
Recently, PBS aired an eight-part, 16-hour documentary by Ken Burns, titled Country Music. For those of you who loved the mini-series and want to own it, you can purchase a DVD set for $66, or buy the Blu Ray for $86. For those of you who didn’t get to watch Country Music., I advise you to save your money.
In addition to getting some of his facts wrong, Burns was also guilty of omitting a number of country music pioneers who made a significant contribution to the industry. Instead, he used his time to expound on how country music is a blended art form which derives its roots from Europe and Africa, and how the country sound has inspired a number of rock bands and folk singers. That’s OK, and I get that Bob Dylan was friends with Johnny Cash, but the time spent on those kinds of anecdotes would have been better spent recognizing giants of country music who Burns left out, like Carl Perkins, Tennessee Ernie Ford, and Glen Campbell.
Carl Perkins is widely recognized as the King of Rockabilly, but you’d never know it from Burns’ film, in which Perkins received just two quick mentions as a guitar player for Johnny Cash. In truth, Cash, Elvis, Jerry Lee Lewis, and Perkins were part of the original Sun Records gang, but it was Carl who was the master songwriter and picker of the four. Carl wrote and recorded “Blue Suede Shoes” in 1955 which sold millions of copies, and when he and Elvis went on tour together it was Perkins who the audiences screamed for, not Presley. If you want to talk about people who shaped and influenced country music in the latter half of the 20th century, and had an influence on other musical genres, just ask Paul McCartney who said, “Without Carl Perkins, there would be no Beatles.” How did Burns miss that?
Fourteen years before Loretta Lynn sang about being a “Coal Miner’s Daughter”, Tennessee Ernie Ford recorded “16 Tons”, a ballad about being a coal miner. It was the number one hit song in the nation in 1955, and sold over two million records in its first two months. A year later, his first album of country gospel hymns hit the Billboard charts, and stayed there for 300 consecutive weeks. Ford has three different stars on the Hollywood Walk of Fame, and in addition to having a rich baritone voice, he was also an accomplished comedic actor, who went on to host his own primetime network show from 1956-1961. The Ford Show was must-see TV, and, despite blowback from his sponsors, Ernie insisted on ending each show with a gospel tune. In Country Music, Ken Burns led viewers to believe that Johnny Cash was the first country star to host a primetime series, and that the Man in Black insisted upon including gospel songs on each show. Sorry Ken, but Ford was the groundbreaker, not Cash, whose short-lived TV show didn’t premiere until 1969.
Speaking of getting the facts wrong, Burns failed to mention Glen Campbell, whose variety series bowed a year before Cash’s, and whose hit songs, (like “Gentle on My Mind”) made him the most successful country crossover artist of the modern era. Waylon Jennings once paid tribute to Campbell during a CMT special, in which he thanked Glen for always offering a spot on his show to country western singers whose careers were in a lull. Campbell is also acknowledged as one of the greatest guitarists of all time, so I am baffled by the Burns snub.
There are many other stars who should have merited at least a mention in Burns’ film, among them, Arthur Smith, whose “Guitar Boogie” sold 3 million records in 1945, and whose Charlotte recording studio was the first of its kind in the Southeast. But Smith is also famous for his groundbreaking lawsuit against Warner Brothers, who stole his “Feudin’ Banjos” and retitled it “Dueling Banjos”, which became a number one hit from the movie Deliverance. It was bluegrass music’s first major intellectual property fight, and Smith won big.
For me, Ken Burns’ Country Music was more notable for who it left out than for who it included, and, to quote a Barbara Mandrell song, that’s a crying shame.




























Posted October 15, 2019 By Triad TodayRemembering Diahann Carroll
Syndicated media critic R.D. Heldenfels once proclaimed that 1954 was television’s greatest year, in part because of its literate, live dramas and innovative comedies. But 1954 was great for another reason. It was the year that 19-year-old Diahann Carroll made her TV debut, winning first prize by singing on the talent show, Chance of a Lifetime. That led to a supporting role in her first motion picture, Carmen Jones, and a starring turn in the Broadway musical, No Strings, for which she won a Tony Award. In 1974, Diahann snagged an Oscar nomination for her dramatic performance in Claudine. Along the way she would also become a Vegas headliner, author of two books, and founder of a group that helped disadvantaged women. But Diahann was best known for her role as a single mom and registered nurse in 1968’s groundbreaking Julia. It was the first primetime program to star a woman of color in a professional career, and it won her a Golden Globe. In 1976, she starred in her own variety series, and in 1984 she joined the cast of Dynasty. Diahann also appeared as Jasmine Guy’s mother in A Different World, and her last regular series role was in support of Matt Bomer on White Collar, from 2008-2014. In 1997, Diahann was diagnosed with breast cancer, but stayed free of the disease for 22 years until it returned several months ago, and took her life on October 4. Diahann was 84. She is survived by her daughter Suzanne and two grandchildren.
I first met Diahann Carroll in 2008 when she participated in my “Salute to TV Moms” event at the Television Academy. Our discussion that night was wide ranging, and began with Diahann talking about her parents.
I also asked Diahann about how she shaped her character and the scripts on Julia, including the time when producer Hal Kanter wanted Julia’s son Corey (played by Marc Copage) to idolize John Wayne.
On that evening, I surprised each TV Mom by reuniting them with some of their co-stars. Appearing for Diahann were Marc Copage and Jasmine Guy.
The day after Diahann passed away, I reached out to some of our friends who had worked with the great lady, among them was Marc, who echoed his thoughts from that evening 11 years ago. “Diahann was the only maternal figure I knew, and during that first season on Julia, I would beg her to take me home with her at the end of the day’s shooting. I took to her as if she was my real mother…I will greatly miss her.”
Joan Collins, Diahann’s diva rival on Dynasty, emailed me, and wrote, “I’m shocked and saddened to hear of Diahann’s passing. We had such fun filming Dynasty, and I have great memories of our time together.” And Linda Evans said, “Diahann was a powerful woman with the tenacity to follow her dreams. I admired her, and enjoyed working with her.”
And my friend Matt Bomer, star of White Collar, told me, “We were all so blessed to know and love Diahann. She possessed a grace and elegance that you just don’t see very often anymore. She was wickedly funny, self-deprecating, and lovely in every way. She was also a profound inspiration to me, and helped to give me the courage to be my most authentic self.”
Truth is, it was easy to be inspired by Diahann Carroll because she excelled at everything she did, and because she did those things on her terms. She even answered questions on her terms. During the “TV Moms” event, I asked all of the ladies if they had ever been asked to pose nude. After several of the actresses responded, I started to move on to another topic, when Diahann, said, “Jim, you didn’t ask if I had ever been asked to pose nude.”
“Were you asked?” I said.
“Yes,” she replied.
“Well what happened?” I asked.
“That’s all I’m going to say about it,” Diahann said with a mischievous smile on her face. I’ll always remember that smile.