Answer the question at the end by quoting:

Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 - March 5, 1963) was an American country music singer and part of the Nashville sound during the late 1950s and early 1960s. She successfully "crossed over" to pop music and was one of the most influential, successful, and acclaimed vocalists of the 20th century. She died at age 30 in the crash of a private airplane. Cline was known for her rich tone, emotionally expressive and bold contralto voice, and her role as a country music pioneer.
Bill Peer, her second manager, gave her the name Patsy, from her middle name, Patterson. (Bill Peer, who had a country music band in Brunswick, MD, also had an infant daughter named Patsy). In 1955 he gained a contract for her at Four Star Records, the label he was then affiliated with. 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 co-wrote the last 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 country fiddle and steel guitar. She often rebelled, only wishing to sing country and yodel. She recorded 51 songs with Four Star.

Who was her manager at the time?

Bill Peer, her second manager,



Answer the question at the end by quoting:

William James Dixon (July 1, 1915 - January 29, 1992) was an American blues musician, vocalist, songwriter, arranger and record producer. He was proficient in playing both the upright bass and the guitar and was a capable singer, but he is perhaps best known as one of the most prolific songwriters of his time. Next to Muddy Waters, Dixon is recognized as the most influential person in shaping the post-World War II sound of the Chicago blues. Dixon's songs have been recorded by countless musicians in many genres as well as by various ensembles in which he participated.
Dixon signed with Chess Records as a recording artist, but he began performing less, being more involved with administrative tasks for the label. By 1951, he was a full-time employee at Chess, where he acted as producer, talent scout, session musician and staff songwriter. He was also a producer for the Chess subsidiary Checker Records. His relationship with Chess was sometimes strained, but he stayed with the label from 1948 to the early 1960s. During this time Dixon's output and influence were prodigious. From late 1956 to early 1959, he worked in a similar capacity for Cobra Records, for which he produced early singles for Otis Rush, Magic Sam, and Buddy Guy. He later recorded for Bluesville Records. From the late 1960s until the mid-1970s, Dixon ran his own record label, Yambo Records, and two subsidiary labels, Supreme and Spoonful. He released his 1971 album, Peace?, on Yambo and also singles by McKinley Mitchell, Lucky Peterson and others.  Dixon is considered one of the key figures in the creation of Chicago blues. He worked with Chuck Berry, Muddy Waters, Howlin' Wolf, Otis Rush, Bo Diddley, Joe Louis Walker, Little Walter, Sonny Boy Williamson, Koko Taylor, Little Milton, Eddie Boyd, Jimmy Witherspoon, Lowell Fulson, Willie Mabon, Memphis Slim, Washboard Sam, Jimmy Rogers, Sam Lay and others.  In December 1964, the Rolling Stones reached number one on the UK Singles Chart with their cover of Dixon's "Little Red Rooster". In the same year, the group also covered "I Just Want To Make Love To You" on their debut album, The Rolling Stones.

In what way did he work with them?

he produced early singles for Otis Rush, Magic Sam, and Buddy Guy.



Answer the question at the end by quoting:

Nicholas Edward Cave  (born 22 September 1957) is an Australian musician, singer-songwriter, author, screenwriter, composer and occasional film actor, best known as the frontman of the rock band Nick Cave and the Bad Seeds. Cave's music is generally characterised by emotional intensity, a wide variety of influences, and lyrical obsessions with death, religion, love and violence. Born and raised in rural Victoria, Cave studied art before turning to music in the 1970s. As frontman of the Boys Next Door (later renamed the Birthday Party), he became a central figure in Melbourne's burgeoning post-punk scene.
Cave released his first book, King Ink, in 1988. It is a collection of lyrics and plays, including collaborations with Lydia Lunch. In 1997, he followed up with King Ink II, containing lyrics, poems, and the transcript of a radio essay he did for the BBC in July 1996, "The Flesh Made Word," discussing in biographical format his relationship with Christianity.  While he was based in West Berlin, Cave started working on what was to become his debut novel, And the Ass Saw the Angel (1989). Significant crossover is evident between the themes in the book and the lyrics Cave wrote in the late stages of the Birthday Party and the early stage of his solo career. "Swampland", from Mutiny, in particular, uses the same linguistic stylings ('mah' for 'my', for instance) and some of the same themes (the narrator being haunted by the memory of a girl called Lucy, being hunted like an animal, approaching death and execution). On 21 January 2008, a special edition of Cave's novel And the Ass Saw the Angel was released. Cave's second novel The Death of Bunny Munro was published on 8 September 2009 by Harper Collins books. Telling the story of a sex-addicted salesman, it was also released as a binaural audio-book produced by British Artists Iain Forsyth and Jane Pollard and an iPhone app. The book originally started as a screenplay Cave was going to write for John Hillcoat.  Aside from movie soundtracks, Cave also wrote the screenplays for Hillcoat's The Proposition in 2005, and Lawless (based on the novel by Matt Bondurant) in 2011.  As proof of his interest in scripture, so evident in his lyrics and his prose writing, Cave wrote the foreword to a Canongate publication of the Gospel according to Mark, published in the UK in 1998. The American edition of the same book (published by Grove Press) contains a foreword by the noted American writer Barry Hannah.  Cave is a contributor to a 2009 rock biography of the Triffids, Vagabond Holes: David McComb and the Triffids, edited by Australian academics Niall Lucy and Chris Coughran.

Did he write for any movies or film?
Aside from movie soundtracks, Cave also wrote the screenplays for Hillcoat's The Proposition in 2005, and Lawless (based on the novel by Matt Bondurant) in 2011.