallnearCacheRiver,OK”.

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ApairofKIOWAwomen'sbeadedhidebootsLate19thcenturyComanchehighmoccasins

“Squaw”bootsfromthe1800s

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Patsyinfullcowgirlregalia,including“squaw”boots,circa1957

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GoldlaméWesternslacks:Patsywasfondofclothes,andespeciallylikedsequinsandshinyfabricswhenshemadepublicappearances.Thepicturebelowshowssomeofheroutfits.Thegoldlamépantsareontheleft.TheskirtLouissewedforherfromthedefinitiononpp.37-38oftheglossaryisontheright:

Patsy’sclothingdisplayintheCountryMusicHallofFame

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Page38 Deatheatin’acracker:(alsoheardas“Youlooklikedeatheatingasodacracker,”asodacrackerbeingasaltinecracker,oralittlesquareofunleavenedbread,sometimeswithabitofsaltontop,sometimeswithout;and”Youlooklike“deatheatin’acrackerwalkin’backwards,”whichisanAppalachianexpressionmeaning,“youlookterrible(orsick)”)“Likedeatheatingacracker”hasbeenreportedtobeaSouthernexpression,especiallyinKentucky.“Likedeatheatingacracker”anditsvariantshavebeencitedinprintsinceatleast1949.RalphEllison’snovelInvisibleMan(1952)includedthefoodvariant“lookinglikedeatheatingasandwich.”TheauthorRitaMaeBrownhasused“likedeatheatingacracker”inhernovelsLooseLipsandSixofOne.TheresidentsofGlory,atowninWestVirginiathatDavisGrubbwritesaboutinhiscollectionofshortstories,ThePeopleofGlory,usethephrase.ItisalsousedintheLeRoiJonesplayDutchman,Therewereseveraldefinitionsavailableforthisphrase,butmyfavoritecamefromDefininithing.com:“aphrasetodescribesomebodywholookssovile,driedupandoldthattheyareneardeath.becausetheonlythingthatisworsethen[sic]lookinglikedeathislookinglikedeathattemptingtoeatafoodthatdriesyouup.dude[sic]yourneighborlookslikedeatheatingacracker.Likeanarmadilloinheat:Icouldn’tfindanythingspecificaboutthemeaningofthisexceptthatit’sverylikelyTexan,astheytendtohaveidiomaticexpressionsthatinvolvearmadillos.Armadillosareknowntoshufflealongfairlyslowly,possiblyduetotheirverylowmetabolicrate.Ormaybetheyarejustplainlazy.Theywillrunafterpreyandalsoafteranotherarmadillotheyareamorouslyinterestedin.Armadillosdonotformbonds,andthefatherdoesnotstaytohelpraisetheyoung.Judgingbythephotobelow,Icanunderstand

Armadillo

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why.I’dhavenointerestinwakinguptothat,unlessmaybehegotawaxandanailtrim.HereisaYouTubevideocalled“MatingfrenzyofSix-BandedArmadillos3”:https://www.youtube.com/watch?v=Eu2mpJ08NpkThearmadillosdon’tstartrunninguntil:56,whenanotheroneinterruptstheothertwogoingatit,whichisanexpressionthatdoesn’treallyapplytoarmadillosintheactofprocreation,becausejudgingfromthevideothereislittle“going’involved.Thereareactually8ofthese“matingfrenzy”videosofarmadillos.Idon’tunderstandpeople.They’vepostedvideosalloverYouTubeofsloths,raccoons,koalas,possums––younameit––mating.Whatistheattraction?Pleasedon’ttellmeithastodowithscience.Page40 Inlessthantwoweeks,IreceivedthefirstinalongseriesoflettersandtelephonecallsfromMissPatsyCline…IreceivedmyfirstletterMay29,1961:Hereisthetextofthatletter,reprintedfromEllisNassour’sbook:

