
Dolly Parton's husband of nearly 6 decades dies
Dolly Parton's husband, Carl Thomas Dean, whom she was married to for nearly 60 years, has died, she said. He was 82.
The music icon, 79, on Monday posted a statement confirming Dean's death on Instagram.
'Carl Dean, husband of Dolly Parton, passed away March 3rd in Nashville at the age of 82. He will be laid to rest in a private ceremony with immediate family attending. He was survived by his siblings Sandra and Donnie," the statement said.
'Carl and I spent many wonderful years together. Words can't do justice to the love we shared for over 60 years. Thank you for your prayers and sympathy.'
The star asked for privacy for the family as they grieve Dean's death.
Parton and Dean, a businessman from Nashville, married in 1966 after meeting two years prior and mostly kept their relationship out of the public eye.
In a November 2023 interview for her Apple Music show, 'What Would Dolly Do? Radio,' Parton opened up about why they kept their relationship so private.
'Carl has never been in the limelight and all, never wanted to be in it. He don't like it,' Parton explained at the time. 'He went to one thing with me early on when we first married to a BMI Song of the Year (event), and he came out there taking off his tuxedo, his tie and all that and said, 'Don't ever ask me to go to another one of these damn things because I ain't going.''
She added, 'I never asked him and he never did.'
Parton famously penned one of her biggest songs, 'Jolene,' which was released in 1973, about a woman flirting with her husband.
Speaking about the inspiration behind the song in an interview with NPR in 2008, she said, 'She got this terrible crush on my husband. And he just loved going to the bank because she paid him so much attention. It was kinda like a running joke between us — when I was saying, 'Hell, you're spending a lot of time at the bank. I don't believe we've got that kind of money.' So it's really an innocent song all around, but sounds like a dreadful one.'
In May 2016, the longtime couple decided to renew their vows. She told Rolling Stone that they had an intimate ceremony at their Nashville-area home.
'I got all dressed up in the most beautiful gown you've ever seen and dressed that husband of mine up. He looked like a handsome dude out of Hollywood,' she gushed. 'We had a few family and friends around. We didn't plan anything big at all because we didn't want any kind of strain, any kind of tension, any kind of commotion, so we planned it cleverly and carefully. We just had a simple little ceremony at our chapel at our place. We just had just a few people who needed to be there to make sure they got the pictures and the few things that we needed.'
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Glasgow Times
11 hours ago
- Glasgow Times
Stars of Nashville coming to SEC Armadillo in Glasgow
Actors and musicians from the iconic show, Nashville, will be taking to the SEC Armadillo stage on Tuesday, February 10. The likes of Clare Bowen (Scarlett), Charles Esten (Deacon), Jonathan Jackson (Avery) and Sam Palladio (Gunnar) will star in the show, performing classic songs from the series as well as their own original material. READ NEXT: Inside the TRNSMT-inspired rave for Glasgow teenagers The show comes as part of the Nashville Encore Tour, which will stop in a number of UK cities. Speaking of the upcoming run of gigs, Bowen said: 'It's rare that an actor gets to play a dream role like Scarlett for so long. Even rarer to have Nashville's beautiful catalogue of music that we get to continue celebrating with audiences around the world. "The live shows are an evolution of the series. We meet so many new fans of the tv show on the road, and they're out there singing right along with those who've been with us from the start, and it's such an honor for us. We have the best fans in the world." READ NEXT: American singer with over three million monthly listeners coming to Glasgow Tickets for the show will go live at 10am on June 13. To purchase tickets, visit


The Guardian
14 hours ago
- The Guardian
Nashville at 50: Robert Altman's defining masterpiece of the 1970s
Released smack-dab in the middle of the 70s, like some gravitational mass at the center of the galaxy, Robert Altman's Nashville is the defining work of a decade when iconoclasts upended Hollywood and took stock of the country during a turbulent stretch. For Altman, it was the culmination of a film-making style he had been refining since M*A*S*H in 1970, one built on spontaneity, a rich evocation of time and place, and actors empowered to create characters who seem to simply exist in their worlds, rather than impose themselves on it. The offhand magic of Nashville is that it feels modest, despite a who's who of two dozen stars convening for an epic that offers Music City as a microcosm for America herself. Rarely are great films this casually profound. Fifty years later, Nashville has pollinated many more ensemble productions that brings their casts together under a large thematic umbrella, including plenty more from Altman, such as A Wedding, The Player, Short Cuts and his swan song, A Prairie Home Companion. But while other films of the era had attempted to work on a similar scale, like Irwin Allen disaster pictures or Stanley Kramer productions, Altman was attempting to reinvent what films could be, which proved a much harder path, even at a time when the auteur lunatics were running the studio asylum. Though Nashville turned out to be the rare Altman hit, it was bankrolled by a record company. Hollywood didn't have the nerve for Altman's narrative experiment. Working from a script by Joan Tewkesbury, who had also written his superb Depression-era crime drama Thieves Like Us the year before, Altman turns Nashville into a slice of life that seems to stumble by accident into a bigger cultural moment. The overlapping dialogue on the soundtrack marks the film as unmistakably his own, and it challenges the audiences to listen in, as if they're eavesdropping from a nearby table. The effect is an almost documentary-like naturalism, in which characters on their own individual trajectories collide and break apart, leaving a trail of dialogue behind them. Some of that dialogue is hilariously low-key, some barely intelligible, some flashing with insight into this vast constellation of human experience. Altman doesn't ask the audience to pick up on all of it, just to immerse themselves in his world. The music alone makes it easy, with several of the actors