ACM Tempo Winter 2021

TEMPO ACM

WINTER 2021

ACM DUO OF THE YEAR

DAN+SHAY EXPLODE INTO 2021

LYNDSAY CRUZ GUIDES ACM LIFTING LIVES AS EXECUTIVE DIRECTOR s NEW BOARD MEMBERS TAKE THEIR SEATS

REMEMBERING ACM PIONEER AWARD WINNER CHARLEY PRIDE

Flip over for a special tribute section

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Contents

8 | SERVING THE ACADEMY New ACM® & Lifting Lives® Board Members announced 13 | WINNERS ANNOUNCED ACM announces winners for ACM Industry & Studio Recording Awards

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Editor’s Note

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CEO’s Note

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ACM News

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In Memory

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ACM Moment

On the Cover 14

ACM Duo of the Year DAN + SHAY on continuing their hot streak in 2021 PAGE 20

14 | BRINGING MUSIC TO WASHINGTON, D.C. Country Music was well represented at the inauguration of the new administration 16 | CRUZING TO LIFT LIVES Meet Lifting Lives Executive Director Lyndsay Cruz

16 FLIP

26 | LIVIN’ WELL Catching up with ACM Award winner Tanya Tucker FLIP | CHARLEY PRIDE Special Tribute Section to a Country legend

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TEMPO ACM

E D ITO R ’ S N OTE

E ditor

Lisa Lee A ssistant E ditor

Libby Gardner

Happy New Year!

C ontributors

Hannah Kellis, Craig Shelburne, Tricia Despres D esign

Randi Karabin, Karabin Creative P rinting

Graphic Visions Commerical Printing P hotos

know we’re well into February, but I think sending that prayer up one more time to the Almighty is important after the year we all had in 2020. People everywhere are still putting their lives back together after a year of loss and uncertainty, when you could seemingly rely on nothing.

But this year is going to be different. We’ll all pull up our bootstraps, look ahead and as our wise friend Taylor says, try to “shake it off, shake it off.”

One thing to look forward to is the new music we have coming in 2021. Among the many projects coming our way is a new album from reigning ACM® Duo of the Year Dan + Shay. After not leaving the house for several months, Dan Smyers’ and Shay Mooney’s heads were brimming with new music and they were eager to get it down in the studio. They already have another No. 1 hit this year, adding to their growing collection of accolades. Our cover story on P. 20 catches up with the pair to find out what they have in store for their fans.

We’re also happy to feature the executive director of ACM Lifting Lives®, Lyndsay Cruz, who has been in the driver’s seat of the Academy’s charity. Now, along with the Lifting Lives Board of Directors, Cruz is trying to ease the burden in our Country community caused by the seemingly endless COVID-19 pandemic.

Get to know her on P. 16.

On a sad note, the world lost pioneering Country artist Charley Pride at the end of 2020. Ever the Southern gentleman, Pride taught generations how to persevere through adversity while maintaining your dignity. We honor him in a special tribute section. Please flip the magazine to read more on his enduring legacy.

And, of course, we’re deep in preparations for the 56th Academy of Country Music Awards™. Though awards shows may look different now, the ACM staff are just as excited as ever to honor Country’s best and bring their talents into your home via CBS on April 18.

ACM, CBS Photo, Ben De Rienzo, Getty Images, Derrek Kupish, Warner Brothers Nashville ACADEMY STAFF CEO

Damon Whiteside E xecutive D irector/ACM L ifting L ives

Lyndsay Cruz S enior Vice P resident/C reative & C ontent

Lisa Lee S enior Vice P resident/Events

Erick Long S enior Vice P resident/M arketing

Brooke Primero Vice P resident/Finance & O perations

Alexa Fasheh Vice P resident/ A rtist & I ndustry R elations , B oard A dministration & G overnance

Tommy Moore D irector/Strategic Partnerships

Jen Heaton S enior Video M anager/C reative & C ontent

Brandon Campbell S enior M anager/M arketing

Melissa Moldovan M anager/M arketing

Jessica Curtis M anager/Events

Lanni Gagnon M anager/A rtist & I ndustry R elations ; B oard A dministration & G overnance

Maddy Stessman M anager/Finance & O perations

Mary Pambukyan M anager/ACM L ifting L ives

Taylor Wolf C oordinator/Events

Danielle Bardier

Wishing you good things for the coming year!

C oordinator/M arketing

Bridget Cirone C oordinator/Strategic Partnerships

Jenny Dunn C oordinator/C reative & C ontent

Lisa Lee Tempo Editor

Libby Gardner A ssistant/ Finance & O perations

Gloria Chavez A ssistant/C reative & C ontent

Hannah Kellis A ssistant/M arketing

Dayna Poskanzer

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FRO M TH E CEO

Dear Valued Academy Members, First off, cheers to 2021 and the start of a year filled with new beginnings, optimism, perseverance and great Country Music!

Last year brought tremendous challenges to so many of our Members, and we lost too many of our beloved artists last year. But with determination, innovation and the support of our Country Music family, comfort was brought to each and to fans across the world as the music we love kept on playing. I am proud that the Academy of Country Music® was able to bring some of the most memorable music moments of the year through the smash success of the ACM® Presents: Our Country network special, and the 55th ACM Awards, staged for the first time ever in Nashville. Our non-profit partner, ACM Lifting Lives®, provided a whopping $3.5 million in financial support directly to Country Music professionals impacted by the pandemic. In this issue, we celebrate our reigning ACM Duo of the Year, Dan + Shay, and we honor winners of the ACM Industry and Studio Recording Awards. We also welcome our new Board Members, and we remember with fondness and respect the pioneering Charley Pride in a special tribute section, which is all a reminder of the power of music. As we enter this bright new year, begin the planning and voting process for the upcoming 56th ACM Awards on April 18, and anticipate the return of live entertainment, the ACM staff and Board of Directors are stronger and more dedicated than ever to continue to lift up our own.

Wishing you safety, good health and prosperity in 2021,

Damon Whiteside CEO

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“kelsea ballerini is definitely one of the most influential women in country right now… she’s defining the sound of the genre.”

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all songs considered

“she’s the only singer in nashville versatile enough to deliver a moody ballad with halsey on one song and a heartwarming acoustic anthem with kenny chesney on the next.”

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kelsea biggest debut week for a country album released by a solo female in 2020 500 million combined streams in 2020 named one of rolling stone’s

top 10 country albums of 2020 riaa platinum + gold singles “homecoming queen?” “the other girl (with halsey)” “hole in the bottle”

“the entire album is revelatory, to be quite honest.”

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The Academy Announces Second Term for Academy Officers and New Board of Directors

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he Academy of Country Music® announced a second-year term for the Academy Officers and the newly elected Board of Directors for the 2020–2021 term. Continuing their tenure in office are Chairman Ed Warm, President Lori Badgett, Vice President Chuck Aly, Treasurer Carmen Romano, Sergeant-at-Arms Gayle Holcomb, Parliamentarian Paul Moore and Secretary Tommy Moore.

“We are thrilled that our officers have generously agreed to continue their service to the Academy for another year,” says Damon Whiteside, CEO, Academy of Country Music. “With so much uncertainty this year that will continue into 2021, we are grateful to have their consistent leadership to help guide the organization into a bright future.”

