A conversation with Jean Shepard, Jan Howard, Jeanne Pruett, and Jeannie Seely from Winter 2013, the Tennessee Music Issue.
“One of my most cherished memories is with Minnie, just after her first breast surgery. She’d had surgery on Monday and she called me on Friday. She said, “What are you doing on Monday?” I said, “I don’t know, what are we doing?” She said, “Well, the doctor says I can’t drive but I can eat, so why don’t you pick me up and we’ll go to lunch at the club?” So I get to her house at 11 A.M., and for some reason that day she wanted to show me certain things about her house. She walked me through, telling me stories about everything. It was the greatest three hours that I’ve ever spent with someone who wasn’t family, but it was not with Minnie Pearl, it was with Sarah Ophelia Cannon.”
A story from Winter 2013, the Tennessee Music Issue.
She is a music student, slender, youthful, with the concentrated face of an alto in the chorus or a back-row violinist, frowning at her strings. Tonight, wearing black (de rigueur for her profession), she sits in a chair to the left of and slightly behind the pianist. She is invisible.
Seems like nothing will bring DanielFuselierdown from the ladder. He’s taken breaks from time to time since 2002, when Miss Antoinette K-Doe invited him to paint the exterior of New Orleans’s Mother-in-Law Lounge, but most weeks he can be found two stories up, a tall, thin, white man in a sun hat and paint-splattered overalls, at work on his Southern Sistine Chapel.
This weekend is the annual tomato festival at the Bells Bend Neighborhood Farm, and the farmers lay out an all-you-can-eat buffet of the many varieties of heirloom tomatoes grown there: Cherokee greens, Cherokee purples, zebras, Japanese black trifeles, Ozark pinks, Pruden’s purples, and best of all, sungolds, which are small and firm tomatoes that taste warm and almost salty, like they were plucked from the vine on a hot afternoon just moments before they made it to this table. And amid all this sweet bounty: a square dance.
The Memphis Country Blues Festival had a shoestring start in 1966, organized by the Memphis Country Blues Society, an ad hoc group consisting of counterculture figures, musicians, and fans, including Robert Palmer, who would go on to write the seminal book Deep Blues. His daughter, Augusta Palmer, a Brooklyn filmmaker, is seeking to tell the story of the festival in a documentary called The Blues Society.
In spite of his genius and success, Ed Townsend hit a roadblock in the late sixties, when his studio in Englewood, New Jersey, went up in flames. He had just offered it as a refuge for the Isley Brothers to record “It’s Your Thing” in violation of their contract with Motown. Nearly forty years old, he was watching his life’s work burn when a man named Earl Lucas appeared.
Gordon Tanner was seventeen when he found himself thrust before a microphone, fiddle in hand, at a makeshift Bluebird recording studio in San Antonio’s Texas Hotel. His father Gid—cofounder of the original Skillet Lickers—stood beside him, along with the blind guitarist and singer Riley Puckett, a prolific recording artist and bona fide hillbilly star.
Ray Stevens is a slippery one. He’ll don an endless succession of zany personas, then suddenly play it straight and savvy when you least expect it. In the music video for “The Streak” he’s all over the place, making his entrance as a voluble TV news reporter, chasing down the scoop on a flashing incident at the local Bi-Rite.