May29,1961DearLouise&All,WantedtotaketimeouttowritealineortwotothankyoufolksforthenicewayyoutreatedthisolecountrygalwhileIwasthere.Isuredoappreciateallyoudone,becauseifyouhadn’tbeensoniceIwouldn’thavebeenabletogototheradiostation.MysincerethanksandhopeIcanbeasnicetoyouallsometime.TellHal“hello”forme.Hopethisfindsyouwellandthingsgoinggreat.Asforme,thekidsandmyselfarefineandhellisstillapoppin’ofcourse.Ha.Don’tknowhowmuchlongerIcanstandthiswayofliving,butthelittleonesalwayscomefirstwithme.TillthenI’llgrinandbearit.Ha.Nowforthereallybignews.WellI’mnearlyuponthemoonanddon’tneedarocket.Myrecordsold10,000inDetroitlastweekaloneandishittingallpopcharts.It’s#1onbothpopstationshereinNash.&isthe#1selleratDeccaandisalreadybeingputin3albumsrightawayofdifferentartists.Idothe5StarJubileeonJuly7th,andit’sincolor.Swingin’huh?IthinkItoldyouI’mgettingthingsinshapefortheDickClark[show]butdon’tknowthedateyet.ButI’llletyouknow.I’mgoinghomenextTuesdayandwhilethere,theyareproclaimingaPatsyClineDayinmyhometown.Ain’tthatakickinthehead?Iwishtheywouldjustleftitlikeitwas,butIdoappreciatethenoisetheyarekickingup.SoIguessI’llhavetodowhattheywantthatday.Themayorisgonnabethereandrecognizemeandsoon.Anyway,itsureisagoodfeeling.Ican’treallybelieveit.GuessI’dbettercloseandgetbusywiththisironingI’vegothere.

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Besureandkisstheboy[Louise’sson]forme.Hesureisadollandtellthecouplethatwastherethatnight“hello”andIhopeIdidn’tborethemwithmytroubles,andIthinktheyarewonderfulfolks.IstillwantallofyoutocomedowntoseeusandtheOpry.Sowritesoonandthanksagain.(Dallaswasaswingin’date.)Hopetoseeyouagainsoon.

Love&Luck,PatsyCline&Family

Whenshewrites,“Dallaswasaswingin’date,sheeitherforgotitwasHoustonwhereshevisitedLouise,orshewastellingLouisethathersubsequentdateinDallaswentwell.Page41 FiveStarJubilee(Fridaynights,NBCTV,Springfield,Missouri,OzarkJubilee)onJuly7,andit’sincolor:PerWikipedia:

FiveStarJubileeisanAmericancountrymusicvarietyshowcarriedbyNBC-TVfromMarch17–September22,1961.Theliveprogram,aspin-offofABC-TV'sJubileeUSA,wasthefirstnetworkcolortelevisionseriestooriginateoutsideNewYorkCityorHollywood.FromMarch17toMay5,theweeklyshowairedonFridaysfrom8–8:30p.m.EasternTime,butmovedto8:30–9p.m.fromMay12toSeptember22.Theseriesfeaturedfiverotatinghosts:SnookyLanson(firstshowMarch17),TexRitter(March24),RexAllen(March31),JimmyWakely(April7)andCarlSmith(April14).AllfiveappearedontheMay12show,whichwasthefirstincolor.ProducedfromtheLandersTheatreinSpringfield,Missouri,theprogramwassimilartoJubileeUSAandfeaturedsomeofthesamecast,includingBobbyLord,CecilBrower,SpeedyHaworthandSlimWilson'sJubileeBand.BarbaraMandrell(whohadtouredwithRedFoleyandaJubileeUSApersonalappearanceunit)madehernetworkdebutontheprogramatage12.ThefinalprogramwashostedbyFoley,whoalsoappearedontheJuly7show.InAprilhehadbeenacquittedoftaxevasioncharges,whichwerebelievedtohaveoriginallykepthimoutofconsiderationasahost.ThesponsorwasMasseyFerguson.FiveStarJubileedebutedMarch17,1961inblack-and-white,butswitchedtocoloronMay12.Thefirsttwocolorprograms(May12and19)werevideotapedbeginningat1:30a.m.localtimeFriday(forplaybackthatevening)afternearbyKTTS-AMsignedoffat1:00a.m.,becauseofunforeseenRFinterferencefromitstransmitterwiththecolorTVpicture.Despitethehour,bothshowshadaudiencesatthetheater.NBCresolvedtheproblemfortheMay26program,whichwasthefirstlivecolorshow.Theserieswasairedby150NBCaffiliates,althoughnotbyWNBC-TVinNewYork.

