Question:
Johnny Burnette was born to Willie May and Dorsey Burnett Sr. in Memphis, Tennessee. (The "e" at the end of his name was added later.) Johnny grew up with his parents and Dorsey Jr. in a public housing project in the Lauderdale Courts area of Memphis, which from 1948 until 1954 was also the home of Gladys and Vernon Presley and their son, Elvis.
Now unemployed in Memphis, Burnette decided to try his luck in California. He and a friend, Joe Campbell, hitchhiked to the West Coast, where they joined Dorsey. With their past differences forgotten, the brothers attempted to resurrect the Rock and Roll Trio and sent for Paul Burlison. He joined them briefly but decided to return to Memphis and concentrate on his electrical business. Dorsey and Johnny continued with their songwriting, but Dorsey kept his day job as an electrician to pay the family expenses. The Burnettes' brashness got them their first success in the music business in California. On arriving in Los Angeles, Joe Campbell bought a copy of "A Map to the Stars", which showed the location of the house of the teen idol Ricky Nelson. In an effort to get their songs to him, the Burnettes and Campbell decided to sit on the steps of his house until they could get a meeting with him. Their persistence worked, and Nelson was sufficiently impressed with their work that he eventually recorded several of their songs, including "Believe What You Say", "It's Late", "Waitin' in School", and "Just a Little Too Much", amongst others. Other Imperial Records artists, such as Roy Brown, benefited from their songwriting. The success of his recording of the brothers' "Hip Shakin' Baby" led to a recording contract with Imperial Records as a duo. While in California, they met Doyle Holly, who played bass guitar for a short time with the band. Holly went on to become the bass player for Buck Owens and the Buckaroos and to record as a solo artist. As the Burnette Brothers, they released one single, for Imperial, "Warm Love" backed with "My Honey" (Imperial X5509), on May 5, 1958. It did not make the charts. After this failure, they continued to work together as songwriters but began to follow separate careers as performing artists. In 1961, however, Johnny and Dorsey released two instrumental singles, credited to the Texans, for two small labels, Infinity and Gothic: "Green Grass of Texas" backed with "Bloody River" (Infinity INX-001), released on February 20, 1961, and "Rockin' Johnny Home" backed with "Ole Reb" (Gothic GOX-001), released on May 29, 1961. Another instrumental, "Lonely Island" backed with"Green Hills" (Liberty 55460), credited to the Shamrocks, was released by Liberty Records on June 6, 1962. "Green Grass of Texas" and "Bloody River" were to be re-released in February 1965 on the Vee Jay label (VJ 658), again credited to the Texans.
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What happened with Ricky Nelson?

Answer:
In an effort to get their songs to him, the Burnettes and Campbell decided to sit on the steps of his house until they could get a meeting with him.

Question:
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.
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What else did you find interesting during her time with Four star?

Answer:
the Four Star compositions only hinted at Patsy's potential.