Archive for the ‘You Tube, Vimeo’ Category

This day in Willie Nelson history: “Mamas, Don’t Let Your Babies Grow Up to Be Cowboys” #1 on Billboard

Wednesday, March 4th, 2015


On March 4, 1978, Willie Nelson and Waylon Jennings recording of “Mammas, Don’t Let Your Babies Grow Up To Be Cowboys” is number one (and stays there for four weeks).

Willie Nelson, “Blue Eyes Crying in the Rain”

Tuesday, March 3rd, 2015

Willie Nelson, “Mind Your Own Business”

Sunday, March 1st, 2015

Happy Shoeshine Friday!

Friday, February 27th, 2015

Willie Nelson Art: Mardi Gras Float

Thursday, February 26th, 2015

Willie Nelson’s ‘American Classic’ (August 25, 2009)

Thursday, February 26th, 2015


Photograph by Ian Gittler / Used With Permission


  1. The Nearness of You
  2. Fly Me to the Moon
  3. Come Rain or Come Shine
  4. If I Had You (with Diana Krall)
  5. Ain’t Misbehaving
  6. I Miss You So
  7. Because of You
  8. Baby, It’s Cold Outside (with Norah Jones)
  9. Angel Eyes
  10. On the Street Where You Live
  11. Since I Fell For You
  12. You Were Always on My Mind

Willie Nelson, “Maria, Shut Up and Kiss Me”

Wednesday, February 25th, 2015

Rob Thomas, of Matchbox Twenty, and Willie Nelson collaborated on an album, and during it’s promotion, got together and talked about life, and writing music;

Willie: So Rob, let’s start by telling folks how we met.

Rob: I met up with you at one of your shows. You do these damn three-hour sets. By the time you’re done, I’m drunk. I get on your tour bus and I can’t get anything out of my mouth, except, “I love you!” In my head it’s all coherent, I want to talk about certain records, but instead I keep going, “You know the one with you on the cover? You know that song about the girl?”

Willie: How’d you write your first song?

Rob: I started writing just to pick up girls [laughs[ I was in high school, and I wasn’t playing football and I wasn’t extremely popular. So I thought I would be the guy at the party sitting at the piano, playing songs for girls. Then they would say, “Oh my God, look how sensitive he is.” You’ve told me that when you started, you wanted to be on the Grand Ole Opry.

Willie: Yeah, I was listening to Hank Williams and all those guys on the radio. And I’d go to the movies and see Gene Autry and Roy Rogers. That’s what I wanted to do. You grew up in the south, too. How has that affected your songwriting?

Rob: There’s someting entirely different about growing up southern and having a southern mother. Especially coming into this business not from a country side, my biggest problem was getting over the geekiness of the fact I’m from the south. Like, when I go to an awards show, the only thing different between me and everybody else is I really am happy to be there. And I am glad to meet ya. And everybody thinks you’re full of shit!

Willie: In your late teens you were homeles. What was that like?

Rob: That was more like a self-inflicted kind of romanticized hippiedom. I used to hitchhike around, up to South Carolina, or over to Daytona, so I could sit at the rest stops and have time to write songs. I thought I was trying to relive the Jack Kerouac days. The whole hitchhiking thing was just too damn scary after a while.

Willie :I did that, too. I was about 20, hitchhiking through California and Oregon and Washington, riding freight trains, sleeping under bridges and viaducts. I didn’t like that at all.

Rob: But it builds a certain character that you don’t get from playing Little League.

Willie: It’s like picking cotton. It’s something you did, but never want to do again.

Rob: Yeah, exactly. I was a roofer for six months, and I don’t care if I lose everything and no one ever wants to hear my songs; I’ll still never get on a roof again! But I’m glad to have that, ’cause now when I hang out with the roofers, I won’t get my ass kicked! [laughs] Did you ever write something and then afterwards look back on it and you’re like, “Man, I have no idea where it came from, but it explains everything”?

Willie: It usually start with a line that means really nothing. It proves the point that fortunately we’re not in control. There’s somebody dishing out ideas and if we’re dumb, we don’t get ‘em.

Rob: It seems like that’s the time when you start losing your ideas, when you actually think, “OK, I’m gonna write something.” And then it’s like “Oh no you’re not.”

Willie: You never did and you never will.

Rob: Have you ever been really heartbroken, written a bunch of songs about it, and then had to hear them over and over again later?

Willie: It can be a sad experience to have to say those same sad words every night.

Rob: “Right Now” wasn’t even going to be on the record originally. It was something I’d written when I’d met my wife and she was just coming to the point where she realized she wasn’t quite sure she wanted to marry a musican.

Willie: Sounds like a smart lady.

Rob: I’d written a song pretty much just to talk her out of it. There are certain emotional things that go on regardless of what you’re doing as a job and where your station is in life. And I think a lot of stuff that you touch on has been these things that don’t change and are universal. You could make a butt-load of money but you still get your heart broken, you still have people let you down.

