We are riding the storm out here, so far fortunate that we have not lost power or anything worse. We’ll see what the next thirty-six hours brings.

Joe Galloway in San Fransisco, 2017 / photograph by Christopher Michel

Someone texted me the other day that Vietnam War correspondent Joe Galloway died earlier this week. In the texting thread that ensued I pointed out that given the events of our current moment it seemed appropriate in a bitterly ironic way that the chronicler of that conflict died when he did. Galloway’s death comes seven months after Neal Sheehan’s passing this past January. We were fortunate that Lynn Novick, Ken Burns and their team were able to get the two journalist’s on film for their 2017 documentary “The Vietnam War.” In the winter of their lives they added further nuance to our understanding of the war and the era. Galloway in particular was ubiquitous on the promotional circuit during and immediately after the film’s release, talking with Burns and others at symposia and other public events. Sheehan it seems was too infirm by that point to contribute in such a manner.

1967 Mercury Records promotional image of Tom T. Hall

Galloway was not the only figure from the era who died this week. A second was Tom T. Hall. Known as The Storyteller, Hall was born in Kentucky in 1936. Historian Bill C. Malone tells us in his important book “Country Music, U.S.A.” that one of Hall’s greatest inspirations as a songwriter was Hemingway. One can see that in the succinctness and brevity of Hall’s lyrics. The songs are short, and the language crisp and clear. Hall told you the story and then quickly wrapped it up. Just like Hemingway. That is a much more difficult thing to pull off than the reader or listener realizes. That one does not see the effort and deliberation that went into it means the creator succeeded. I must say that as much as I admire Tom T. Hall’s imagination and proficiency I never entirely warmed up to his catalogue. His songs, at least to me, never quite had the depth of expression found in the work of Kris Kristofferson, Vern Gosdin, Townes Van Zandt, and others. I don’t find myself going back to Hall’s work regularly the way I do with others. Listening to Merle Haggard or Bob Dylan at twenty-five is not the same as listening to them at forty, and again at fifty as one’s own life and circumstances evolve. Once you have heard a Tom T. Hall song, you basically know what it is. The figure he reminds me the most of is Buck Owens, another supremely talented, deeply intelligent figure whose oeuvre never quite plumbed the depths that it could have. Still it’s hard to argue with a song like “Harper Valley P.T.A.,” Hall’s 1968 classic sung by Jeannie C. Riley skewering the hypocrisy inflicted upon a single mother by her “betters” in the small town in which she lives as she’s trying to get by. We are fortunate we had Joe Galloway and Tom T. Hall while we did.