#Kris Krisofferson

[dopescissorscashwagon]

Kris Krisofferson & Barbara Streisand in A Star is Born

[mswyrr]

In the 1985, Country greats Johnny Cash, Willie Nelson, Waylon Jennings, Johnny Rodriguez, and Kris Krisofferson recorded "Deportee," a 1948 Woody Guthrie protest song against the abuse and death of Mexican migrant workers

Here's a live performance by Rodriguez and Cash:

Fashy people always talk about derogatory things in old media and say "you couldn't do that now" - but if Country stars tried to do this in 2024 they'd catch absolute hell for being so "woke."

[horrormoviecws]

Blade

“A half-vampire, half-mortal man becomes a protector of the mortal race while slaying evil vampires.”

Content warnings for Blade under the readmore.

Click here to see the database!

amputation, arm trauma, autopsy, beating, bisection, body horror, burning, decapitation, dislocation, electrocution, explosions, gore, hand trauma, impaling, leg trauma, neck trauma, shooting, shoulder trauma, skin trauma, sores, stabbing, strangling, syringes/injections, tasing, throat slitting, tooth removal

alcohol, birth, sex, suicide (shooting)

[lovehas1joyrains2]

#130 MotherFather Of All Creation SonXSun - Good Morning Kris Krisofferson Joyrains.org/donate #god #motherfathergod #love #trinity #truth #news #nonprofit #lovesongs #muscicians #twinflames #twinflamehealing #KrisKristofferson

[thejoyofviolentmovement]

New Video: Ruby Boots Returns with a Coquettish and Stomping New Single

New Video: Ruby Boots Returns with a Coquettish and Stomping New Single

Throughout the past couple of years, I’ve written a bit about the Perth, Australia-born, Nashville, TN-based singer/songwriter and guitarist, Bex Chilcott, and as you may recall, Chilcott has led the sort of life that could have easily inspired a dozen or so country albums. At 14, the Perth-born, Nashville-based singer/songwriter…

[spaceorphan18]

Marvel Movie Night: Blade

I’m kicking off my Marvel Movie Nights with the first decently produced major motion picture based on a Marvel property with Blade.  Before then, it’s really, really bad direct to video or completely unreleased films (which I may or may not get to at a later date) and Howard the Duck, which is bad enough by reputation that I just couldn’t bring myself to start there.  

So, here I am, at Blade, a film about a half vampire who hunts other vampires.  I really expected this film to really suck.  I really did.  But surprisingly, it’s not that bad! It’s not great or anything, but I’d definitely rewatch this over any of the 90s Batman films.  Blade came out in 1998, just as Superhero films were getting into a lot of black leather and techno, and kind of feels like a relic of that time period.  I’m unfamiliar with the director - Stephen Norrington (who apparently has only done four films), but considering this film actually functions on a competent level and suffers only from a pedestrian plot and lacking special effects, I have to say he did an adequate job!  

 The funniest thing, to me, about this film is how hilariously by-the-numbers superhero-esque this film is.  Brooding superhero who lost his parents at a young age? Check! Superhero forced to face whether he wants his powers or not? Check! Older mentor who dies half way through the film? Check! Love interest with special skills and is used for bait? Check! Bad guy with a quirky sidekick who wants to take over the world? Check! People claim the MCU is formulaic - but hey, I think the two hour action flick had a standard structure way before the MCU grabbed hold of it.  

Nothing about this film feels original - but I’m looking at it with twenty more years of experience.  The only worth talking about superhero films that came out before this one were all Superman (heroic and innocent) and Batman (gritty and weirdly dark then just straight up campy) films.  While Blade seems basic and unoriginal now, at least it had its own style and isn’t as campy, cheesy, or overly Burton-esque as the DC films of the time.  Blade is also rated R, so I expected it to be a bit more explicit than it was.  Yeah, there’s an abundance of blood everywhere, but it’s so fake looking that it feels almost cartoonish, and the only other reason it’s has that rating is all the f-bombs dropped.  (The villains know they’re in an r-rated film, every time they drop an f-bomb, there’s a hard emphsis on it -- I know I’m in this fucking movie.  It’s kind of hilarious.)  

I kind of expected there to be some partial nudity - but there wasn’t, to my surprise.  Usually R rating means boobs flying everywhere, and this film was pretty tasteful when it came to that.  Good for them. 

