RICHMOND, Va. – Jimmy Dean, a country music legend for his smash hit about a workingman hero, “Big Bad John,” and an entrepreneur known for his sausage brand, died on Sunday. He was 81.
His wife, Donna Meade Dean, said her husband died at their Henrico County, Va., home.
She told The Associated Press that he had some health problems but was still functioning well, so his death came as a shock. She said he was eating in front of the television. She left the room for a time and came back and he was unresponsive. She said he was pronounced dead at 7:54 p.m.
“He was amazing,” she said. “He had a lot of talents.”
Born in 1928, Dean was raised in poverty in Plainview, Texas, and dropped out of high school after the ninth grade. He went on to a successful entertainment career in the 1950s and ’60s that included the nationally televised “The Jimmy Dean Show.”
In 1969, Dean went into the sausage business, starting the Jimmy Dean Meat Co. in his hometown. He sold the company to Sara Lee Corp. in 1984.
He was also a bit of a Conservative:
In the late ’60s, Dean entered the hog business — something he knew well. His family had butchered hogs, with the young Dean whacking them over the head with the blunt end of an ax. The Dean brothers — Jimmy and Don — ground the meat and their mother seasoned it.
The Jimmy Dean Meat Co. opened with a plant in Plainview. After six months, the company was profitable.
His fortune was estimated at $75 million in the early ’90s.
Having watched other stars fritter away their fortunes, Dean said he learned to be careful with his money.
“I’ve seen so many people in this business that made a fortune,” he told the AP. “They get old and broke and can’t make any money. … I tell you something, … no one’s going to play a benefit for Jimmy Dean.”
Rest in Peace, Mr. Dean. You have more than earned it.
In case anyone wonders. Yes, I am a drummer. Been playing since about the age of 7 or 8. I do not own a drum kit, I haven’t played in ages. But yes, I do know my chops.
I think someone should have told Kilpatrick this! HEH!
Run On
Well you may run on for a long time
Run on for a long time,
Run on for a long time
Let me tell you God almightys gonna cut you down
Go tell that long tongued liar, oh well well
Go tell that midnight rider, oh well well
Tell the gambler, rambler, back-biter
Tell them God almightys gonna cut them down
Stop God almighty let me tell you the news
My head’s been wet with the midnight dews
Coming down on my bended knees
Talking to the man from Galilee
My God spoke and he spoke so sweet
I thought I heard the shuffle of angel’s feet
He put one hand upon my head
Great God almighty let me tell you what he said
Go tell that long tongued liar, oh well well
Go tell that midnight rider, oh well well
Tell the gambler, rambler, back-biter
Tell them God almighty gonna cut them down
Run on for a long time,
Run on for a long time,
Let me tell you God almightys gonna cut you down
You may throw your rock and hide your hand
Working in the dark against your fellow man
As sure as God made the day and the night
What you do in the dark will be brought to the light
You may run and hide, slip and slide
Trying to take the mote from your neighbour’s eyes
As sure as God made the rich and poor
You gonna reap just what you sow
You may Run on for a long time,
Run on for a long time
Let me tell you God almightys gonna cut you down
Go tell that long tongued liar, oh well well
Go tell that midnight rider, oh well well
Tell the gambler, rambler, back-biter
Tell them God almighty gonna cut them down
Some people go to church just to sit in the fire
Trying to make a date with the neighbour’s wife
Brother let me tell you as sure as you’re born
You better leave that woman alone
Because one of these days mark my word
You think that brother is going to work
And you’ll sneak up and knock on that door
That’s all brother you’ll knock no more
Run on for a long time,
Run on for a long time
Let me tell you God almightys gonna cut you down
Go tell that long tongued liar, oh well well
Go tell that midnight rider, oh well well
Tell the gambler, rambler, back-biter
Tell them God almightys gonna cut them down
Today my heart is broken, Ronnie passed away at 7:45am 16th May. Many, many friends and family were able to say their private good-byes before he peacefully passed away. Ronnie knew how much he was loved by all. We so appreciate the love and support that you have all given us. Please give us a few days of privacy to deal with this terrible loss. Please know he loved you all and his music will live on forever.
Lena Horne, who was the first black performer to be signed to a long-term contract by a major Hollywood studio and who went on to achieve international fame as a singer, died on Sunday night at New York-Presbyterian/Weill Cornell Medical Center in New York. She was 92 and lived in Manhattan.
Her death was announced by her son-in-law, Kevin Buckley.