This year, 10 of the 13 qualifying professional categories were elected by the Academy’s membership. In addition to those elected, director-at-large positions have been appointed by Chairman Ed Warm, President Lori Badgett and Vice President Chuck Aly. Directors are elected

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from each category based on the number of members in that category. Each director serves a staggered two-year term.

Newly elected members of the Board of Directors include Beville Dunkerley, Cyndi Forman, Tom Forrest, Becky Gardenhire, Ali Harnell, Deana Ivey, Chris Lisle, Cindy Mabe, Ebie McFarland, Lee Thomas Miller, Tim Roberts, Scott Scovill and Sally Williams.

Newly appointed director-at-large members of the Board of Directors include Bobby Bones, Jackie Campbell, Charlie Cook, Leslie Fram, Jeremy Holley, Frank Liddell, Jon Loba, Shawn McSpadden, Curt Motley, Brian O’Connell, Rod Phillips, Kelly Rich, Sally Seitz, Clarence Spalding, Candice Watkins and Trisha Yearwood.

“We are honored to have the opportunity to continue serving as Academy Officers and delighted to welcome a new group of industry leaders to the Board.

We look forward to the unique blend of perspective and insight this group brings to the organization,” Warm says.

LEFT TO RIGHT: Ed Warm; Lori Badgett; Chuck Aly; Carmen Romano; Gayle Holcomb; Paul Moore; Tommy Moore

Academy of Country Music Board of Directors 2020–2021 OFFICERS Chairman, Ed Warm, Joe’s Live President, Lori Badgett, City National Bank Vice President, Chuck Aly, Country Aircheck Treasurer, Carmen Romano, FBMM Sergeant-at-Arms, Gayle Holcomb, WME Parliamentarian, Paul Moore, PGM Connections, LLC. Secretary, Tommy Moore, Academy of Country Music AFFILIATED Deana Ivey, Nashville Convention & Visitors Corp Chris Lisle, CLLD, LLC / The Touring Career Workshop Scott Scovill, The Steel Mill/Moo TV Sally Williams, Live Nation Brittany Schaffer, Spotify ARTIST/MUSICIAN/PRODUCER/ ENGINEER Chuck Ainlay Jimmie Allen Reid Shippen Derek Wells SONGWRITER Lee Thomas Miller DIGITAL MARKETING/ DISTRIBUTION Beville Dunkerley, Pandora MANAGER Enzo DeVincenzo, 377 Management Crystal Dishmon, Shopkeeper Management Kerri Edwards, kpentertainment MEDIA/PUBLIC RELATIONS Ebie McFarland, Essential Broadcast Media

MUSIC PUBLISHER/PRO Cyndi Forman, UMPG Rusty Gaston, Sony ATV Music Publishing RADIO Tim Roberts, Entercom RECORD COMPANY Ryan Dokke, PIA Music Ben Kline, Warner Music Nashville Cris Lacy, Warner Music Nashville Cindy Mabe, Universal Music Group Nashville TALENT AGENT Becky Gardenhire, WME Steve Lassiter, APA TALENT BUYER/PROMOTER Ali Harnell, Live Nation VENUE Roger Gearhart, Graham Brothers Entertainment Troy Vollhoffer, Premier Global Production VISUAL CONTENT Tom Forrest, taillight DIRECTORS AT LARGE Randy Bernard, Bob Doyle & Associates Bobby Bones, iHeart Media Jackie Campbell, 615 Leverage + Strategy RAC Clark, Lion’s Heart Entertainment Charlie Cook, Cumulus John Dennis, Dennis Entertainment Seth England, Big Loud Leslie Fram, CMT Jeremy Holley, FlyteVu Greg Hill, Hill Entertainment Group Will Hitchcock, Morris Higham Management

Mason Hunter, BMI Andrew Kautz, BMLG Jeff Krones, CAA Beth Laird, Creative Nation Frank Liddell, Carnival Music Jon Loba, Broken Bow Music Group Shawn McSpadden, Red Light Management Daniel Miller, Fusion Music Curt Motley, UTA Brian O’Connell, Live Nation Lynn Oliver-Cline, River House Artists Tree Paine, Premium PR Chris Parr, MAVERICK Rod Phillips, iHeart Media Kelly Rich, Amazon Music Sally Seitz, Apple Music Jennie Smythe, Girlilla Marketing Clarence Spalding, MAVERICK Candice Watkins, Big Loud Records Brian Wright, Universal Music Group Nashville Trisha Yearwood PAST CHAIRS Paul Barnabee, FBMM Duane Clark, FBMM Darin Murphy, CAA Ken Robold, Sony Music Nashville Ken Tucker, Wheelhouse Records Ben Vaughn, Warner Chappell EX OFFICIO PAST CHAIRS Rod Essig, CAA Mark Hartley Butch Waugh, Studio2bee

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The Academy Announces Second-Year Term® for ACM Lifting Lives Officers and New Board Members

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CM Lifting Lives announced a second-year term for the ACM Lifting Lives officers and announced the newly elected Board of Directors for the 2020–2021 term. Continuing their tenure in office are Chairman Paul Barnabee, Vice Chairman Troy Vollhoffer, Vice President Lorie Lytle, Treasurer Dwight Wiles and Secretary Taylor Wolf.

“ACM Lifting Lives is grateful to have our officers continue for another term. With their service and leadership, ACM Lifting Lives has been able to help hundreds of individuals within the Country Music community who have been experiencing financial hardships this year,” says Lyndsay Cruz, ACM Lifting Lives executive director.

“We look forward to continuing the important work of being a resource for those in need.”

The ACM Lifting Lives Board of Directors is comprised of ACM Board Members, referred to as representative directors, as well as leaders in non-profit and corporate affairs who aren’t ACM Board Members, referred to as public directors.

This year, there were four representative director positions elected, three public director positions elected, five representative director positions appointed and six public director positions appointed by the ACM Lifting Lives Board of Directors.

Newly elected representative directors include Rod Essig, Ebie McFarland, Daniel Miller and Sally Williams. Newly elected public directors include Fletcher Foster, Kimberly Schlapman and Meredith Seacrest. Newly appointed representative directors include Jackie Campbell, Beville Dunkerley, Greg Hill, F. Reid Shippen and Butch Waugh. Newly appointed public directors include Mark Bloom, Chris Farren, Kathleen Flaherty, Ricky Kelley, Elaina Smith and Jay Williams.

“I’m honored to continue as chairman of the ACM Lifting Lives Board and to serve the industry at this critical time,” says Barnabee.

“We talk a lot about the influence of music lifting the spirits of those in a time of need, and right now it feels more important than ever.

The vital work that we do could not happen without the commitment of the artists and industry leaders and their continued support, and we are forever grateful.”