The action sequences aren’t bad, but suffers a little from the one-on-one style.  (Ngl, this was produced by New Line, the same company that did the original TMNT film, and there was something about this that reminded me of that, though I’m hard put to say what, exactly.) There isn’t much in the way of special effects, but that’s for the better - because the few times they melt a vampire or one explodes or something it’s… not great.  But being in the late-90s, I’ll give them a pass.  It could be much, much worse.  

Wesley Snipes famously plays Blade, half vampire himself, out to kill all the vampires because, well, vampires suck.  Can’t say I know that much about Blade from the comics (I haven’t read much with him in it) but I think Snipes really embodies Blade pretty well.  He looks good.  Fights pretty well.  And Blade has such little dialogue, not a whole lot of acting is necessary.  He does, every once in a while, have some random one-liners, which injects a little humor to the film, again to my surprise.  The film doesn’t take itself too seriously, and it’s a nice touch, but it doesn’t get too campy either. 

Anyway, Blade is helped by his mentor figure Whistler - a grumpy and gritty Kris Krisofferson, who doesn’t really do much except give exposition and die so to motivate Blade to finally get all the vampires! I don’t really have a whole lot to say about him because he’s just… there.  And then he’s not - serving his purpose and then stepping off to stage left with some dignity.  

But the main plot is really driven by a woman named Karen played by N’Bushe Wright, a doctor (who specializes in blood diseases!! Because of course she does) who is bitten by a vampire.  While she’s definitely in the damsel in distress camp (Blade has to save her a few times, plus she’s bait, plus she has to do the whole - sacrifice my blood so the hero can go on thing (in a vampire blood sucking moment that’s almost an awkward sex scene)), she’s pretty badass herself.  She can hold her own with Blade, manages to find a cure for vampirism in two days, manages to climb herself out of a pit, and kills a few vampires herself.  And now that I think of it, other than the weird-ish sacrifice moment, there’s no romantic tension between the two of them the whole movie.  Interesting.  

Granted Blade’s so focused on his own mission that he doesn’t have time for any of that.  

Meanwhile, opposing Blade is Deacon Frost whose evil plan is to bring back an ancient evil vampire lord and take over the human race.  Because why not.  There’s a bit in here about how he’s a turned vampire, and not a pureblood, which seems to make him enemies with his own kind - but, as you guessed it, he’ll get back at those nasty ole purebloods, too.  He’s got a quirky sidekick named Quinn who just won’t die (it becomes sort of a joke) and a lady friend named…  what? She doesn’t get a name! Why would women need names, gosh…  

Anyway - of course everything comes down to Blade vs Frost and I’m gonna let you figure out how that goes.  

One of the weirder things to happen in the film, though, is that Blade’s mother - whom you assumed was dead, is actually alive and a vampire.  And while him having to deal with eventually killing her is on the table, what’s weird about it is that she’s oddly seductive towards him in all her scenes with him.  Why? I don’t know.  It’s super uncomfortable that she’s basically coming on to her son.  But, that was the only real unexpected thing that happened in the whole movie.   

Rating: 3 out 5 Silver Stakes.  Overall, it’s not a deep film.  There’s nothing new here that you haven’t seen a thousand times other place, and probably done better.  But I give it credit for being the actual first black led superhero film (the black cast is great! It should really be recognized more for that).  And it is a fun film for the mindless vampire hunting flick that it is.

[rcox808]

Well I woke up Sunday morning, With no way to hold my head that didn't hurt. And the beer I had for breakfast wasn't bad, So I had one more for dessert. Then I fumbled through my closet for my clothes, And found my cleanest dirty shirt. An' I shaved my face and combed my hair, An' stumbled down the stairs to meet the day.

I'd smoked my brain the night before, On cigarettes and songs I'd been pickin'. But I lit my first and watched a small kid, Cussin' at a can that he was kicking. Then I crossed the empty street, 'n caught the Sunday smell of someone fryin' chicken. And it took me back to somethin', That I'd lost somehow, somewhere along the way.

On the Sunday morning sidewalk, Wishing, Lord, that I was stoned. 'Cos there's something in a Sunday, Makes a body feel alone. And there's nothin' short of dyin', Half as lonesome as the sound, On the sleepin' city sidewalks: Sunday mornin' comin' down.

In the park I saw a daddy, With a laughin' little girl who he was swingin'. And I stopped beside a Sunday school, And listened to the song they were singin'. Then I headed back for home, And somewhere far away a lonely bell was ringin'. And it echoed through the canyons, Like the disappearing dreams of yesterday.

On the Sunday morning sidewalk, Wishing, Lord, that I was stoned. 'Cos there's something in a Sunday, Makes a body feel alone. And there's nothin' short of dyin', Half as lonesome as the sound, On the sleepin' city sidewalks: Sunday mornin' comin' down.

Kris Krisofferson

I always loved this song ...

[dianaleaghmatthews]

Behind the Song: Why Me Lord?

Behind the Song: Why Me Lord?

When trials come into our lives it is easy to question the circumstances and ask Why Me, Lord?

The classic country gospel song, Why Me, Lord? was written by Kris Krisofferson.

The song was inspired by Larry Gatlin’s song Help Me Lord.

Kris Kristofferson

Kristofferson attended a church song where Gatlin’s song was sung. “As Kristofferson explained that the pastor asked, “Is anybody…

[dopescissorscashwagon]

~The Highwaymen ~

Waylon Jennings, Johnny Cash, Willie Nelson, & Kris Krisofferson

[jodyedgarus]

The Super Bowl’s Best Matchup Is Gladys Knight vs. The Clock

Super Bowl LIII is not only about two of the league’s best offenses squaring off against one another — New England and Los Angeles — it’s also about America’s other favorite pastime: gambling. The total amount bet on the Super Bowl1 has risen from $40 million in 1991 to more than $158 million in 2018, and much of that growth has come from “props” or proposition bets.

For readers who aren’t degenerate gamblers, prop bets are wagers you can place on events during a game that don’t directly involve the final outcome. This year there are the standard prop bets, like if the Patriots will score a touchdown in the first quarter (they never have in a Super Bowl), or if the Rams will rush for more than 127.5 yards (they averaged 143.3 yards per game in the regular season and the playoffs). But there are also more exotic prop bets on things like whether Donald Trump will tweet more than six times during the game. (The implied probability on one offshore book is 58 percent that he will hit the over.)

Another interesting wager is on the length of Gladys Knight’s rendition of “The Star-Spangled Banner.” Several offshore books have set the total for the anthem at 1 minute 47 seconds, and the implied odds for both the under and the over were set at one book at -115 — a 53.5 percent implied probability — on both sides.2 The implied probabilities being equal indicates that the book has no real opinion on the length of Gladys’s performance — they just want to take a percentage from each side of the wager and hope bettors will place their bets evenly on both.

But is Knight performing the anthem in over/under 107 seconds really close to a 50 percent proposition? Or is there evidence that might convince us that the oddsmakers got the probabilities wrong?

To find out, I went to Youtube and watched 40 Super Bowl national anthems from 1979 to 2018. I eliminated any anthems with trumpeters (there were two) and then started timing the anthem from the moment the singer first started to sing and ended the timer after the completion of the first utterance of “brave.”3 Using this methodology, the 40-year average of all national anthem singers4 is 106.1 seconds, roughly in line with the total set by the books. So the total is correct so far as the average goes, but it also seems lazy. Surely there are other factors that might help us better predict how long Gladys might sing.

For starters, the performance time of the anthem has changed as the Super Bowl has grown to become the unparalleled cultural phenomenon we now enjoy each year. As the pomp, circumstance and viewership have increased, the time anthem performers spend on the stage has also risen.

So while anthems have gotten longer over time, the 40-year average is not fully accounting for that trend. When you do account for it5 the best forecast for the 2019 anthem is actually 119 seconds, 13 seconds over the 40-year average.

Gender of the anthem singer is also significant. Men tend to sing the anthem more quickly than women — though not many men have sung the anthem in recent years, when the anthems have been getting longer overall. Still, the all-time shortest anthem performance was by a man — the incomparable Neil Diamond — who got in and out like a boss in a cool 61 seconds. And the longest anthem ever performed at a Super Bowl was by the unforgettable Natalie Cole in 1994, which clocked in at a diva-esque 148 seconds.

Finally, Knight herself appears to be a singer who knows how to stretch a note. Using whosampled, I identified 31 covers performed by Knight and timed the cover performance of each using similar criteria to the anthem timing. Knight’s covers were 7 percent longer than the originals on average, good for a bonus 12.7 seconds of soothing soul per track. In perhaps the best comp to the national anthem — “Ave Maria,” a soaring, vocal-heavy standard covered by hundreds of artists — Gladys’ performance was 37 percent longer than the standard version.