Ms. Horne might have become a major movie star, but she was born 50 years too early, and languished at MGM in the 1940s because of the color of her skin, although she was so light-skinned that, when she was a child, other black children had taunted her, accusing her of having a “white daddy.”
Ms. Horne was stuffed into one “all-star” musical after another — “Thousands Cheer” (1943), “Broadway Rhythm” (1944), “Two Girls and a Sailor” (1944), “Ziegfeld Follies” (1946), “Words and Music” (1948) — to sing a song or two that could easily be snipped from the movie when it played in the South, where the idea of an African-American performer in anything but a subservient role in a movie with an otherwise all-white cast was unthinkable.
“The only time I ever said a word to another actor who was white was Kathryn Grayson in a little segment of ‘Show Boat’ ” included in “Till the Clouds Roll By” (1946), a movie about the life of Jerome Kern, Ms. Horne said in an interview in 1990. In that sequence she played Julie, a mulatto forced to flee the showboat because she has married a white man.
But when MGM made “Show Boat” into a movie for the second time, in 1951, the role of Julie was given to a white actress, Ava Gardner, who did not do her own singing. (Ms. Horne was no longer under contract to MGM at the time, and according to James Gavin’s Horne biography, “Stormy Weather,” published last year, she was never seriously considered for the part.) And in 1947, when Ms. Horne herself married a white man — the prominent arranger, conductor and pianist Lennie Hayton, who was for many years both her musical director and MGM’s — the marriage took place in France and was kept secret for three years.
Ms. Horne’s first MGM movie was “Panama Hattie” (1942), in which she sang Cole Porter’s “Just One of Those Things.” Writing about that film years later, Pauline Kael called it “a sad disappointment, though Lena Horne is ravishing and when she sings you can forget the rest of the picture.”
Even before she came to Hollywood, Brooks Atkinson, the drama critic for The New York Times, noticed Ms. Horne in “Lew Leslie’s Blackbirds of 1939,” a Broadway revue that ran for nine performances. “A radiantly beautiful sepia girl,” he wrote, “who will be a winner when she has proper direction.”
She had proper direction in two all-black movie musicals, both made in 1943. Lent to 20th Century Fox for “Stormy Weather,” one of those show business musicals with almost no plot but lots of singing and dancing, Ms. Horne did both triumphantly, ending with the sultry, aching sadness of the title number, which would become one of her signature songs. In MGM’s “Cabin in the Sky,” the first film directed by Vincente Minnelli, she was the brazen, sexy handmaiden of the Devil. (One number she shot for that film, “Ain’t It the Truth,” which she sang while taking a bubble bath, was deleted before the film was released — not for racial reasons, as her stand-alone performances in other MGM musicals sometimes were, but because it was considered too risqué.)
In 1945 the critic and screenwriter Frank Nugent wrote in Liberty magazine that Ms. Horne was “the nation’s top Negro entertainer.” In addition to her MGM salary of $1,000 a week, she was earning $1,500 for every radio appearance and $6,500 a week when she played nightclubs. She was also popular with servicemen, white and black, during World War II, appearing more than a dozen times on the Army radio program “Command Performance.”
“The whole thing that made me a star was the war,” Ms. Horne said in the 1990 interview. “Of course the black guys couldn’t put Betty Grable’s picture in their footlockers. But they could put mine.”
Lena Horne was an American original; not to mention she was quite the pretty lady. No other Country had anything remotely like Lena Horne, at least not in her heyday. Whenever I heard or saw the name Lena Horne; I thought glamor. Lena Horne was a Glamorous woman; and I mean that in the best way that I can muster. Not only this; Lena Horne was a trailblazer. Back in the 1940’s, when racial segregation was at it’s height —- yes, that was a problem with Hollywood. Something the Democrats Advocated for years and yes, blacks flock to them now; how odd. Anyhow, Lena Horne stood up to the bosses and did her own thing. Something that even I, a right of center blogger can admire. The lady just had guts and was a sassy, smoking hot woman on top of that.
Looking back at the age of 80, Ms. Horne said: “My identity is very clear to me now. I am a black woman. I’m free. I no longer have to be a ‘credit.’ I don’t have to be a symbol to anybody; I don’t have to be a first to anybody. I don’t have to be an imitation of a white woman that Hollywood sort of hoped I’d become. I’m me, and I’m like nobody else.”
Indeed she was. Rest in Peace Lena, you have more than earned it.
