Charlie Dick, husband of Patsy Cline, has passed away.
Charlie with friends, at Tootsies, in Nashville.
by: Hawk Chevy
During the 2014 Grammy Awards, Willie Nelson and Kris Kristofferson started off the performance singing “Highwayman”. Merle soon appeared, followed by Blake Shelton to sing Merle’s famous “Okie From Muskogee”. The top it all off, they finished up by performing “Mama Don’t Let Your Babies Grow Up To Be Cowboys”.
It’s obvious the audience is enjoying the performance because everyone is singing along with smiling faces, not to mention the men got a standing ovation.
I’ve been listening to this cd all morning. What a beautiful combination: the poetry of Kris Kristofferson sung by Willie Nelson. Get a copy if you don’t already have one to enjoy. Look at this track list!
Saturday, September 12th
9 p.m., CMT
The life and artistry of the Man in Black will be celebrated in Johnny Cash: American Rebel, a CMT original documentary premiering Sept. 12 at 9 p.m. on the 12th anniversary of his death.
The film features exclusive interviews with Johnny Cash’s family, friends and admirers, including Willie Nelson, Eric Church, Sheryl Crow, Rodney Crowell, record executive Clive Davis, Merle Haggard, Kris Kristofferson, John Mellencamp, Kid Rock, producer Rick Rubin, and others.
It marks the first time Cash’s son John Carter Cash, daughter Rosanne Cash and June Carter’s daughter Carlene Carter have all appeared in a film about him.
Johnny Cash: American Rebel is built around 12 essential Johnny Cash tracks spanning four decades that each deliver the passion, musicality and messages against war, injustice, racism and prejudice, including “Folsom Prison Blues,” “Jackson,” “San Quentin,” “Man in Black,” “Sunday Morning Coming Down,” “Ring of Fire” and “Hurt.” Each song illustrates a chapter in his life, as well the story of an ever-changing America from the 1950s to modern day, as told through interviews, archival concert footage, photographs and personal artifacts from the Cash family.
“There were so many different facets to him, such an undefinable depth to his character,” John Carter Cash said. “You could see it in his eyes, and it brought on mystery, and it brought on a need for, perhaps, understanding him in a deeper way and this is part of the appeal of who the man was.”
Derik Murray and Paul Gertz from Network Entertainment are executive producers of the film. Jordan Tappis directs and Derik Murray co-directs. Jayson Dinsmore, Lewis Bogach and John Miller-Monzon executive produce for CMT.
Johnny Cash: American Rebel marks the latest in a series of original documentaries from CMT. The first, Urban Cowboy: The Rise and Fall of Gilley’s, premiered to critical acclaim has been seen by more than 9 million viewers. More than 5 viewers tuned in for Morgan Spurlock’s Freedom: The Movie, which premiered last month.
Feb. 13, 1984
by Chet Flippo
Is it true that when cowboys die, they go to Texas? Tonight is cowboy heaven for sure — as two forever young good ole boys named Willie Nelson and Kris Kristofferson smile and press the flesh and inch their way through phalanxes of ecstatic fans on their way to the bandstand. Out front, a couple thousand of the faithful are whooping it up and pouring down the Lone Star beer at Austin’s Opry House, a true shrine of C&W. It was here that Willie put modern Country on the map in the early ’70s when he gave up on Nashville’s establishment and drifted on down to Austin to forge an alliance between hippies and rednecks.
Hordes of both — now almost indistinguishable, what with their pierced ears and long hair and pounds of silver and gold jewelry and flowered shirts and skintight jeans (and that’s only the men) — are starting their “Willie” chant. Even though the concert footage has already been shot at the Opry House for Songwriter, the movie that Willie and Kris are filming here, Willie got cabin fever after awhile and decided he just had to do a show. Since he now owns the Opry House, along with a lot of other prime Austin real estate, it wasn’t too hard to set up. Austin can never get enough of Willie, especially since he now spends most of his time in Colorado or on the road. He is still a holy man in Texas.
Backstage, Willie, still in his “Doc Jenkins” black garb from the day’s shooting, smiles his guru smile and shakes the hands of preppies in blazers and bikers in leather and grandmothers in shawls and little children and clean-cut jocks and guys who look suspiciously like dope dealers and businessmen wearing suits and left-over ’60?s hippies and farmers and former University of Texas coach Darrell Royal. They are smiling at each other so much that, if you didn’t know better, you might think this is a mob of some kind of babbling religious freaks. But no, they’re just Willie fanatics.
Willie embraces Kristofferson, who is still wearing the black outfit of the “Blackie Buck” character in the movie. Kris and Willie are the old pros of progressive C&W and their lined faces and salt-and-pepper bears show a lot of years of being rode hard and put up wet. But, as a bystander points out, they fearlessly — and recklessly — went up against heavy odds in fighing Nashville’s establishment.
“And, bah Gahd, we won, didn’t we, Willie?” rasps Kris in his window-rattling rumble of a voice, hugging Willie amid the chaos. “Yeah, Kris, I guess we did,” Willie says quietly. Then he and his band hit the stage to plead: “Whiskey river, take my mind.”