TOP, LEFT TO RIGHT: Paul Barnabee; Troy Vollhoffer BOTTOM, LEFT TO RIGHT: Lorie Lytle; Dwight Wiles; Taylor Wolf

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ACM Lifting Lives Board of Directors 2020–2021 OFFICERS Chairman, Paul Barnabee, FBMM Vice Chairman, Troy Vollhoffer, Premier Global Production Vice President, Lorie Lytle, Fridrich & Clark Realty Treasurer, Dwight Wiles, Wiles + Taylor & Co., PC Secretary, Taylor Wolf, ACM Lifting Lives REPRESENTATIVE DIRECTORS Paul Barnabee, FBMM Jackie Campbell, 615 Leverage + Strategy Duane Clark, FBMM RAC Clark, Lion’s Heart Entertainment Ryan Dokke, Play It Again Music Beville Dunkerley, Pandora Rod Essig, CAA Greg Hill, Hill Entertainment Group Ebie McFarland, Essential Broadcast Media Shawn McSpadden, Red Light Management Daniel Miller, Fusion Music Darin Murphy, CAA F. Reid Shippen, Robot Lemon Troy Vollhoffer, Premier Global Production Butch Waugh, Studio2bee Sally Williams, Live Nation PUBLIC DIRECTORS Tiffany Brush, Topgolf Mark Bloom, UBS Financial Services, Inc. Ross Copperman Chris Farren, Combustion Music Kathleen Flaherty, K21 Communications Fletcher Foster, F2 Entertainment John Hickman, Dallas Cowboys Ricky Kelley, Harley-Davidson of Columbia Ellen Lehman, Community Foundation of Middle Tennessee Lorie Lytle, Fridrich & Clark Realty Beth Moore Lisa Paulsen, Stand Up To Cancer Kimberly Schlapman Meredith Seacrest, Ryan Seacrest Foundation Elaina Smith, Nights with Elaina Dwight Wiles, Wiles + Taylor & Co., PC Jay Williams, WME Judee Ann Williams, CAA PAST CHAIRS Lori Badgett, City National Bank Bruce Bowman, Kaboom!

Debbie Carroll, MusiCares Mark Hartley Gayle Holcomb, WME Bill Mayne Tree Paine, Premium PR Ed Warm, Joe’s Live

ACM LIFTING LIVES COVI D -19 RESPONSE FUND REOPENS ®

ACM Lifting Lives, the philanthropic arm of the Academy of Country Music® reopened the ACM Lifting Lives COVID-19 Response Fund in December with $2 million raised and distributed to those in the Country Music community facing financial hardships. The ACM Lifting Lives COVID-19 Response Fund was created in early April 2020 to assist individuals working in the Country Music industry who are suffering a financial crisis as a result of the pandemic.

Support from key record labels and partners made this second round of relief possible, including generous donations from Amazon, Big Machine Label Group, Broken Bow Records Music Group, Corner Partnership LLC, Country Thunder’s Troy Vollhoffer, Sony Music Nashville, Spotify, Universal Music Group Nashville, Warner Music Nashville and other Country Music leaders individually who have supported the funding round.

“We are so fortunate ACM Lifting Lives was able to re-open the COVID-19 Response Fund ahead of the holidays, to send financial support to hundreds of applicants looking for a resource during this time,” says Lyndsay Cruz, executive director of ACM Lifting Lives.

“A huge thank you to our generous partners and many individual industry leaders for their contributions.

The were able to quickly join forces with us and see the urgency in making a difference in an unimaginable and ongoing situation. If you are able to help, we encourage you to visit ACMLiftingLives.org for more information on how to assist.”

Since the original launch of the Fund, $3.5 million has been raised and distributed thanks to many sponsors and individuals. Funds were quickly disbursed to hundreds of people in the Country Music community who met the criteria. The fund was able to serve those on the waitlist as monies were raised since April. —LIBBY GARDNER

“ACM Lifting Lives has not only shown up for our industry over the years, they have been a light during one of our business’ most stressful times, providing immediate aid and support to members of our road families during the pandemic. Supporting them is supporting our musicians, our crews and all those folks who work behind the scenes so we get to bring music to the fans. Please consider giving what you can.

Together, let’s continue to lift spirits and lives in a time our industry needs it most.”

— DARIUS RUCKER

“I am so proud to support and serve such a compelling organization that has continued to not only raise money during this time, but strengthen the power of healing through the power of music,” said L I T T L E B I G T O W N ’ S K I M B E R L Y S C H L A P M A N , who is also an ACM Lifting Lives Board Member.

“Due to COVID-19 freezing live music and touring events this year, the music scene has completely shifted, causing many members of our Country Music family to face everyday financial crises.

To help support the ACM Lifting Lives COVID-19 Response Fund, we ask you to join us in lifting spirits by donating as little as $1. Even a small amount can make a big difference, #LetsLiftLives.”

For more information about the COVID-19 Response Fund including corporate partnerships, how to donate or how to apply for relief, please visit ACMLiftingLives.org. acmcountry.com

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HONORS DATE ANNOUNCED The 14th ACM HONORS™, an evening dedicated to recognizing special honorees and off-camera category winners from the 55th and 56th ACM Awards, will take place on Wednesday, August 25, 2021, at Nashville’s historic Ryman Auditorium. See P. 13 for the list of 2020 Industry

VOTING TIMELINES

and Studio Recording Awards winners. They will be honored alongside Special Award recipients and 2021 Studio Record Awards winners. Due

The ballot timeline for professional members:

to the COVID-19 pandemic, there will not be 2021 Industry Award recipients as eligibility requirements were unable to be met due to the live entertainment shutdown. More information to come on the Honors show later this spring.

The submissions eligibility period for the 56th Academy of Country Music Awards® is January 1, 2020, through December 31, 2020.

Key dates for Academy professional members for the 2020 ACM Awards cycle are as follows:

56th ACM Awards Balloting Periods FIRST ROUND January 19, 2021 (opens 9 a.m. PST) — January 26, 2021 (closes 5 p.m. PST)

SECOND ROUND February 10, 2021 (opens 9 a.m. PST) — February 17, 2021 (closes 5 p.m. PST)

FINAL ROUND March 17, 2021 (opens 9 a.m. PST) — March 24, 2021 (closes 5 p.m. PST) EQROY / SHUTTERSTOCK.COM

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55th ACM Awards Industry Award and Studio Recording Award Winners

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he Academy of Country Music proudly announced the 55th ACM Awards Industry Award and Studio Recording Award winners on December 8, 2020. Reigning New Male Artist of the Year, Riley Green and New Female Artist of the Year, Tenille Townes, took to the Academy’s Facebook page to reveal the winners in video format. Winners were eligible for

these awards from the period of January 1–December 31, 2019. Industry Awards are voted on by the membership categorized in the Artist/Musician/Producer/Engineer, Venue, Manager, Talent Agent and Talent Promoter categories. Studio Recording Awards are voted on by membership categorized in the Artist/Musician/Producer/Engineer category. Congratulations to the winners! Below is a complete list of the Industry Award and Studio Record Award winners.

INDUSTRY AWARD WINNERS CASINO OF THE YEAR – THEATER The Joint: Tulsa — Tulsa, Okla.

CASINO OF THE YEAR – ARENA MGM Grand Garden Arena — Las Vegas, Nev. FAIR/RODEO OF THE YEAR Houston Livestock Show & Rodeo — Houston, Texas FESTIVAL OF THE YEAR Tortuga Music Festival — Ft. Lauderdale, Fla. CLUB OF THE YEAR Joe’s Live — Rosemont, Ill.

STUDIO RECORDING AWARD WINNERS BASS PLAYER OF THE YEAR Jimmie Lee Sloas DRUMMER OF THE YEAR Miles McPherson GUITAR PLAYER OF THE YEAR Rob McNelley PIANO/KEYBOARDS PLAYER OF THE YEAR Gordon Mote

THEATER OF THE YEAR The Beacon Theatre — New York, N.Y.

