Problem: 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.

Was there any issues with tFour star records?

Answer with quotes: According to Decca Records producer Owen Bradley, the Four Star compositions only hinted at Patsy's potential.


Problem: Chayefsky was born in The Bronx, New York City to Russian Jewish immigrants Harry and Gussie Stuchevsky Chayefsky who came from Moscow to New York in 1907. He had two older brothers, William and Isidor. He spent part of his youth in Mount Vernon, New York.

He moved into television with scripts for Danger, The Gulf Playhouse and Manhunt. Philco Television Playhouse producer Fred Coe saw the Danger and Manhunt episodes and enlisted Chayefsky to adapt the story It Happened on the Brooklyn Subway about a photographer on a New York subway train who reunites a concentration camp survivor with his long-lost wife. Chayefsky's first script to be telecast was a 1949 adaptation of Budd Schulberg's What Makes Sammy Run? for Philco.  Since he had always wanted to use a synagogue as backdrop, he wrote Holiday Song, telecast in 1952 and also in 1954. He submitted more work to Philco, including Printer's Measure, The Bachelor Party (1953) and The Big Deal (1953). One of these teleplays, Mother (April 4, 1954), received a new production October 24, 1994 on Great Performances with Anne Bancroft in the title role. Curiously, original teleplays from the 1950s are almost never revived for new TV productions, so the 1994 production of Mother was a conspicuous rarity.  In 1953, Chayefsky wrote Marty, which was premiered on The Philco Television Playhouse, with Rod Steiger and Nancy Marchand. Marty is about a decent, hard-working Bronx butcher, pining for the company of a woman in his life but despairing of ever finding true love in a relationship. Fate pairs him with a plain, shy schoolteacher named Clara whom he rescues from the embarrassment of being abandoned by her blind date in a local dance hall. The production, the actors and Chayefsky's naturalistic dialogue received much critical acclaim and influenced subsequent live television dramas. Chayefsky had a unique clause in his Marty contract that stated that only he could write the screenplay, which he did for the 1955 movie.  Chayefsky's The Great American Hoax was broadcast May 15, 1957 during the second season of The 20th Century Fox Hour. This was actually a rewrite of his earlier Fox film, As Young as You Feel (1951) with Monty Woolley and Marilyn Monroe. The Great American Hoax was shown on the FX channel after Fox restored some The 20th Century Fox Hour episodes and telecast them under the new title Fox Hour of Stars beginning in 2002.

Did he write this show, or act?

Answer with quotes: first script to be telecast


Problem: Chester Charles Bennington was born on March 20, 1976, in Phoenix, Arizona. His mother was a nurse, while his father was a police detective who worked on child sexual abuse cases. Bennington took interest in music at a young age, citing the bands Depeche Mode and Stone Temple Pilots as his earliest inspirations, and dreamed of becoming a member of Stone Temple Pilots, which he later achieved when he became their lead singer. Bennington suffered sexual abuse from an older male friend when he was seven years old.

Bennington was frustrated and almost ready to quit his musical career altogether when Jeff Blue, the vice president of artists and repertoire at Zomba Music in Los Angeles, offered him an audition with the future members of Linkin Park. Bennington quit his day job at a digital services firm and took his family to California, where he had a successful audition with Linkin Park, who were then called Xero. He managed to record the song for his audition in a day, missing his own birthday celebration in the process. Bennington and Mike Shinoda, the band's other vocalist, made significant progress together, but failed to find a record deal. After facing numerous rejections, Blue, now a vice president of artists and repertoire at Warner Bros., intervened again to help the band sign with Warner Bros. Records.  On October 24, 2000, Linkin Park released their debut album, Hybrid Theory, through Warner Bros. Records. Bennington and Shinoda wrote the lyrics to Hybrid Theory based on some early material. Shinoda characterized the lyrics as interpretations of universal feelings, emotions, and experiences, and as "everyday emotions you talk about and think about." Bennington later described the songwriting experience to Rolling Stone magazine in early 2002, "It's easy to fall into that thing - 'poor, poor me', that's where songs like 'Crawling' come from: I can't take myself. But that song is about taking responsibility for your actions. I don't say 'you' at any point. It's about how I'm the reason that I feel this way. There's something inside me that pulls me down."  Bennington primarily served as Linkin Park's lead vocalist, but occasionally shared the role with Shinoda. All Music Guide described Bennington's vocals as "higher-pitched" and "emotional", in contrast to Shinoda's hip-hop-style delivery. Both members also worked together to write lyrics for the band's songs.

Did the group Linkin Park have any albums out?

Answer with quotes: