The country-music industry's criteria for full acceptance of an entertainer hasn't changed much during the last 40 years. While the refrain is no longer  "only young, white Protestants need apply," Catholics, Jews, those of the Baha'i faith, any other organized religion, or even those of little or no faith have known to largely keep their mouths shut- mostly even when asked to share- rather than engage in any public discussion about the role of religion in their lives   To continue in this same vein, with the occasional exception that proves the rule, those who were born outside of North America or, American-born country artists who have been "inappropriately" young or old,  knew they would have the longevity of the novelties they have been, racial minorities being on notice that, while pretenders to the stratified throne were OK, career longevity was the (token) province of CHARLEY PRIDE alone.

You had only to be an invited guest at DARIUS RUCKER's first #1 party as a solo act, as I was,  and hear the conversation (which makes it clear we as a society remain obsessively race conscious)  to know that, despite Rucker's country career milestones, nothing has changed.   

The most recent example is JARON LOWENSTEIN and Lowenstein's burgeoning country career.  Jaron first gained fame with his identical twin as the pop act,  EVAN and JARON.

The duo, Orthodox Jews, were as famous for the Sabbath clause in their contract  (the understanding that they would not perform from the period after dusk on Friday nights to sundown on Saturday evenings) as they were for their six albums and three singles.

While Evan said at the time, "We've never run to the press and said we want to talk about Judaism, or come across saying we've got this wholesome image,"  the duo couldn't escape questions about living a disciplined lifestyle in the midst of all of the licentiousness around them.

No wonder this time around Jaron has dropped his last name from his solo billing and added "The Long Road To Love." (So as to further deflect the focus?)

And what's with the opening lyrics to I Pray For You (in which the protagonist established that he hasn't "been to church since...")?   Country stars at least want to perpetuate an image that they have lived their lyrics,  but what is to be done with a country star who has never been to church?   Rather than point that out or suggest that at one time he worshiped somewhere other than a synagogue, wouldn't the prudent thing be to stay with imagery that suggests things a little less sectarian?     

True enough, a country-music star becomes one when fans want to know about her/his personal life, but, again, if it's considered a novelty, look out.   The new Jaron keeps the questions focused on everything other than his Jewishness but, getting back to Darius Rucker, you don't read much about Rucker's personal life.  There's a reason for that: The interracial marriage of Rucker and his wife, BETH  (despite a music video that suggests the marriage is no secret and Beth's kissing her husband on camera at a country-music awards show- something that would have been unheard of a decade ago) opens up a whole new can of worms.  

I guess its hard to champion heterosexual marriage (particularly for those opposed to gay marriage) if you're going to oppose the interracial variety- at least openly- so country-music fans, not known for the tolerance let alone their broadmindedness, seeing the futility of rocking the boat in changing times simply look the other way.

Here's hoping Jaron's topping the country charts, in hindsight, prove to be something other than a Pyrrhic victory,

****

Thanks to the Custom Content Council for the invitation to attend its full-day conference and special outdoor cocktail reception on July 28th at the Scandinavia House on Park Avenue (between 37th and 38th)  in New York City.

Still on the subject of invitations,  I recently received an invitation from a Music Row publicity firm to attend a news conference for an event that, frankly, didn't interest me.  

Recipients were not asked to RSVP, so perhaps the publicist was just taking the client's money.  It certainly seemed like it, despite the added incentive of unspecified  "special guests."  

Since the event had nothing to do with music,  I was confident that I would find the "special guests"  no more special than the rest of the event.  

I believe my hunch was right.  What little news coverage I saw of this non-industry event  seemed to be done as a favor to the publicist.  "The usual crowd" didn't show up and the "big names" meant more to the world of corporate sponsorship than to media professionals, music industry types and country-music fans- in short, my audience.

The moral of the story is, if you're going to ask busy people to attend your event, please make it worth the effort.   Remember, when you ask for someone's time, you're asking for their most valuable possession.




Column's shout out to SCHATZI HAGEMAN.  Schatzi brings news of  PAUL WORLEY's launching Skyville Records (in the tradition of JIMMY BOWEN, off Music Row) with his partners, WALLY WILSON and GLEN MORGAN.

Hageman is also announcing another industry teaming; that of  JAMES STROUD and DALE MORRIS.  The two have formed a "joint venture with Stroudavarious and DMP/Treehouse Records."

Morris Artists Management Executive Vice President CLINT HIGHAM will also be involved.

As competition for space in this Report intensifies, it's a great opportunity to remind those publicist who wish to have an edge,  when it comes to my featuring their clients and projects,  to visit my FAQs page, paying particular attention to the answer to  FAQ #11.

When I opened the door and  picked up my Sunday Tennessean July 18th and saw the "bare bones" death notice (no pun intended) for FRED CARTER, JR. I was of mixed thoughts:  On the one hand, I thought "there can only be one Fred Carter, Jr." and then, due to failure to list anything other than the deceased's name, date, time and location of the visitation and funeral, "this has to be another Fred Carter, Jr."

A check of  DEANA CARTER's website was no help.  (It hasn't been updated for two months.).  

A phone call confirmed the news, but by then word was circulating and eventually Fred was given his due.

While I have met Deana, I never met her dad.  I had my one and only moment with Fred within days of  the STRINGBEAN murders.

As detailed in WARREN CAUSEY's book (pages 15-17),  as well as in a front-page story in the November 12, 1973 Nashville Banner exclusive carrying my byline, I was the last person to interview DAVID "Stringbean" AKEMAN, having done so, almost as an afterthought, within hours of his death!

Since it's been nearly 37 years, I don't remember whether Fred read in the Banner, or in the reprinted version of my article that ran in the December, 1973 issue of Music City News, that I had taped my interview with Stringbean.  But read it he did and he somehow tracked me down.

Phoning me, Carter modestly identified himself as a "musician"  (and certainly not as Deana's father,  since the future singer was only seven at the time).  He indicated that I didn't know him but that he had read that I taped the interview.  Correct on both counts, Fred indicated he wanted to purchase the tape.  Carter asked me how much I wanted for it.

I explained that I hadn't even thought about selling the tape.  Indeed, when I called the Banner, having not written for that publication before, but feeling an obligation to immediately publish some of  Stringbean's last thoughts, I was asked how much I would charge for the exclusive.  Replying that I did not want to profit over the Akemans' grisly misfortune ("to make a killing," if you will) I suggested that the newspaper pay me "the going rate."  (Big mistake, the Writers Guild would probably suggest,  but  my answer would be the same had I to do it over again.)

In any event, I told Fred that I appreciated his interest but I deemed the tape priceless.  I then decided to donate the audio cassette to the Country Music Hall of Fame and Museum.  

I wish I could remember who was acting as Country Music Foundation curator then, before the CMF officially had a curator.  It could well have been ALAN STOKER who has alway been good to me.   

In any event, I've always wanted to thank whoever received my offer of the donation with the advice that I let Alan copy the tape for the library's collection while retaining the original.  

This was a brilliant idea  in light of the CMF's subsequently becoming mercenary  and  selling access to other donated materials.  It seems the donors were the only ones not profiting on these deals and, when they got wind of it, many demanded their artifacts be returned. to them.

In an age when people can- and will- sue over anything and everything, let's hope that HANK COCHRAN can rest in peace.     Like everyone else who dies in 2010, Hank leaves a federal tax-free estate, so there should be more than enough money remaining for Hank's  heirs to live well without going after each other.

This presumes Cochran also benefited from estate planning that will discourage prospective heirs from coming out of the woodwork- as many will be motivated to do when any person of means dies- again, especially this year.

Over a decade ago, when I reviewed Trance Formations after first investigating its outrageous and outright litigious claims about some of country-music's iconic stars and nationally-prominent public servants.   I theorized that plenty of otherwise expected lawsuits, enough to bankrupt the authors, had not been filed for the same reasons most celebrities don't sue the tabloids:  For instance if a tabloid out-and-out lies and says a country singer is a child molester,  the singer had better not sue unless s/he is prepared to admit (assuming it is true)  that and with whom s/he is committing adultery.

In short, the book probably has grains of truth among its preposterous allegations about sexual depravity of the country stars (just one of the favored themes) and various conspiracy theories.

I had somewhat the same sensation when recently reading HAL BYNUM's  2002 autobiography, The Promise.   Hal's book, unlike Trance Formations,  is not really mean-spirited.  For instance, it's very protective of Bynum's running buddy, HILLMAN HALL, about whom Hal has only been publicly forthcoming in recent years (specifically in a Country Music People article following Hall's death)..

For the most part, though, Bynum lets the proverbial chips fall where they may.  Hence, I fall back on my  Trance Formations theory of why (as far as I know) Hal has not been sued by either TONY BROWN or BILLY SHERRILL.  

Bynum is not a name-caller.  He's just candid in his observations,  explaining whose business practices he doesn't approve of and, just as importantly from his perspective, why.

Have STACY HARRIS and the Country Music Association reached d้tente?   

I'd like to think so.  I've had what may turn out to be some very productive feelers, courtesy of SCOTT STEM, with whom I  had a good working relationship prior to Scott's becoming the CMA's Director of Media Relations.

These come at a time when I'm receiving  feedback regarding the trade association of  a negative nature. Unfortunately, whether the news is good or not,  I feel a responsibility to report what others tell me they are thinking, or otherwise reacting to, regarding  any and all aspects. of the music business.  However, I caught a break when  a former Country Music Association  employee, who was unhappy with his ex-boss (NOT Scott!) recently wrote me in confidence with the specifics, feeling, that if I even wrote about his time there without disclosing his name, that his identity would be compromised.

On the other hand, BRYCE MARTIN, the pride of Spring Hill, Tennessee, and a longtime reader of this Report, has no such qualms. Martin felt prompted to write, granting my request to quote him by name,  the provocative subject line of his email to me reading "Re: Where Does the CMA Money Go?"

 I would not ask that question re: CMA alone, but  Brice writes  "Stacy,  I have talked with you a few times going way back in Nashville.    

Do you remember BOBBY BURGESS?  Bobby was one of the Original Mickey Mouse Club Mouseketeers.  

Bobby and I have been in and out-of-touch over the decades (mostly out), but I spoke with him recently and learned a couple of things that might be of interest to readers of this Report.

Burgess, still married to his (first and only) wife of 39 years, is the grandfather of twins!  If that doesn't make me feel old, he remembers better than I when he saw me last.  It was in Nashville "at Opryland'  while Bobby (most people now call him Bob- but not me!) was on tour with the Stars of the LAWRENCE WELK Show.   That much I remember.

"With BARBARA MANDRELL as a special guest." (I don't remember that, though I was long over any prepubescent delusions of becoming, as MARCIE BLAINE might put it, (Are you reading this, John O'Dowd?)  "Bobby's Girl."

One of the few Music Row types who has not only met Lawrence Welk, but also LAWRENCE WELK, JR. (a/k/a Larry), I learned that Bobby came to the senior Welk's attention, not through his son, as some of Lawrence's Champagne Music Makers did,  and not even through the Mickey Mouse Club.  (I guess Lawrence was not a big DISNEY fan!).  Rather, "Mr. Welk" as cast members referred to Mr. Wunnerful, Wunnerful, spotted Burgess just before Bobby won a dance contest on The SPADE COOLEY Show!

It's a good thing Bobby followed his own muse throughout his career and did not consider Cooley a mentor.  First fired by Los Angeles' KTLA-TV when his alcoholism interfered with  his TV show, Spade blew it big time at KTTV, also in the City of Angels.

Spade's time at KTTV was cut short, again due to his personal life impinging on his professional reputation.  On April 3, 1961, Cooley brutally murdered his wife, ELLA MAE.   As her husband attacked her, Ella Mae fought back.  She kicked and screamed but could not overpower Cooley who burned his wife with a cigarette while forcing their 14-year-old daughter, MELODY, to watch.

On August 22, 1961, following Cooley's jury trial, Spade was convicted of first-degree murder.  A  Kern Superior Court judge then gave  DONNELL CLYDE COOLEY a life sentence.

Spade appealed, but the Fifth District Court of Appeal found the "evidence of killing by torture" to be "overwhelming."  

Cooley's theme song may have been Shame on You but he spent almost eight years in Vacaville.

A model prisoner,  Spade left the penitentiary in November, 1969 for a three-day leave shortly before he was to be paroled.  On November 23, 1969 during a benefit performance for the Oakland sheriff's office, Cooley suffered a fatal heart attack while backstage.

He would have turned 59 on December 17th.

       
From the true story department: I was recently at a non-music industry afternoon reception, chatting with a devout Church of Christ member; a former teacher. We were discussing changes in church members' practices and the points on which we agreed re: American society's lowering of the bar (something I believe happened about 1969 when student smoking lounges became de riguer).    While I have been known occasionally to dance (two left feet and all) and drink (though,  I have a take it or leave it relationship with alcohol), my friend and I had more in common than many might suspect.

Just as we were solving the world's problems, and I was evidently impressing someone who up to that point thought our views might not be quite so similar, we were interrupted by someone I thought was a stranger.  "STACY?  STACY HARRIS?," he asked.

"Yes," I responded quizzically.

"I'm  Tex  Lopez.  (Obviously not his real name.  I'm protecting the guilty.)

"Nice to meet you."

"No. I guess you don't remember me,  but we dated years ago."

Now, what does someone say to that?   You must not have made much of an impression?   I'm not that tactless and,  while I can't possibly remember everyone I've ever dated,  I have a pretty good idea of what my physical type is and was- I'll plead guilty to a certain degree of shallowness and a sense of entitlement in that regard- and I can't imagine that this guy passed that litmus test.  

"I think you have me confused with someone else."

"No.  No.  You were in the music business."

"Yes.  I still am."

"And you are a writer."

"I are."  (Well, I responded in the affirmative, anyway.  I don't think I feigned cleverness.)  And an author, broadcaster...   But, I'm sorry,  I just don't  remember.  What is your name again?"

Then I asked where we met and where I was living at the time we dated.  

Tex said he didn't remember where I lived but that we  met through a singles group we were both members of at the time (that checked!) but really got to know each other one evening at a Cannery party during the D.J. Convention; that he drove me home in the wee hours of the next morning..

I then asked if he remembered who my date was that evening. (There would have been a fair number of men in my life at that time- but not so many I couldn't at least vaguely remember most of them.)  I explained that  I don't ever remember leaving my car overnight at the Cannery, as I would have had to have done had I arrived unescorted..  

Tex said he didn't remember,  but that "You were drunk as a skunk."

I only remember going to the Cannery on one occasion.  I believe I was invited to an industry party there, but I don't believe it was during the D.J. Convention nor that the Cannery's bar offered the mixed drinks of my choice.  (If  I'm not offered a sweet mixed drink or a red wine, chances are I'll pass on the booze or vino)  

By now the person who turned out to be our mutual friend was wondering if the person I had appeared to be up to that moment was misrepresenting herself.

"Well, I still think you have me confused with someone else."  (And regardless,  you're a little loud and embarrassing the heck out of  me!)

Even though I had a nearly untouched plate of veggies and fruit in one hand and a bottle of  Nestl้ Pure Life (thank goodness!) in the other, I thought it might be a good idea to set both down and briefly accompany our mutual friend out the door.  Tex wanted to talk further, so I promised I'd be back.  From the parking lot I made a pit stop before returning to the event where I waited for about five minutes, not wishing to interrupt Tex's conversation with some other guests.  

But I had already worked the room and had another appointment, so, after about five more minutes, I found someone who had arrived not long before and asked that he explain why I was leaving to Tex.

I guess you can say that while I never loved Tex  (who appeared to be on the verge of asking me for my phone number),  I didn't feel too badly about the way I left him!  

Is the Country Music Association paying attention?  The millions of dollars CMA has "donated" since 2005 to establish and maintain Nashville's public schools' music education programs through the trade association's Keep the Music Playing program may have largely been for naught.

JUANITA COUSINS reports that Green Hills' (posh suburban Nashville)  J.T. MOORE Middle School,  one of the recipients of Fan Fair/CMA Music Fest attendees' largesse,  might have to restructure its music program due to "low participation."  The program, an ongoing publicity and marketing bonanza for the CMA, has enabled the schools to "build music labs and to purchase more than 2,500 instruments."   But, as one parent wrote schools Superintendent JESSE REGISTER, "I am very disappointed that the district can't seem to keep a music program at J.T. Moore.  Especially given how much publicity there always seems to be about how important the arts are to our schools."

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