SPECIALTY INSTRUMENT(S) PLAYER OF THE YEAR Jenee Fleenor

OUTDOOR VENUE OF THE YEAR Red Rocks Amphitheatre — Morrison, Colo.

STEEL GUITAR PLAYER OF THE YEAR Paul Franklin

ARENA OF THE YEAR Madison Square Garden — New York, N.Y.

AUDIO ENGINEER OF THE YEAR Justin Niebank

DON ROMEO TALENT BUYER OF THE YEAR Gil Cunningham — Neste Live!

PRODUCER OF THE YEAR busbee

PROMOTER OF THE YEAR Brian O’Connell — Live Nation

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HAPPE N I N GS

Country Shines at Presidential Inauguration

BY THE NUMBERS Premier Global Production supplied 45,000 square feet of staging and 56 lighting towers.

It took 26 trucks and 200 stagehands to set up and load out staging gear.

The Syncrolite beams on the “pillars of light” were visible for about a half mile into the air.

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he Country Music community contributed its talent and expertise to the inauguration of President Joe Biden and Vice President Kamala Harris on January 20 in Washington D.C. ACM Lifting Lives® Board Vice Chairman Troy Vollhoffer and his company, Premier Global Production, brought their considerable years of live event experience to the production of the inaugural festivities, including staging and towers for the National Mall and milelong “field of flags.” ACM® Board Member Chris Lisle and his company, CLLD, LLC, were tapped to design and oversee lighting for the “field of flags” and Garth Brooks the “pillars of light” on the National Mall. The flag lighting was provided by Nashville-based company Bandit Lites. The pillars of light were Syncrolites provided by Image Engineering.

In addition, Country artists were wellrepresented. Six-time ACM Entertainer of the Year

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Garth Brooks sang a heartfelt rendition of “Amazing Grace” for the incoming administration, invited guests and a national TV audience during the official inauguration ceremony at the U.S. Capitol. Later in the day, ACM Award winners and longtime friends Tim McGraw and Tyler Hubbard (of Florida Georgia Line) put downtown Nashville in the spotlight when they performed their new duet “Undivided” on the live primetime special “Celebrating America.”

The song, written by Hubbard while waiting out a positive COVID-19 quarantine on his tour bus, focuses on a feel-good message of hope and optimism. ●

There were almost 1,500 lighting fixtures used on the National Mall between the Washington Monument and the U.S. Capitol.

The “Field of Flags” and pathway lighting required more than 8 miles of power cable.

There were six trucks worth of lighting gear.

Tyler Hubbard and Tim McGraw

Executive Director Lyndsay Cruz helps spark a

LASERFOCUSED MISSION for ACM Lifting Lives®

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outhern California native Lyndsay Cruz is soft-spoken and kind, but she’s not shy about sharing her thoughts, a trait she got from her mother.

“My mom is very strong willed and never shied away from offering her opinion,” says Cruz, who is one of four

siblings. “Me and my sisters pretty much dominated the house. We always sat down for dinner after whatever activities and school we had that day and my parents talked about current events. Mainly politics. We could speak our minds.”

That daily family roundtable and her previous experience in charitable work prepared her well to lead the good work of ACM Lifting Lives, the charitable arm of the Academy. As executive director, she has helped lead a refocusing of the non-profit’s mission.

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Q: What first drew you to non-profit work?

CRUZ: “I was working in Washington, D.C., in the George W. Bush administration and I traveled to Africa with Secretary of the Treasury Paul O’Neill and rock icon Bono of U2. As many know, Bono is a huge advocate of human rights and social justice issues.

He was lobbying to convince the U.S. government to increase foreign aid to Africa and was showing us how good ‘aid’ works — giving people a hand up instead of a handout. I was mesmerized by everything: the people, their culture, their hard work and drive to want to work themselves out of poverty. I thought, ‘What am I doing as a government person? There are enough bureaucrats in this world. I want to help people.’ And this was my 24-year-old’s version of ‘saving the world.’”

Q: What have you learned working for other charitable organizations like Oxfam that has helped you in your work with Lifting Lives?

CRUZ: “I learned that you need a strong mission. You need to set a clear vision of what you are doing and what you are aiming to achieve. Point to clear examples of what works and how your organization impacts people’s lives. It’s important to be pragmatic with donor dollars, to spend their money wisely and to show the return on their investment in your organization.”

Q: How did you find out about ACM Lifting Lives?

What drew you to this organization?

CRUZ: “Coincidentally, one of our current board

members, Judee Ann Williams, connected me with former Lifting Lives executive director, Erin Spahn Erenberg, many years ago. Erin told me about the mission of Lifting Lives, and I shared with her what I was doing with Oxfam America. We stayed in touch over

Top: Cruz in South Sudan with US AID From the American People Above: Doing humanitarian work in Zimbabwe

the years and reconnected on a project and became great friends. She told me Lifting Lives was looking for an executive director, and she said, ‘You should go for it!’ About nine months later, I submitted my letter and application and here we are now!”

Q: How would you describe the Country Music community’s willingness to support charitable causes?

CRUZ: “In my past nonprofit work, whenever I was doing outreach to anyone in the Country community, they were always the folks who were the kindest and most genuine and who really wanted to be helpful.

There is a sincere desire to give back, and it’s palpable.

I also love Country Music. Quite honestly, my love of the music first drew me in, but when I learned more about Lifting Lives, I was determined to get this job!”

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Cruz with partner, Jon, and baby, Elsie

Q: This year Lifting Lives pivoted quickly to establish the COVID-19 Response Fund to help those in the Country Music community who lost their income due to the pandemic. Why was that something you and the board wanted to tackle?

CRUZ: “I think it relates to the reality that the Country community is always willing to help. When it was our turn to help them, it was a no-brainer. We have always been directly assisting people in the industry through the Diane Holcomb Emergency Relief Fund, so when we saw that this crisis was beginning to have a real effect on people’s livelihoods, we accelerated the process and were able to respond very, very quickly to the growing need. This is a close-knit community — one of the many reasons I love this job — and helping each other is a real thing. I feel it’s been quite easy to pick up the phone and ask for advice or assistance, and people are always willing to offer advice or help. That seems to be just ingrained in the fabric of the people in this community.

Helping others through this fund was the right thing to do.”

Our first round went very quickly. We distributed $1.5 million. Little did we know the pandemic would last this long and people would be out of work with very minimal government assistance. Around our award show in September, we begin to gear up for round two and ACM CEO Damon Whiteside and I called on companies that were in a position to donate and join us. We raised another $1.5 million and took $500,000 out of the reserve accounts of Lifting Lives and re-opened on Giving Tuesday with $2 million to give. In 15 days, my colleague Taylor Wolf and I poured over almost 2 thousand applications and distributed $2 million in grants to more than 1,300 people in our community who met the criteria. It was incredibly important to our board and the organization to get money to people before the holidays and the end of the year. It was bittersweet. As proud as we are of being there to help our community, it’s incredibly heartbreaking to see so many of our friends and colleagues suffering. We’ve given $3.5 million so far, and we have a waiting list for round three.”

Q: How do you think the coronavirus pandemic is going to change the way charitable organizations operate going forward?

CRUZ: “I can only speak to this organization and how we are looking forward. In 2020, we announced a

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major expansion of our partnership with Vanderbilt University Kennedy Center, supporting the remarkable work they do for people with autism spectrum disorder.

A program we had already committed to supporting is their telehealth work, which distributes health services electronically by using telecommunication. Under the leadership of Dr. Jeffrey Neul, this program is leading the country in this new world of health technology and healing by using long distance education and monitoring for those patients without healthcare nearby. Our grant came at such a crucial time to expand on this work, so we are all excited to see how this can help reach more families.

“Another one of our beneficiaries shared a heartfelt story about a cancer patient receiving music therapy performed via an iPad by a neurologic music therapist. That was made possible through a Lifting Lives grant made last January. They informed us that he was receiving chemo to heal his body and virtual music therapy to heal his soul. The point is, the work will continue no matter what, and organizations are finding innovative ways to help people without having to be there in person.”

What do you enjoy most about this work?

CRUZ: “I absolutely love the people at the ACM®.

Everyone has a passion to support the mission of Lifting Lives and to see our mission succeed. It is not difficult to ask for support when everyone wants to help. My favorite part of the delivery of this work is interacting with our beneficiaries. I have always felt a deep connection to that part. Being with our campers from ACM Lifting Lives Music Camp was a highlight of my first year (2019) and again in 2020 when we did the camp virtually.”

Q: What’s your biggest goal as executive director?

CRUZ: “ACM Lifting Lives was founded by incredibly charitable people within the Academy of Country Music®.

We are an extension of the Academy. But my goal is for Lifting Lives to have its own legs to stand on — to be known as its own entity that supports innovative music therapy programs to help people heal. The COVID-19 Response Fund has enabled us to be an integral part of this community. People have desperately needed the support. Our board enabled us to work quickly and efficiently to get that out to people. The goal is to ultimately have people back to work, doing what they love, and being able to support themselves and their families.”

Q: You’ve had an exciting year, tell us about your family and your new addition.

CRUZ: “Jon and I had a baby girl, Elsie, right in the thick of the COVID-19 chaos. When she was born, we were not allowed any visitors in the hospital. We took her home and two days later, the governor of California enforced a stay-at-home order. The three of us have had this wonderful time at home together. It’s been a silver lining to an incredibly challenging year. ●

J O I N ACM LI F TI N G LIVES I N S U PP O RTI N G TH E CO U NTRY M USI C COM M U N IT Y D I REC TLY VIA TH E COVI D -19 RESP O NSE FU N D

TO LEARN MORE ABOUT HOW YOU CAN SUPPORT THE FUND VISIT ACMLIFTINGLIVES.ORG

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ACM Duo of the Year Dan + Shay on making music during a pandemic

ALONE

Together

B

BY LISA LEE

ack in September 2020 — a year with craziness that no one saw coming — Dan + Shay found themselves standing at a podium accepting an ACM Award.

It’s a place they had been many times in the past

few years, but this time, there was one notable

exception: There was no audience, no applause,

and no family and friends to congratulate them. Due

to COVID-19 precautions that basically shut the music industry down, it was just Dan Mooney and Shay Smyers alone together to accept their second trophy for ACM Vocal Duo of the Year.

“That was a surreal experience,” says

Smyers of the audience-less event, the first awards show back on the air during lockdown.

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The slowdown also gave them time to write songs and to reflect on what they’ve accomplished as a duo over the past seven years, including eight No. 1 hits, four ACM Awards® and two Grammys.

The downtime imposed by the coronavirus allowed both guys to spend time with their new families. They each married in 2017.

(Smyers to wife, Abby; Mooney to wife, Hannah. The latter couple now has two little boys to chase around.) Their sweeping hit “Speechless” was inspired by each of them seeing their now wives walking down the aisle toward them.

“Any life experience can affect your music,” Mooney explains of how the changes in their lives are echoed in their new songs.

The slowdown also gave them time to write songs and to reflect on what they’ve accomplished as a duo over the past seven years, including eight No. 1 hits, four ACM Awards and two Grammys.

They are the first Country artists ever to take home the all-genre Collaboration of the Year trophy at the 2020 American Music Awards, also sweeping every category in which they were nominated including Favorite Duo or Group – Country and Favorite Song – Country.

With massive hits like “Speechless” and “Tequila” and successful cross-genre collaborations like “Keeping Score” with Kelly Clarkson, and “10,000 Hours” with Justin Bieber, Dan + Shay have been at the forefront of helping Country Music bring in more fans from around the world. In the seven years since they formed, Dan + Shay have amassed more than 6.8 billion streams globally.

“We’re really proud to be part of the global exposure Country Music is getting right now,” Smyers says.

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Their unique sound and songwriting perfectly showcase their family-like harmonies on tunes that address core Country themes in a modern way.

And it looks like their hot streak will continue in 2021.

The pair is working on a new album, which will hopefully be out by fall. The lead single “I Should Probably Go to Bed,” has already hit No.1. It’s a tune the duo wrote after stepping out of quarantining separately.

“We didn’t see each other for a big chunk of time during the lockdown, so we were so excited to see each other,” recalls Mooney. “I think we finished ‘I Should Probably Go to Bed’ that first day in my home studio.”

The single, which solidly pinpoints heartbreak and its pitfalls in this digital age, already has surpassed 175 million streams globally and made its TV debut on the 55th ACM Awards live from the Grand Ole Opry stage.

Their unique sound and songwriting perfectly showcase their family-like harmonies on tunes that address core Country themes in a modern way. Their mega hit “Tequila” is a 21st century version of classic drinking songs like “The Bottle Let Me Down.” “How Not To” has the yearning essence of “He Stopped Loving Her Today,” but with a pop sensibility that appeals to a new generation of Country fans. They might not sound the same, but there’s a thread through the subject matter that ties it all together.

“The songs are everything,” Mooney says, lauding the deep well of talented Nashville songwriters.

The duo is now working on a new album, which fans could hear by fall. They are writing originals, but also searching for the best songs from outside writers.

“You have to push yourself to grow in your music but stay true to what got you there,” Smyers explains, regarding their approach to their fourth album.

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After finding or writing the best songs they want to share with fans, they are ready to record, and by all accounts, Smyers is a perfectionist in the studio.

“Songs are never done for Dan,” Mooney says.

“That’s true,” Smyers responds with a laugh. “One time we had already released a song, and I went back and remastered it.”

Although they’ve enjoyed the time off with their families, the two are ready to take their show back on the road when COVID-19 precautions allow them to bring their fans some brand new music.

“We feel blessed,” Mooney said, “and we’re ready to get back out there when it’s safe and put our best foot forward.” ●

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The Resurgence of

Tanya Tucker

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t 62 years of age and despite an ongoing pandemic and never-ending political discord, one can be assured that ACM® Award winner Tanya Tucker woke up this very morning “feeling more alive and energized than yesterday.”

It’s just always been her way of livin’.

“I wake up every day with a new to-do list,” Tucker enthusiastically told ACM Tempo® during a recent interview. “I want to record more music. I want to tour the world. I want to save the elephants in Africa and the gorillas in the bush. I don’t feel like I’m getting older at all, I feel like I’ve just begun.”

Indeed, Tucker reminds us all that age is just a number, and the years have held much for the edgy Texas native. In 2019 alone, Tucker was the recipient of two CMA Awards, two ACM Awards and three CMT Awards … in addition to two Grammy Awards for Best Country Album for While I’m Livin’ and Best Country Song for “Bring My Flowers Now.” But was she expecting this sort of career resurgence?

“Hell, no,” laughs Tucker, who has spent much of the pandemic at home, “doing chores, getting the house organized, and listening to a ton of Waylon Jennings, Johnny Cash and Loretta Lynn.

“I never saw this coming at all. But you have to remember, I never went anywhere. Everyone calls this a comeback, but I’ve lost count of how many comebacks they’ve said I’ve had. Late ’80s, mid ’90s, 2000s … but this time around was definitely different, though.”

Tucker says she “owes it all” this time around to Brandi Carlile and Shooter Jennings, who inspired her in late 2018 to

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Gene Autry, get into the studio and cut new Tanya Tucker songs — songs that would go on and George to showcase Tucker’s voice like Lindsey, 1973 never before.

“While I’m Livin’ is real, honest and relatable,” explains Tucker, who finished off 2020 with the release of Live From The Troubadour, featuring live versions of some of her biggest hits, including “Strong Enough To Bend,” “What’s Your Mama’s Name, Child” and, of course, “Delta Dawn.”

“There were no overdubs. No auto-tuning. What you hear is what came out of me,” she says.

Most can agree that the shining gem of the album is “Bring My Flowers Now,” a bittersweet ballad that Tucker wrote alongside Carlile, Tim Hanseroth and Phil Hanseroth.

“My dad always said my biggest hit would be a song I’d write,” Tucker says quietly. “He was right. I didn’t write ‘Delta Dawn’ or many of my other hits. But to be nominated for four Grammys and in the same category as Lady Gaga, Lizzo and so many other top songwriters in Song of the Year felt damn good.”

Granted, it was a long time coming.

“That’s a song I’ve had stuck in my head for 40 years,” she explains. “I had the chorus, but I just couldn’t nail down the rest of it.

(Chuckles.) That song took 40 years and 15 minutes to write.”

And it’s this song and the countless others within her dynamic catalog that Tucker hopes her fans can continue to hang onto during these somewhat troubling times.

“Music is the only thing that can heal our fractured society and culture,” says Tucker. “It’s what brings us together.

“God is the only one who knows how it’s all going to work out. It’s His plan. We’re just along for the ride.” —TRICIA DESPRES

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I N M E M O RY

Ed Bruce 1940 – 2021 Ed Bruce, whose songwriting catalog includes “Mammas Don’t Let Your Babies Grow Up to Be Cowboys,” died on January 8, 2021.

He was 81. Waylon Jennings and Willie Nelson carried “Mammas” to No. 1 in 1978. A year later, Tanya Tucker took “Texas (When I Die)” to No. 5 at radio. A 1980 ACM Award nominee for Top New Male Vocalist, Bruce had been recording for roughly 25 years by the time he delivered “You’re the Best Break This Old Heart Ever Had,” a No. 1 single on MCA in 1982. He co-wrote his next three Top 10 singles on MCA, while two subsequent RCA releases reached the Top 5. In addition to extensive voice-over work, Bruce’s acting roles included the TV series, “Bret Maverick.” —CRAIG SHELBURNE

Oslin with her trophies from the 24th ACM Awards® in 1989

K.T. Oslin 1942 - 2020

K

.T. Oslin, the compelling singer-songwriter who won four ACM Awards® in the 1980s, died on December 21, 2020. She was 78. Although she placed four No. 1 Country singles, Oslin remained beloved for her Grammy-winning breakout hit, “80’s Ladies,” which peaked at No. 7 at radio in 1987. Oslin received 1987 ACM Awards for Top New Female Vocalist and Video of the Year for “80’s Ladies.” The next year, she earned trophies for Top Female Vocalist and Album of the Year for This Woman.

Her chart-topping hits include “Come Next Monday,” “Hold Me,” “Do Ya’” and “I’ll Always Come Back.” A three-time Grammy winner, Oslin was inducted into the Nashville Songwriters Hall of Fame in 2018.

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Hal Ketchum

Jamie O’Hara

Tony Rice

1953 – 2020

1951 – 2021

1951 – 2020

Hal Ketchum, the ’90s Country

Jamie O’Hara, the songwriter who

Tony Rice, the influential

star best known for “Small Town

won a Grammy for “Grandpa (Tell

bluegrass artist regarded for

Saturday Night,” died on November

Me ’Bout the Good Old Days),” died

pioneering the flatpicking style, died

23, 2020. He was 67. Ketchum worked

on January 7, 2021. He was 70. Along

December 25, 2020. He was 69. Born

as a carpenter and cabinetmaker

with that 1986 classic by The Judds,

to a family of musicians, Rice was

in Texas while honing his craft at

O’Hara wrote No. 1 hits for Gary Allan

introduced to bluegrass by his father

venues like Gruene Hall. He moved

(“Man to Man”) and Ronnie McDowell

and older brother. At age 20, he began

to Nashville in 1986 and secured

(“Older Women”). In the ’90s, his

playing throughout Kentucky with the

a contract with Curb Records.

songs were recorded by Sara Evans,

band the New South led by banjoist J.D.

Produced by Allen Reynolds and

Emmylou Harris, George Jones, Pam

Crowe. Rice then met Ricky Skaggs,

Jim Rooney, Past the Point of Rescue

Tillis, Randy Travis, Tanya Tucker,

who joined the band in 1974, and later

(1991) reached gold. From that album,

Lee Ann Womack, Tammy Wynette,

they released J.D. Crowe and the New

“Small Town Saturday Night” and the

Wynonna and Trisha Yearwood. With

South. Following his involvement with

title track peaked at No. 2 at radio.

Kieran Kane, O’Hara recorded for

the New South, Rice helped found

With momentum from singles such as

Columbia Records as The O’Kanes.

the David Grisman Quintet and later

“Sure Love,” “Hearts Are Gonna Roll”

The duo charted six Top 10 hits (all of

established his own group, the Tony

and “Mama Knows the Highway,”

which they wrote) and nabbed a 1987

Rice Unit. Throughout his music

Ketchum joined the Grand Ole Opry

Grammy nomination with their No.

career, Rice is credited with pushing

in 1994. He charted his final Top 10

1 single, “Can’t Stop My Heart From

the bluegrass genre further into what

hit with “Stay Forever” in 1995.

Loving You.” —CRAIG SHELBURNE

is now coined as “newgrass,” a genre

—CRAIG SHELBURNE

of bluegrass drawing on pop and rock elements. In the ’90s, Rice struggled with muscle tension dysphonia, which caused him singing issues. Rice retired from playing due to progressive arthritis. His last public performance was at his induction ceremony into the Bluegrass Music Hall of Fame in 2013.

—LIBBY GARDNER

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I N M E M O RY

Doug Supernaw

Larry Willoughby

1960 – 2020

1950 – 2021

Nineties country hitmaker Doug

powerful “I Don’t Call Him Daddy.”

Larry Willoughby, former vice

Supernaw, who was best known for

In 1994, Supernaw was nominated as

president of A&R at Capitol

hits such as “Reno,” “I Don’t Call Him

ACM New Male Artist of the Year and

Records, passed away after battling

Daddy” and “Not Enough Hours in

earned a Gold record for his Red and

Alzheimer’s disease and contracting

the Night,” passed away November

Rio Grande album.

COVID-19. He was 70.

13, 2020, in Texas after a battle with cancer. He was 60.

Born in 1960, Supernaw grew up in

The remainder of the decade

The native Texan found minor

ended up being a challenging one for

success as an artist with the 1984

Supernaw. Professionally, he released

album Building Bridges. Notably, Brooks

Houston, Texas, and initially excelled

a slew of songs that didn’t do much on

& Dunn turned the title track into a

in a wide range of sports, most

the charts. And personally, Supernaw

Grammy-nominated, Top 5 single in

notably golf. In fact, he earned a golf

faced his share of challenges stemming

2006. After touring his album and

scholarship to attend the University

from his battles with everything from

managing acts Rosanne Cash and his

of St. Thomas, but in 1979, he dropped

mental illness to substance abuse.

cousin Rodney Crowell, Willoughby

Yet, in recent years, Supernaw

was drawn into the business side of

out in favor of a brief stint as the lead singer of the band The Occasions.

embarked on a journey to get back

Country Music. He joined the staff at

Eventually, in 1987, the aspiring

in the Country Music spotlight. In

ASCAP before transitioning to director

singer/songwriter would find his way

2016, he was inducted into the Texas

of A&R at MCA/Universal Records.

to Nashville, becoming a staff writer

Country Music Hall of Fame, and the

He still kept a hand in songwriting,

for a Music Row publisher. Yet, his

very next year, he released a comeback

with songs being recorded by Waylon

time in Music City was short, as he

album that had him back performing

Jennings, Rodney Crowell, the Oak

made the decision to return to Texas

on the CMA Music Festival stage.

Ridge Boys and more. Willoughby

to form his own ban, Texas Steel. The

In 2019, he was diagnosed with

retired from his long career in the

band’s success put the spotlight back

stage IV cancer in both his lungs

music industry having helped shape the

on the talents of Supernaw, who was

and bladder.

careers of many stars, including Keith

then signed by RCA Records.

From there, he would release “Honky Tonkin’ Fool” and “Reno,” and eventually hit No. 1 with the

Supernaw is survived by his third wife, his children and his grandchildren. —TRICIA DESPRES

Urban, Trace Adkins, Eric Church, Dierks Bentley and Luke Bryan.

He is survived by his wife, Janet; two sons, Kobalt Music’s Jesse Willoughby (Bonnie) and Cody (Laurin), and two granddaughters. —HANNAH KELLIS

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I M P R OV I N G

LIVES THROUGH THE

POWE R

OF

MUSIC

WWW. ACMLIFTINGLIVES.ORG

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ACM M O M E NT

Charley Pride 15th ACM Awards

®

Knott’s Berry Farm in Buena Park, Calif. | May 1, 1980 Charley Pride hosts the 15th Academy of Country Music Awards with Loretta Lynn and Claude Akins in 1980. Please flip the magazine for a special tribute section to Pride, a one-of-a-kind performer.

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Priscilla Block

Jordan Davis Parker McCollum

The New Sound of 2021 is on UMG Nashville

Caylee Hammack

Mickey Guyton

Travis Denning

I N M E M O RY

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TEMPO ACM

WINTER 2021

Remembering

Charley Pride

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FROM

Baseball Diamonds to

Gold Records

CHARLEY PRIDE, whose groundbreaking career in

BY CRAIG SHELBURNE

Country Music brought forth hits like “Kiss an Angel Good Morning” and “Is Anybody Goin’ to San Antone,” died on December 12, 2020. He was 86.

PHOTO BY BEN DE RIENZO

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ACM PIONEER AWARD WINNER CHARLEY PRIDE DIES AT 86

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fter setting aside his ambitions as a professional baseball player, Pride entered the public eye as Country Music’s first African-American artist signed to a major label. His tenure on the RCA Records roster from 1965 to 1986 yielded 29 No. 1 hits and 59 charting singles. Eleven of his albums for the label were certified gold.

Pride was born on March 18, 1934, in Sledge, Miss., where his family worked the Delta soil as sharecroppers, picking peanuts, corn and cotton. His father enjoyed listening to the Grand Ole Opry, which instilled a love for Country Music in young Charley, one of the family’s 11 children. By age 14, he’d saved enough money to order a Silvertone guitar through the Sears, Roebuck and Company catalog and taught himself a few open chords, using his index finger like a capo.

Within a few years, though, baseball proved to be his main pursuit. As a teenager inspired by Jackie Robinson, Pride landed a spot pitching for the Memphis Red Sox of the American Negro League. While the team traveled, Pride would sometimes play guitar and sing on the bus for his teammates. He managed to

1. Pride with his ACM Pioneer Award at the Universal Amphitheater, 1994.

2. At the 1999 ACM Awards 3. Playing in the ACM Bill Boyd Celebrity Golf Classic at DeBell Golf Club in Burbank, Calif.

4. With fellow Country Music star Donna Fargo at the 5th Annual ACM Awards® 5. With beloved wife, Rozene, at an ACM banquet, 1999 6. Pride at the 1994 ACM Awards 7. With first ACM Awards Executive Director Bill Boyd, 5th ACM Awards, 1970

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8. Pride, center with Neal McCoy and Buck Owens

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finish 11th grade before bouncing across the country — with stops in Alabama, Idaho, Wisconsin, California and finally Montana — trying to break into the major leagues. He married his wife, Rozene, in 1956.

While working in Helena, Mont., Pride developed a significant following singing Country songs in the region’s nightclubs and bars. A local disc jockey found a way to introduce him to Nashville stalwarts Red Sovine and Red Foley, who were in town to play a show.

Pride came to the dressing room that night and sang for them. Impressed, Sovine gave Pride his number and told him to look up Jack D. Johnson at Cedarwood Publishing in Nashville.

Pride filed that contact information away for a few years while still pursuing an athletic career. But after a last-ditch attempt in 1963 to join the New York Mets faltered, Pride opted to make a detour through Nashville on the way home. At Cedarwood, Pride sang a few songs for Johnson, who was already looking for a Black Country singer. Johnson immediately assumed the role of Pride’s manager, although it took two more years to get RCA on board, with Chet Atkins convincing his cautious colleagues in California to take a chance.

Billed as “Country Charley Pride,” his warm, appealing baritone grabbed listeners’ attention on the radio before they realized he was Black. His singles were sent to stations without promotional photos and the first two releases — “The Snakes Crawl at Night” and “Before I Met You” — didn’t chart. His third single, 1966’s “Just Between You and Me,” established him at radio. Written by his producer Jack Clement, the recording earned Pride the first of 13 Grammy Award nominations.

In his 1994 memoir, Pride: The Charley Pride Story, he observed that audiences were sometimes shocked to find out that he was Black.

Describing his first major show on a 1966 package tour, he recalled telling the stunned crowd, “Ladies and gentlemen, I realize this is a little unique … me coming out here on a County Music show wearing this permanent tan.” When that audience responded with laughter and applause, Pride began to feel relaxed and confident — a stage presence that he would carry throughout his career. In his memoir, he recalled having to overcome the reluctance of promoters to book a Black Country artist into nightclubs, even though his sets were always well-received.