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Patsywasunderstandablyexcitedabouttheshowbeingbroadcastincolor,asitwasthefirstcolorTVseriesoutsideNewYorkCityorHollywood.MasseyFergusonisanAmerican-ownedmajormanufacturerofagriculturalequipment.Thecurrentbusinesswasformedbythe1953mergeroffarmmachinerymanufacturersMasseyHarrisofCanadaandBritain'sFergusonCompanyunderthenewnameMasseyHarrisFerguson.In1958,thenamewasshortenedtoMasseyFerguson.TodayMasseyFergusonremainsamajorselleraroundtheworld.TheWikipediaarticleliststhetalentthatperformedintheshow,butPatsyClinewasn’tamongthem.There’sagoodchanceshewasn’tabletosingontheshow,ashercaraccidentwasonJune14,1961,onlythreeweeksbeforeshewasscheduledtoperform.TheshowwentofftheaironSeptember22,1961,sotheymaynothavebeenabletogetheron.

PicturedlefttorightareTexRitter,JimmyWakely,SnookyLanson,CarlSmithandRexAllen

attheLandersTheatre.NotetheMasseyFergusontractoratright.Ain’tthatakickinthehead?:TheFreeDictionarydefines“akickinthehead”as:1.Athoroughlydevastatingordisappointingsetbackorfailure.

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2.Aharshpunishment(orremedy)foractingfoolishlyormalevolently.Usuallyusedprescriptively(i.e.,"(someone)needsakickinthehead").“Ain’tThataKickintheHead”wasalsoaverypopularsongatthattime,havingbeenrecordedbyDeanMartininaNelsonRiddle-arrangementforhis1960albumThisTimeI'mSwingin!Itdidn'tmakethecut,butthatsameyear,heperformeditinthemovieOcean's11inanalternatearrangementwithRedNorvoandHisQuartet.Page42 PatsyClinehadbeenkilledinanairplanecrashonherwaybacktoNashville.Shewas30yearsold.IthadonlybeensixyearssinceIfirstheardPatsysingontheArthurGodfreyShow:Patsy'scareerwasalltoobrief.ShediedonMarch5,1963,inaplanecrashinCamden,Tennessee.Detailsaboutitareprovidedthroughoutthisglossary,aswellasseparatelyinthechronology.ThatSaturdaynightItunedinmyradiotoalivebroadcastoftheGrandOleOpry:ExactlyasLouisedescribes,theGrandeOleOprydidalivetributeonlyfournightsafterthecrashinhonorofRandyandtheCountrystarswhowerelost.However,thiswasnotthewayLouiselearnedofPatsy’sdeath.ShehadmovedtoManaus,Brazil,withherchildrenandthen-intendedhusband.ItwastherethatshefoundoutaboutPatsy’sdeath.(Seepage11oftheglossary.)Jordanaires:ThefirsttimePatsyworkedwiththeJordanaires,agospelquartetwhohadbeenprovidingbackupforElvis,wasintheDeccaStudiosonJanuary8and9,1959.Theyrecordedthesongs“I’mMovingAlong,”“I’mBlueAgain,”“Love,Love,LoveMe,Honey,Do,”“GottaLotofRhythminMySoul”and“Yes,IUnderstand.”ItwasOwenBradley’sideatousethemasbackupforPatsy,andPatsywasnonetoohappyaboutit––surprising,sincethegroupwasoneofthemostin-demandpropertiesintown,oftendoinguptothreesessionsaday.GordonStoker,leaderoftheJordanaires,hasinsightfulmemoriesofPatsythatday,whichhetoldtoEllisNassourforhisbook:

WebeganworkingwithPatsyonthoseJanuary1959sessions.AlotofpeopletookPatsytobeunfriendly,whichwecertainlyfoundoutaboutrightaway.Shedidn’twantus,and,afterafewminutes,wedidn’twanttobethere.SheyelledatOwen,‘I’veneverhadanythinglikethis!Idon’twantfourguyssingingandcoveringmeup.’Westoodthereredfacedanddidn’tknowwhattodo.Owengaveasigntotakeabreak.Andwe’djustgottenthere!HetookMissClineasideandtheyhadapowwow,andwecouldseethesmokesignalsrising.“Whenshereturned,itwas,‘Hello,guys,I’mPatsy.’Weintroducedourselvesandshesaiditwasnicetomeetusafterallshe’dheard.Wesaidhowpleasedweweretobeworkingwithher.ItmighthavebeenNeal[Matthews]orHoyt[Hawkins],butoneofthemsaid,‘Andwe’veheardalotaboutyou,too!’Therewewere,allsmilesandlaughing.

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Sheapologized,assheputit,foractinglikeahorse’sass.And,Ithinkitwas—well,Iwon’tsay.Butsomeonecommented,‘Andaniceoneitis,too.’Sheraisedhervoicetousmorethanonce,butitwasjusttheartistbubblingover.Patsycouldbecoldtothoseshedidn’tknow.However,thatwasrare.Shehadalotofrespectforthosewhoworkedwithher,andwehadgreatrespectforher.Infact,wegottoloveherlikeasister—andsometimesthat’sthewaywehadtotreather.

TheJordanairesalsorecorded“ACloserWalkWithThee”and“Life’sRailwayToHeaven,”afavoriteofPatsy’ssinceherdaysatGoreBaptistChurch.InNovember,theyrecorded“IFallToPieces”withPatsy,promptingHankCochran,whoco-wrotethesong,totellEllisNassour,“ThewayOwenusedtheJordanaireswaswonderful.Theendresultisnothinglikethedemowecut.”TheJordanairesdidthebackupvocalsformanyotherPatsysongs.Theyparticularlyshinedon“Crazy,”whichwasrecordedinthesummerof1961.InNovemberofthatyear,aweekafterthesongenteredboththeBillboardPopandCountrycharts,Patsy’ssecondalbum,PatsyClineShowcase,wasreleased,withtheJordanairesreceivingfeaturedbilling.Page42 TrueLove:OnAugust17,1961,Patsy,onlytwomonthsafterherautomobileaccident,hobbledoncrutchesintoasessionthathadbeenlong-plannedbyOwenBradley.EllisNassourdescribestherecording:

Theystartedwith“TrueLove,”byColePorter.ThetunewassungbyBingCrosbywithaslightassistfromGraceKellyinthe1956musicalfilmhitHighSociety.Onhertrack,theviolinintroducesPatsy’slow-keyvocal.SheevenhadtheaudacitytomimicDecca’smultimillion-sellingsuperstarbyhummingonthesameversewhereCrosbycrooned.WhenyouhearPatsy’srendition,rendition,it’simpossibletoreconcilethesimplebeautyshemanageswithhercrass,brassytomboyishpersonality.Bradley’sproductionmarkedamilestoneincountrymusic.“That’swhenIbeganlettingthestringscreepin.Itwasn’tintentional.Wejustthoughtitsoundednice.“Patsylikedabig,fullsoundanddidn’tcareifthatmeantalushstringarrangement.Wewalkedafinelinebetweencountryandpop—prettyfaraheadofthewaythingswerebeingdone.”

Page43 PatsyturnsandsingstoLouise,whoseesherasaguardianangel:LorettaLynndid,too;shewroteaboutitinherforewordforMargaretJones’book:“IdoknowPatsyandIhaveapsychicbond.Ihavedreamsaboutherandsometimesshecomestome.Iknowthatsheguidesmeandafeelshe’shere.”

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Page44 Cutsthe“rumble”off:rumbleisdefinedas“acontinuousdeep,resonantsoundlikedistantthunder”,soIguessit’sanotherwayofsaying“thunderousapplause”.SourcesCitedPatsy:TheLifeandTimesofPatsyClinebyMargaretJonesHonkyTonkAngel:TheIntimateStoryofPatsyClinebyEllisNassour