Country Music

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You Missed

Country Music

After the Crash, Bill Anderson Had to Learn the Woman His Wife Had Become On October 13, 1984, a truck carrying irrigation pipe crossed into Becky Anderson’s path. The collision left her with permanent brain damage, memory loss and no sense of taste or smell. Bill Anderson soon discovered that survival did not mean returning home to the life they had left that morning. Bill and Becky had married in 1970 and were raising their son alongside Bill’s two daughters from his previous marriage. By 1984, the family had settled into the rhythms surrounding his Grand Ole Opry career. Then hospital rooms, rehabilitation and medical assessments replaced the familiar calendar. Becky recovered beyond the bleakest early expectations, but the injury altered how she experienced the world. A psychiatrist later testified that she had lost part of her normal emotional range. Becky described feeling “flat,” without the peaks and valleys she had known before. The family could see her, speak to her and bring her home, while also adjusting to changes no photograph could show. Two years after the crash, the Andersons faced the driver in court. He acknowledged drinking twelve or thirteen beers before the collision. Bill’s testimony included a sentence stripped of the language he normally shaped so carefully: Becky was no longer the woman he had married. He was not saying that she had ceased to be his wife. He was trying to explain an injury that had left much of her outward appearance intact while changing memory, sensation and emotion. A jury awarded the couple $1.2 million, but the verdict could only assign money to a life that now had to be organized differently. Bill later built his 1989 autobiography around two versions of himself—the man he had been before the accident and the man formed by its aftermath. Becky’s recovery had changed more than her own future. Their marriage continued until their divorce in 1997. Bill did not reduce those thirteen intervening years to an easy lesson, and the public record does not justify doing it for him. What remains is the family’s more difficult achievement: after the hospital, the testimony and the settlement, they kept living inside a home where the person who returned was familiar, altered and still Becky.

Country Music

Roy Acuff Built a Second Career in the Place Where Songs Became Property In 1942, Roy Acuff was earning more money than most country performers had imagined possible. His records were selling, roads jammed when his touring show came to town, and the Grand Ole Opry had placed him near the center of its growing star system. That same year, Acuff put his name on a business with no audience, applause or visible stage. Acuff-Rose Publications began with Acuff and songwriter Fred Rose. Nashville had singers, radio programs and recording sessions, but it did not yet possess a major country publishing company capable of keeping songs—and their long-term earnings—inside the city. Performers and writers regularly surrendered copyrights to distant firms or sold songs outright without understanding what later recordings might be worth. Acuff supplied money, stature and the needs of a working performer. Rose understood song structure, copyright administration and the larger publishing world. Their company initially gave Acuff control over his own material, then opened its doors to other writers. On April 12, 1948, Hank Williams signed an exclusive agreement with Acuff-Rose. Rose became his editor, publisher and producer, helping bring discipline to songs whose language remained unmistakably Williams’s own. The resulting catalog continued producing income long after the singer’s death. Other writers followed: Felice and Boudleaux Bryant, Don Gibson, Roy Orbison and many more. Their songs traveled through recordings by artists far beyond Nashville, but the paperwork returned royalties to a company based there. Acuff’s recording career eventually cooled. Honky-tonk and smoother country voices moved ahead of his older string-band sound. The publishing company kept growing. By then, Acuff had helped establish a principle that would shape Music Row: Nashville did not have to supply talent while New York, Chicago or Hollywood owned what the talent created. A song written in Tennessee could be registered, promoted, licensed and paid from Tennessee. Audiences remembered Acuff standing beneath the Opry lights with a fiddle nearby. Much of his lasting power, however, rested in an office where someone opened an envelope, read a royalty statement and entered another song into the ledger.

Country Music

Jeannie C. Riley Sang About a Woman Being Judged—Then Nashville Turned Her Into That Woman Jeannie C. Riley had a husband and a young daughter when “Harper Valley P.T.A.” made her famous in 1968. Her record company preferred that audiences not hear much about them. The song described a widowed mother accused of wearing her dresses too high and behaving improperly around town. She answers by walking into the PTA meeting and naming the private hypocrisy of the people judging her. Riley did not write the song. She was a twenty-two-year-old Texas singer working as a Nashville secretary when producer Shelby Singleton placed Tom T. Hall’s composition in front of her. She did not initially consider it the best song available. Once recorded, it moved with astonishing speed. “Harper Valley P.T.A.” reached No. 1 on both the country and pop charts, making Riley the first woman to take the same single to the top of both. A Grammy and the CMA Single of the Year award followed. Then the woman singing the story began to disappear behind its central character. The label put Riley in miniskirts and boots resembling the clothes described in the lyric. She later said interviewers were discouraged from mentioning her husband. Promotional decisions presented her as a free, provocative “Harper Valley” woman rather than a married young mother trying to establish herself as a singer. Riley continued making records, including additional country hits, but producers repeatedly searched for another song filled with small-town confrontation. When she began writing material of her own, she found little room for it. She later described herself as a robot whose songs and public appearance had been chosen by other people. In the 1970s, she moved toward gospel music and eventually published an autobiography titled From Harper Valley to the Mountain Top. She never fully escaped the request for the song, nor did she permanently remove it from her performances. “Harper Valley P.T.A.” had given a fictional woman the freedom to confront everyone who had reduced her to an image. The singer who gave her a voice spent years asking for the same freedom.

Country Music

Johnny Cash’s Missing Years Were Waiting in His Manager’s Storage Locker Eight months after his father died in 2005, Jonathan Holiff received a key from his mother. It opened a storage locker in British Columbia filled with the life Saul Holiff had rarely explained to his sons: letters, contracts, telephone recordings, gold records and roughly sixty hours of audio diaries. Johnny Cash was everywhere inside. Saul had begun promoting Cash’s Canadian appearances in the late 1950s and managed him from 1961 until 1973. Those years contained the narcotics arrests and cancelled engagements, but also Cash’s passage from country star to American institution. Saul placed June Carter in the touring show, pushed his client toward larger stages and worked through the period that produced the Folsom and San Quentin albums, “A Boy Named Sue” and The Johnny Cash Show. The job also followed Saul home. Jonathan grew up believing that Cash received the attention his father withheld from his own family. The son and father eventually became estranged for about twenty years. When Saul died by suicide at eighty, Jonathan was left without a note or a final conversation. He entered the locker partly to see whether his father had kept anything about him. What he found instead was a parallel record of country history. Saul had preserved hundreds of letters, recorded business calls and spoken privately into a reel-to-reel machine about the artist he spent thirteen years trying to manage. His papers documented the labor beneath Cash’s public mythology: damaged tours repaired, contracts negotiated, prison appearances developed and crises handled beyond the view of an audience. Jonathan spent more than six years turning the material into the documentary My Father and the Man in Black. The project restored Saul to Cash’s history, but it also allowed a son to meet his father after direct conversation was no longer possible. The collection eventually went to the University of Victoria, where scholars can now examine more than 5,000 items from the partnership. Jonathan had opened the locker hoping to learn whether there was room for his childhood among the things Saul considered worth keeping. He found a country legend in the boxes—and his father’s voice on the tapes.