composing the songs they are asked to sing in the film, like the rival country and western crooners played by Ronee Blakley and Karen Black, and Keith Carradine, who won an Oscar for I'm Easy, a folk song that references the many notches on his character's bedpost. Though Altman's perspective on the music industry oscillates between contempt and affection, the sheer variety of performances in Nashville is astounding, starting with an early sequence in which Haven Hamilton (Henry Gibson) is recording a patriotic bicentennial anthem in one studio while Linnea, a white gospel singer (Lily Tomlin), lays down tracks with a Black choir in another. Everyone is so desperate to make it, in fact, that there's an open mic in the middle of a stock car race. Other than the stages at Opryland USA, the unifying event in Nashville is a fundraising gala for a third-party candidate named Hal Philip Walker, who never actually appears on screen but whose platform drones through the loudspeakers atop his campaign van. His views are hard to place on the political spectrum, but his grievances make him sound like the uncle everyone dreads having home for Thanksgiving. ('Let's consider our national anthem. Nobody knows the words … ') With a US presidential election coming the next year, Walker's organizers (Ned Beatty and Michael Murphy among them) are trying to wrangle marquee names like Haven and Barbara Jean (Blakley) to perform at the Parthenon, the city's replica of the Greek temple. Though the final sequence at the Parthenon brings the film to a shocking yet poignant conclusion, Altman and Tewkesbury stage a journey of constant detours, with a particularly sharp emphasis on the shared dreams of fame and the often humbling road to get there. For women in particular, it's an ugly minefield of gatekeepers and misogynists, whether it's Barbara Jean's temperamental husband/manager (Allen Garfield) micromanaging her affairs, Tom (Carradine) playing seduce-and-destroy, or would-be up-and-comers exposing themselves to open mic crowds. In the film's most devastating scene, a beautiful waitress (Gwen Welles) with an unfortunate voice gets coerced into turning a singing gig into an impromptu striptease act. Such is the abattoir of celebrity. Other familiar faces may be limited to minor contributions in Nashville, but they're all like excerpts from short stories that tease your imagination and make you wonder more about them. Shelley Duvall keeps popping up in a funny role as Martha, a star-obsessed scenester who calls herself 'LA Joan' and keeps sidling up to good-looking musicians, despite ostensibly being in town to visit her dying aunt. Geraldine Chaplin ambles around with a recorder, claiming to be a BBC documentarian, but she winds up serving as the film's de facto guide, with odd diversions like a poetic monologue about the junkyard. Elliott Gould and Julie Christie play themselves as big-time movie stars, which has the effect of connecting Altman's fictional milieu with the real world. Who's to say what's authentic? The assassination of JFK and other political leaders over the previous decade haunts the finale of Nashville, which assembles all its characters for a piece of historical destiny. Though it's Altman's instinct to be pessimistic about politics and the coarsening soul of the country, the same generous spirit that brought all these characters to life shines through in a chorus that speaks to the best of humanity. The ending is tragic and beautiful, embodying the many Americas refracted through Altman's lens for over half a century.


Daily Mail
21 hours ago
- Daily Mail
Miley Cyrus reveals how she mended 'messy' family relationships without therapy amid decade of drama
is unpacking a decade's worth of family drama and trauma and reveals how she mended all of her fences. The 32-year-old star was born in the spotlight, the daughter of country music legend Billy Ray Cyrus and Tish Cyrus, who found fame herself at a young age as star of the Disney Channel series Hannah Montana. She grew up to be a global pop star in her own right, though she revealed on Tuesday's episode of Reclaiming with Monica Lewinsky, her road to fame was filled with family strife. She teased the whole family went through a, 'really difficult, dark decade' but they were able to get through it. Cyrus revealed on the podcast - which also featured the singer explaining what WAP is to the 51-year-old Lewinsky - that the family was able to mend their fences without therapy. 'We're so messy, we didn't even do any of that,' Cyrus joked of her family struggles, revealing the reason a therapist wasn't involved. 'Just to get each other into a room to get to counseling would have been a war,' Cyrus admitted. She told Lewinsky that at one point of the 'dark decade,' half of her family members were not speaking to each other. Cyrus admitted she, 'had a lot of loyalty' to her mother Tish, who split with father Billy Ray back in 2022 after nearly 30 years of marriage and sharing Miley, Braison, 31 and Noah, 25. Before their official split and divorce that was finalized in 2023, Miley said that her parents were on-and-off, as she revealed how that affected her. '(I) watched what happens when you don't clean things up as they're happening,' Miley admitted. 'They really do stack. And then all of the sudden you go, "Oh my God, it's been 10 years and this is a mess I barely even know how to start. This is emotional hoarding,"' she admitted. Ultimately, the singer, 'cleaned all that up,' during a, 'really important part of [her] year … putting those lines of communication back together.' 'I just kind of busted through the pile that stacked and just [went], "I'm here, you're here, let's start by having a good time together and then as we start bringing some happiness and joy into each other's life, then we'll be in a better place to have these conversations,"' she admitted. Cyrus admitted she, 'had a lot of loyalty' to her mother Tish, who split with father Billy Ray back in 2022 after nearly 30 years of marriage and sharing Miley, Braison, 31 and Noah, 25 She also admitted it, 'was easier to (wave) a white flag' than go through counseling with someone else. The singer added she likes others to decide they, 'like the way she's functioning' and attempt to 'mimic' it. She will be addressing the family drama more directly on her forthcoming album, teasing that a song called Secrets. Cyrus said the song is about her wanting her dad, 'to feel safe enough to tell [her] the things that were damning and damaging to the family.'