Willie: I used to know a manager of a great writer. He would create problems between this guy and his wife, tell stories about this happening and that happening, just to keep him upset and writing songs.

Rob: A lot of times what you’re expressing in the song is the worst of what you’re thinking about a situation. But then it frees you up to be a happy guy the rest of the time.

Willie: Hopefully, that happens. There’s always occasions, incidences, where a guy comes along and he starts singing those negative songs every night of his life. And he gets on the bus, grabs a bottle…

Rob: We had a couple of those keyboard players.

Willie: You wrote that song called “Maria.” It says it all: “OK, we’re fighting, we’re dumb and we’re crazy and we’re beating each other up, but let’s stop.”

Rob: Sometimes, you could have a love song, but it just doesn’t seem like one. ‘Cause love takes on a lot of different emotions.”

Willie: Yeah, I wrote one, called, “I’ve Gotta Get Drunk, and I Sure Do Dread It.”


This day in Willie Nelson History: 2002 Olympics Closing Ceremony (Salt Lake City, Utah)

Tuesday, February 24th, 2015

On February 24, 2002, Willie Nelson performed “Bridge Over Troubled Water” during the closing ceremony of the 2002 Winter Olympics in Salt Lake City, Utah. Martina McBride and Donny and Marie Osmond also performed at the ceremonies.

SALT LAKE CITY, Feb. 24— Beneath the snowy Wasatch Range and in front of a bedazzled, swaying crowd of 44,929, the 19th Winter Olympics came to a dynamic and celebratory end tonight. Fears of terrorism long gone, protests of days past shelved for the night, athletes from 78 nations marched into Rice-Eccles Stadium in a rambunctious mood and took their seats for the most ornate conclusion ever to a Winter Games.

After 17 days, 234 medals and all the theater and human majesty in between, Utah bade farewell to the sporting event it wanted so desperately. The state and its people were rewarded with a reinvigoration of the Winter Games — and by a closing ceremony collage of colors, music and harmony.

In a gaudy and grand celebration, canisters of fluorescent pastel paint were dumped on the ice by dancers, à la Jackson Pollock. Huge white beach balls descended from the stands. Monstrous helium balloons, carrying gyrating gymnasts dressed as skiers and snowboarders, hovered overhead.

Earth, Wind and Fire played and sang, an unannounced Willie Nelson broke into a soulful rendition of ”Bridge Over Troubled Water,” and 780 children in Eskimo parkas carry ing lanterns ended one segment with ”Happy Trails to You,” as they skated in a long, straggling line, off the ice and into a chilly night.

The sentimental portion of the program over, a pyrotechnic barrage began north of the stadium. Workers at 11 launch sites in the valley around the stadium ignited $1 million worth of fireworks — 10,000 shells that spectacularly lit the mountains for nearly five minutes as the Olympic anthem blared through the stadium.

Dr. Jacques Rogge, the International Olympic Committee president, called the first Winter Olympiad in the United States since 1980 ”unforgettable” and ”inspiring.”

”People of America, Utah and Salt Lake City, you have given the world superb Games,” Rogge, the successor to Juan Antonio Samaranch, said during his first closing ceremony speech.

He had vowed beforehand not to echo Samaranch’s ”best Olympic Games ever” remark, bestowed on Sydney, Australia, in 2000 but not on Atlanta four years earlier.

Keeping with the tone of the evening, Mitt Romney, the Salt Lake Organizing Committee president, praised the Olympians, the fans and more than 30,000 volunteers. He also seemed to encapsulate Utah’s dual feelings of ecstasy and relief by opening his remarks with ”Salt Lake City . . . we did it!”

A mosaic of American pop culture took turns entertaining the masses. Seventy-five-foot dinosaurs straight from the ”Lion King” set design peered over the stadium, trying out their comedy. The voices belonged to the Utah siblings and icons Donnie and Marie Osmond. Musical acts ranging from Christina Aguilera to Bon Jovi to Harry Connick Jr. to Kiss sang and played well into the night.

Most longtime observers of the closing ceremony said the festivities were on par with the most impressive end to any Summer Games they had witnessed and beyond any imaginable conclusion to a Winter Games.

The three-hour party began when the flag was raised by five American Indian war veterans, one for each of Utah’s indigenous tribes. The national anthem was sung a capella by ‘N Sync. A boy band seemed only apropos, with such attention paid to a younger audience and its fascination with newfangled winter sports like snowboarding and moguls skiing.


Willie Nelson, Shania Twain, “Blue Eyes Crying in the Rain”

Monday, February 23rd, 2015

“Back to the Start”

Monday, February 23rd, 2015

By Maureen Morrison
Published on .

