Kristofferson’s devotion to spiritual communion brought much in the way of sorrow, desperation, and misery, but it led to triumph.īy the 1960s, most prominent country musicians viewed music as a way out of poverty and struggle. “(Blake) is telling you that you’ll be miserable if you don’t do what you’re supposed to do,” Kristofferson said in the Ken Burns’ documentary Country Music. He believed that songwriting is a spiritual communion of mind, body, and soul, and he believed that William Blake was correct in asserting that anyone divinely ordered for spiritual communion but buries his talent will be pursued by sorrow and desperation through life and by shame and confusion for eternity. Mama Cass Elliot called him “No Eyes.” Atlantic Monthly published his short stories. Muhammad Ali sat side-stage at his concerts. Willie Nelson recorded an entire album of his songs, then joined him in supergroup The Highwaymen, with Johnny Cash and Waylon Jennings. He was almost a teacher at West Point, though he gave that up to become a Nashville songwriting bum. He was a peacenik, a revolutionary, an actor, a superstar, a Casanova, and a family man. He was an Oxford scholar, a defensive back, a bartender, a Golden Gloves boxer, a gandy dancer, a forest-fighter, a road crew member, and an Army Ranger who flew helicopters. Kris Kristofferson’s life is unprecedented, and won’t be replicated.īorn Kristoffer Kristofferson in the border town of Brownsville, Texas on June 22, 1936, Kristofferson changed the language of country music, with extraordinary internal rhymes, Shakespearean iambic pentameter, and socially progressive subject matters that found the personal within the political.
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