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PRIDE’S LIFE STORY COMING TO THE BIG SCREEN Longtime Hollywood star Dennis Quaid will serve as a co-producer of “The Charley Pride Story,” a movie about the Country Music legend’s incredible life that will go into production later this year.

“Charley Pride was a global icon in music, baseball and business,” Quaid said. “He broke barriers, unprecedented at the time, and made us all realize that we have more in common than our differences. He was a great American and a good Christian. Perhaps one of his greatest accomplishments is his more than 60-year marriage to his lovely, devoted partner in life, his wife Rozene.”

The film is slated for release in 2022 or early 2023.

“As one of the producers of ‘The Charley Pride Story,’ I’ll make sure his story is not unsung to the younger generation,” pledged Quaid. “While Charley has left this Earth, he is now singing in the Heavenly choir.” —LISA LEE

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Rather than dressing in Western wear or rhinestones, Pride adopted a stylish, urbane look on stage — often wearing slacks and loafers with a sweater or jacket. Fans embraced his recordings like “Crystal Chandeliers,” “Does My Ring Hurt Your Finger” and a cover of Hank Williams’ “Kaw-Liga.” He quickly won the admiration of his peers — some of whom were admittedly skeptical — through his musical talent as well as his friendly demeanor. And rather than mingle among Music Row regulars, Pride put his roots down in Dallas in 1969.

Pride placed his first No. 1 single that year with “All I Have to Offer You (Is Me),” then returned to that pinnacle 21 times in the 1970s. He picked up two Grammy Awards for the 1971 project, Did You Think to Pray, and a third in 1972 for Charley Pride Sings Heart Songs. His recording of “All His Children” with Henry Mancini appeared in the 1972 film, “Sometimes a Great Notion,” and the song received an Oscar nomination (but lost to “Theme from ‘Shaft’”).

In addition, Pride received four nominations as ACM Male Vocalist of the Year (1969–1972) and three for Entertainer of the Year (1970–1972).

“Kiss an Angel Good Morning,” written by Ben Peters, secured ACM nominations for Single and Song of the Year. Pride’s 1978 single, “Burgers and Fries,” also written by Peters, landed in the Song of the Year category, too.

With a proven ear for finding hits, he partnered with Johnson (and later Tom Collins) to operate Pi-Gem Music Publishing, Inc., and advocated for rising artists such as Ronnie Milsap and Dave & Sugar.

Pride continued to chart for RCA in the early 1980s. His No. 1 singles include renditions of Hank Williams’ “Honky Tonk Blues” and “You Win Again,” as well as “Never Been So Loved (In All My Life),” “Mountain of Love” and “Night Games.” But when a new, youth-focused regime assumed the reins at the label in 1986, Pride asked to be released from the roster.

He charted one more Top 10 single, “Shouldn’t It Be Easier Than This,” for the 16th Avenue label in 1988. Pride was inducted into the Grand Ole Opry in 1993, although it had been a standing invitation for years. The ACM honored him with the 1993 Pioneer Award as well.

Offstage, Pride privately battled bipolar disorder, which he detailed in his memoir. He also reflected on his multiple business dealings, in particular being a co-founder of First Texas Bank, which would become one of the most successful minority-owned banks in the country. Still fascinated with baseball, Pride also served as part-owner of the Texas Rangers team.

Pride maintained an international touring schedule for decades and opened a theater in Branson, Mo., in 1994, bearing his name. He was honored with a star on the Hollywood Walk of Fame in 1999, inducted into the Country Music Hall of Fame in 2000, and received a Grammy Lifetime Achievement Award in 2017. A new PBS documentary, “American Masters — Charley Pride: I’m Just Me,” aired in 2019. •

Remembering Charley Pride Artists pay tribute to their good friend Dolly Parton @DollyParton

Maren Morris @MarenMorris

“I’m so heartbroken that one of my dearest and oldest friends, Charley Pride, has passed away. It’s even worse to know that he passed away from COVID-19. What a horrible, horrible virus. Charley, we will always love you.

Rest In Peace.”

“Your voice. Your humility. The fact that the first time I ever visited the Opry, you were backstage holding court and I was trying not to eavesdrop.”

Darius Rucker @dariusrucker “My heart is so heavy. Charley Pride was an icon, a legend and any other word you wanna use for his greatness. He destroyed barriers and did things that no had ever done.

But today I’m thinking of my friend. Heaven just got one of the finest people I know. I miss and love you CP!”

Kane Brown @kanebrown_music “R.I.P. to a legend and icon for country music. You were a pioneer and paved the way for many artists — including me.

You will always be remembered and we will always honor and keep your music alive. We love you Charley Pride.”

Tim McGraw @thetimemcgraw “Charley was a part of my career from the earliest days when I was hanging out with Byron Gallimore at Pride Music Group. Charley was just the nicest man, generous of heart and spirit. So kind. Musically he will always be a legend and one of the country greats. As a man, he’ll always be an inspiration. He worked hard no matter what obstacle he faced and his willingness to break down racial barriers changed our world for the better. We love you and thank you. Our hearts go out to Rozene and the family. We will miss you Charley.”

Brad Paisley @bradpaisley “The most generous, kind, trailblazing man has left us.

I met Charley Pride when I was 15. He gave his home phone number to my dad, and said ‘I’d love to help your son.’ And help he did. I am so blessed to have had so many memories with him. I’m devastated. You changed country music for the better, Charley. And you changed this kid’s life. We love you. #charleypride”

Luke Bryan @LukeBryon “Lost a tremendous legend today. A true trailblazer and inspiration to us all. Thank you for your wonderful music and legacy. RIP Charley Pride.”

Loretta Lynn @ Loretta Lynn “Heartbreaking. I truly loved my friend, Charley Pride.

The world will never be the same. He was one of the very best things that ever happened to country music. I’m all tears tonight. #charleypride #KissAnAngelGoodMorning #ihatecovid19”

Reba McEntire @reba “Charley Pride will always be a legend in Country music.

He will truly be missed but will always be remembered for his great music, wonderful personality and his big heart.

My thoughts are with his wife Rozene and their family.

RIP, Charley.”

Ronnie Milsap via statement: “Charley Pride, a pioneer, a music man, a baseball player, a good friend and the love of Rozene’s life, has passed on. Without his encouragement when I was playing the Whiskey a Go Go on the Sunset Strip in the ‘70s, I might have never made it to Nashville.”

Bill Anderson via statement “Like the rest of the world, I am shocked and saddened to learn about the death of Charley Pride. He and I went back to the early days of his career in 1966 when he made his first nationwide appearance as a guest on my syndicated television show. In later years, we toured together, shared music and argued baseball endlessly. I saw firsthand some of his early struggles as the first black performer in country music. My admiration for the way he handled himself during those years knows no bounds.

I’ve lost a hero and a friend.”

Crystal Gayle via statement “Charley Pride has been a cornerstone of country music and a wonderful part of my life for so long. I loved his music before I came to Nashville and I loved Charley as soon as I met him. I always looked forward to working with Charley and I will always miss his warm smile, kind words, and beautiful heart.”

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