The crowd erupts and doesn’t stop. It’s an old-fashioned hoedown with dancers and drinkers twirling and swirling thorugh hours of Willie and Kris, and Kris and Willie stripping down to black T-shirts and dripping with sweat by the time they turn Amazing Grace into a Country Mass — hundreds of europhoric worshipers jumping to their feet and pointing their fingers heavenward and singing along witha Texas sermon from Matthew, Mark, Kris and Willie. And not one fight. Remarkable for a honky-tonk.
“God, Willie’s great,” Kris says a few minutes after the show, back in his modest suite at the Ramada Inn, as he picks his way through stacks of toys for his children and calls room service to order himself some rabbit food and volcano water.
Ten years ago, when they were really living the lives of Doc and Blackie, Kris and Willie existed on shots of tequila and more shots of tequila, with the occasional night out on shots of Jack Daniel’s. They were living right out there “on the border,” as Kris sings in this movie. And they were slogging through the drugs-and-alcohol diet thought essential to capture the exquisite pain of country music.
No longer. Kris pulls off his T-shirt to reveal that he’s healthy now, rippling muscles and all that. Coherent. Sane. Everything that he is not inSongwriter. Doesn’t drink or drug anymore. Runs 10 miles a day. Plays golf with Willie. Eats right. Is writing songs again after a long drought.
“Yeah, things are going real good,” he says with a satisfied sigh from his easy chair, boots up on the table. “I got married. Wasn’t no big thing, but yeah, we got a little boy now. My wife’s named Lisa. She’s a lawyer. She was in law school at Pepperdine when I met her. We had a little boy on the seventh of October — Jesse Turner Kristofferson. ‘Jesse’ for an old football coach I had and ‘Turner’ for [band member] Turner Stephen Bruton.
“Wille’s got a great philosphy — about running, about golf, about everything. Kick it back to where you can enjoy it, you know? I’t like, if youre’ running too hard and you’re miserable, then ease off a little bit. He runs for pleasure, not to drive himself. I swear to God” — he laughts at the notion — “being around Willie is like being around Buddah. He gives off these positive attitudes. Next thing you know, you’re acting like him.”
He laughs again, shaking his head in wonderment as he pushes his room service tray aside. He turns and trains the full force of his intense, sky-blue deep-set eyes on his visitor and says seriously, “I’ll never be like him. I’ll never be able to walk directly from the golf cart to the stage. But I’ll never again put myself through the angst I used to. This film as changed my life as much as A Star is Born did. That was a real turning point because I saw that I had potential as an actor. It was enough to clean me up, to quit drinking, you know. And this move has justified my getting cleaned up. You always hope that working with friends will work, but working with Willie is a real bonus because the chemistry on the screen is so good. This has turned out to be the best experience of my life.”
Photo: Lana Nelson
When Kris Kristofferson played the Boulder Theater he dedicated this song to Willie Nelson, and told his story about being inspired to write it while standing backstage, watching Willie Nelson perform and interact with his fans:
by Kris Kristofferson
Well here you are
The final attraction
From somewhere above
Your finest performance
I know what you’re making
Is some kind of love
Somewhere in your lifetime
You were dared into feeling
So many emotions
That tear you apart
But they love you so badly
For sharing their sorrows
So pick up that guitar
Go break a heart
Come on boy, get back up there
You can do it one more time
For Hank Williams, go break a heart
And Janis Joplin, go break a heart
And John and June Carter,
And Stephen Bruton, go break a heart
And Waylon Jennings,
go break a heart
And John Lennon, go break a heart
And Roger Miller, ”
And Jimi Hendrix, ”
And Mickey Newbury, ”
And maybe one time for me
Go break a heart
Congress will decide on H.R. 1635, and its senate companion bill S. 1333, a landmark bill to remove CBD (cannabidiol) and hemp from the Controlled Substances Act, where both are classified as Schedule 1 substances.
This bill will help families gain access to non-psychoactive cannabis extract that is already changing the lives of thousands of Americans who suffer from debilitating conditions. Research will also flourish. We are calling on you to ask your legislators to co-sponsor these bills and become a champion for families in need.
Support the Charlotte’s Web Medical Access Act H.R. 1635 & Therapeutic Medical Access Act S.1333 by asking your politicians to co-sponsor these bills.
Win a piece of history
When you join the #FightForAccess, you are also entered to win a rare collectible. On May 2nd Manny Pacquiao and Floyd Mayweather went head to head in the “Fight of the Century.” Prior to the fight, both boxers signed only five gloves together. When you take action by calling, writing or sharing your story, your name will be entered into a raffle to win one of these gloves. Get a bonus entry by meeting personally with your representatives. (Limit 4 entries per person)
This is your chance to make history
But you have to take action now… we need your voice and we need as many co-sponsors as possible for this bill. Don’t let this window of opportunity close for our children and for generations to come. This is your chance to be a part of history.
The star-studded lineup of performers also includes Alison Krauss, Robert Earl Keen, Chris Stapleton, Toby Keith, Eric Church, Kacey Musgraves, Sturgill Simpson, Jamey Johnson, son Shooter Jennings, widow Jessi Colter, and Billy Joe Shaver. Producers Buddy Cannon and Don Was will serve as musical directors; the latter will lead the backing band as well.
The event is being filmed and recorded for release at a future date.
—Juli Thanki, firstname.lastname@example.org