Adele was no doubt the star of last night’s Grammys, taking home six awards. And although Coldplay performed at the event, the band’s live performance was overshadowed by Chipotle’s “Back to the Start” ad, which featured Willie Nelson covering Coldplay’s “The Scientist.”

The two-minute spot is the chain’s first national TV ad, but Chipotle released the ad online in late August; it also aired in some 5,700 movie theaters. The ad takes viewers through one farmer’s journey, from a huge industrialized farming compound to one with more-sustainable and humane practices. Chipotle encouraged viewers to download the song at iTunes, with proceeds going to the Chipotle Cultivate Foundation.

That Chipotle even aired a TV ad is a bit unusual. The chain has made a concerted effort in recent years to take its advertising in-house, and CMO Mark Crumpacker has said that traditional advertising has become less important for the company.

But reception of the spot, at least on social media, appears to be mostly positive. Some Twitter reactions:

@poniewozik Coldplay-based Chipotle commercial > actual Coldplay performance. #grammys

@mikelafloyd WAIT. THIS WILLIE NELSON THING IS A COMMERCIAL FOR CHIPOTLE?!?! I was getting emotional over burritos?! #grammys

@WilsonTech1 The Chipotle commercial is single-handedly the best part of the#Grammys so far.

@JayDeMarcus This Chipotle commercial is way weird. Wow.

The chain has long had its “food with integrity” stance, but it’s clearly benefiting from increased consumer concern over where their food originates and wanting food that they see as fresher than traditional fast food. Last week, the chain said its same-store sales for full-year 2011 were up 11.2%; net income was up 20%.

It’s also not the only long-form ad Chipotle released. In October, the chain unveiled “Abandoned,” which focuses on the hardships farmers endure as American agriculture becomes increasingly industrialized. Again there’s a Willie Nelson connection. The song, “Mama, Don’t Let Your Babies Grow Up to Be Cowboys,” performed by Yeah Yeah Yeahs frontwoman Karen O., was written by Willie Nelson and Waylon Jennings.

International Ben Dorcy Day

Monday, February 23rd, 2015


Ben H. Dorcy III was born on May 19, 1925 in Dallas, Texas. He grew up in San Antonio, Texas and attended Jefferson High School. Ben first ventured into the entertainment industry in 1940 working for the Ice Capades, which was a traveling entertainment show featuring performances on ice rinks. Ben worked with the Ice Capades and traveled throughout the United States and Europe during the years 1940 through 1943. In 1943 Ben enlisted in the Navy where he served his country for three years, completing his service in 1946 as a seaman. He was soon to return to the world of entertainment.During the years 1950 through 1953 Ben met and began working for Hank Thompson. Shortly thereafter he was introduced to Willie Nelson.

Ben met Willie at John T. Floore’s Country Store. In addition to Willie and Hank Thompson, Ben also worked on and off with Ray Price.While traveling, Ben fell in love with California and moved to Hollywood. He took a job as a delivery boy for Nudie Rodeo Taylor, the man who “Set Rhinestones in Fashion History.” It was at this time (1962-1965) that Ben met John Wayne. Wayne took a liking to Ben, whom he met at Nudie’s shop and hired him first as a gardener, and later as his chauffeur. Although Ben loved working for Wayne, he longed to return to the music business.Ben moved to Nashville. While in Nashville, Ben reunited with Hank Thompson, Willie Nelson, and Ray Price. It was during this time Ben met Waylon Jennings, Johnny Cash, and Kris Kristofferson. Ben worked in turn for each of these musicians.Ben had a gypsy soul and a heart has big as Texas, hence his nickname, ‘Lovey.’ Ultimately, he returned to central Texas and became immersed in country music with acts that included Merle Haggard, Jerry Jeff Walker and David Allan Coe, to name a few.

Currently, at the age of eighty-nine, Ben still makes the rounds. Few people in the music industry will ever have the impact Ben continues to have. He has a heart of gold, a passion for the music, a strong work ethic, and the desire to persevere, all of which drive him to keep on keeping on. Ben is truly living history and is an inspiration to those of us who want to learn what he so freely offers.

Ben Dorcy on Facebook

The Highway Men Live in Las Vegas

Sunday, February 22nd, 2015

Randy Travis, Willie Nelson, “Birth of the Blues”

Sunday, February 22nd, 2015


Randy Travis
Heroes and Friends

1.  Heroes and Friends
2   Do I Ever Cross Your Mind
3   Birth of the Blues
4   All Night Long
5   The Human Race
6   Shopping for Dresses
7   Waiting on the Light to Change
8   A Few Ole Country Boys
9   Walk Our Own Road
10  We’re Strangers Again
11   Smokin’ the Hive
12   Come See About Me
13   Happy Trails
14   Heroes and Friends (reprise)

Willie Nelson, Merle Haggard, “Reason to Quit”

Saturday, February 21st, 2015

Willie Nelson and Julio Iglesius, “To All the Girls I Love Before”

Friday, February 20th, 2015