Country Music

Classic Country Music Hits

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Country Music

For years, the man making sure Willie Nelson got paid was sitting behind the drums. Paul English collected the band’s money, kept its accounts and confronted club owners who tried to change the fee after the final set. Long before Willie became the face of outlaw country, Paul helped keep his touring operation alive with money of his own. They had known each other since the rough Fort Worth club years. When work brought Willie through Houston, Paul sometimes gave him a place to stay. In 1966, after drummer Johnny Bush decided to pursue a singing career, Willie asked Paul for another musician’s telephone number. Paul told him to hire him instead. He had more confidence than experience, but he learned to play the way Willie needed. Willie’s singing rarely sat squarely on the beat; Paul learned to follow the movement of his phrasing rather than hold him inside a rigid arrangement. When Bush left, he also handed over the account books. Paul became drummer, accountant, road manager and investor. The cash he had made outside music helped carry Willie’s struggling band through years when the songs were better known than the man who wrote them. His appearance eventually became part of the show: pointed sideburns, a narrow goatee and a black satin cape lined in red. He looked dangerous because, when necessary, he was. But most nights required less visible work—counting money, settling payroll and making sure the musicians reached the next town. Willie wrote “Me and Paul” from the arrests, missed engagements and worn-down miles they accumulated together. He later said practically every line had happened. When Paul’s wife Carlene died by suicide in 1973, Willie stood beside him and wrote “I Still Can’t Believe You’re Gone.” Their partnership lasted beyond the outlaw years. Paul helped establish Farm Aid and served as its treasurer. After a stroke and a broken hip limited his playing, Willie kept him with the travelling Family as long as his health allowed. Paul died in 2020 after roughly seventy years of friendship. Willie Nelson came to represent a life lived beyond Nashville’s control. But that freedom was never held together by Willie alone. Night after night, the man keeping time behind him was also keeping the books.

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Johnny Carson’s First Decade Was Recorded—Then NBC Used the Tapes Again Some NBC videotape logs carry several programs on the same reel. A broadcast was recorded. The tape returned to storage. Later, someone threaded it through a machine and placed another program over the first. News, comedy, cartoons and talk shows could occupy the same physical object at different times, each new recording removing most of what had been there before. That routine erased much of Johnny Carson’s first decade on The Tonight Show. Carson began hosting in October 1962. Night after night, the program captured monologues, conversations, comedians making their first national appearances and public figures speaking in a looser setting than the evening news allowed. The broadcasts felt permanent to viewers because Carson was always there again the next night. The tape itself was expensive. NBC routinely reused two-inch videotape, and most Carson episodes from 1962 through the early 1970s disappeared. Even the first broadcast survives principally through photographs and audio rather than a complete video recording. Control changed the fate of the later shows. After Carson’s contract negotiations gave his production greater authority in 1972, the order was clear: the tapes were to be kept. Ownership arrangements developed further in subsequent agreements, but the preservation line is visible. Most of the early years are missing; the later twenty years remain largely intact. After Carson retired, thousands of tapes were stored roughly 650 feet underground in a Kansas salt mine, where temperature and humidity remained stable. In 2010, 3,300 hours of surviving footage were digitized and indexed so individual guests, monologue subjects and sketches could be located without screening entire programs. The archive preserves more than television comedy. It holds thirty years of American voices passing through one chair beside Carson’s desk. But the empty first decade remains part of its meaning. Television once entered millions of homes and then disappeared beneath the next night’s program—not metaphorically, but on the same reel of tape.

Country Music

Hank Williams was buried on January 4, 1953. Two days later, in the same Alabama city, a baby girl named Antha Belle Jett was born carrying a connection to him that would take more than thirty years to establish in court. Her mother was Bobbie Jett, a Nashville secretary who had been involved with Hank during the final year of his life. On October 15, 1952, with Bobbie pregnant, Hank accompanied her to his attorney’s office in Montgomery. There, they signed an agreement covering her living expenses, medical bills and the care of the unborn child. Hank died before any of it could unfold as planned. His mother, Lillie Williams Stone, took in the baby, legally adopted her and renamed her Catherine Yvonne Stone. Then Lillie died. The child became a ward of Alabama, entered another adoptive home and received another name: Cathy Louise Deupree. By the time Cathy was four, she had passed through four families and several identities. The records capable of explaining why had been sealed. At 21, her adoptive parents gave her $2,000 that Lillie Stone had left for her. The money carried a question no one answered clearly: Why had Hank Williams’s mother provided for this particular child? Cathy began searching. Years of adoption records, courthouse files and family leads eventually brought her to attorney Keith Adkinson. In 1984, he uncovered the 1952 agreement signed by Hank and Bobbie. The document had existed since before her birth. It showed that Hank knew about the pregnancy and had taken formal steps to support the child. In 1985, an Alabama court recognized Cathy as Hank Williams’s natural daughter. Further litigation reached state and federal courts before her right to share in the continuing estate was upheld. She adopted a name made from both biological parents: Jett Williams. The legal victory later changed more than her own life. In another case, Jett and Hank Williams Jr.—once opponents in the inheritance dispute—stood together as Hank’s heirs to protect his unreleased Mother’s Best Flour radio performances. A 2006 court ruling placed control of those recordings with them, clearing the way for the historic broadcasts to be released. Hank never heard his daughter’s first cry. Decades later, her name helped decide who could speak for his voice.

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JOHN AMOS LOST GOOD TIMES WHILE TRYING TO PROTECT THE FAMILY AT ITS CENTER During the third season of Good Times, John Amos began returning scripts with questions the writers did not welcome. Why was J.J. receiving the strongest material while Thelma and Michael were being pushed to the edges? Why did a sitcom built around a struggling Black family increasingly depend on one son behaving like a television caricature? Why were there so few Black writers in the room deciding how James Evans should speak inside his own home? Amos was not objecting to Jimmie Walker’s talent. He understood why audiences loved “Dy-no-mite!” His concern was what the success of that character was doing to the rest of the family. When Good Times began in 1974, James and Florida Evans represented something still unusual on network television: a Black mother and father raising three children together in a Chicago public-housing apartment. James worked temporary jobs, swallowed disappointments and kept returning to the kitchen table. Amos wanted the comedy to grow from that recognizable pressure. His arguments with the predominantly white writing staff became increasingly heated. Amos later admitted that he had the conviction to know something was wrong but not yet the diplomacy to fight it safely. During the hiatus after season three, producer Norman Lear called him. Amos was dismissed. The fourth season opened with James working in Mississippi and preparing to move the family out of the projects. Instead, a telegram arrived announcing that he had died in an automobile accident. The father Amos had fought to protect was removed without appearing onscreen. A year later, Amos played the adult Kunta Kinte in Roots, earning an Emmy nomination and entering another landmark depiction of Black family history. He and Lear eventually reconciled; decades later, they publicly embraced during a 2019 television reunion. But the apartment in Good Times never fully recovered its original balance. James Evans’s empty chair became part of the show. Amos had lost the job. The argument he made about who was allowed to define that family outlived it.