Gladys Knight takes her time with interpretations

Difference in song length between Knight’s covers and the original songs

Song Original Artist Difference Feel Like Makin’ Love Roberta Flack +129 sec. The Look of Love Dusty Springfield +85 Yesterday The Beatles +70 Help Me Make It Through the Night Kris Krisofferson +66 Ave Maria Anna Moffo +65 For Once in My Life Barbara McNair +50 Midnight Train to Georgia Cissy Houston +42 The Way We Were Barbara Streisand +36 Fire and Rain James Taylor +33 I’m Gonna Make You Love Me Dee Dee Warwick +30 Groovin’ The Young Rascals +27 The Need to Be Jim Weatherly +13 Average +13 Everybody Needs Love The Temptations +8 You’re the Best Thing That Ever Happened to Me Ray Price +8 Goin’ Out of My Head Little Anthony and the Imperials +7 All I Could Do Is Cry Etta James +2 Baby I Need Your Loving The Four Tops +1 Tracks of My Tears Smokey Robinson & The Miracles 0 Yes, I’m ready Barbara Mason -1 Baby Don’t Change Your Mind The Stylistics -1 I Wish It Would Rain The Temptations -4 Cloud Nine The Temptations -9 Keep an Eye Diana Ross & The Supremes -9 You’ve Lost That Lovin’ Feelin’ The Righteous Brothers -14 I Feel a Song (in My Heart) Sandra Richardson -19 Let It Be The Beatles -21 Is There a Place? The Supremes -34 Wind Beneath My Wings Roger Whittaker -34 Heard It Through the Grapevine Marvin Gaye -39 Thank You Sly & the Family Stone -45 Every Beat of My Heart The Royals -49

Sources: YouTube, Whosampled

Taking a larger view, only two anthems in the past 15 years have been performed faster than the 40-year average of 1 minute 47 seconds. And when I looked at the age of the anthem singers, I found no significant correlation between age and performance time.6 On the other hand, we can look at one of Knight’s previous performances of “The Star-Spangled Banner” itself, which is solid piece of evidence against the over, running for 92 seconds. It was, however, performed 28 years ago. All things considered, the bookmakers appear to have this line wrong on Gladys, and her upcoming anthem performance is probably going to go over 107 seconds.

Researching a single prop was a lot of work, and it’s understandable why books might not want to put this level of effort into each and every bet they publish. But it does imply that there are profitable edges for some Super Bowl props. Using the Twitter machine, I threw up a bat signal for a gambling expert to help me confirm my priors. Rufus Peabody, a professional sports bettor and former ESPN contributor who is well-known in gambling circles for the scale and volume of his Super Bowl prop wagers, agreed to help.

“The time and effort to accurately value props is pretty high,” Peabody said. “Some books put more effort into their props than others, and for some props there’s almost no data. Books will move the lines aggressively when sharp bets are made though, which helps them adjust.”

I’ve been keeping an eye on the Gladys anthem line, and it hasn’t moved all week. I was tempted to bet the over, but when I was confronted with the prospect of having to convert real money into Bitcoin in order to place a bet on an offshore site, I decided to abort. When I looked around for somewhere to place the bet in Las Vegas — where they accept actual money — I struck out. Peabody explained that prop bets like anthem length are illegal in Las Vegas because of restrictions on the types of sources casinos can use to “grade” or determine the outcome of a bet.

Even if it won’t net me any cash, I’ll be pulling for Knight to go over regardless. I want her to belt out that last note in “home of the brave” for an egregiously long time. After all, my Twitter credibility is on the line, and that’s serious business.

from News About Sports https://fivethirtyeight.com/features/the-super-bowls-best-matchup-is-gladys-knight-vs-the-clock/

[buttererer]

Tracklist

About My Life by Formerly Fat Harry No Expectations by Rolling Stones Kiss The World Goodbye by Kris Krisofferson I Think I Just Want to Go Home by Tiny Lights Frozen Ducks by Furtips Black And White Photographs by Refrigerator Savannah by Azalia Snail Listen by Eric's Trip Soap by Fly Ashtray Calvin Johnson Has Saved Rock For An Entire Generation by The Azusa Plane Never by Useless Wing Mud Order by Donald McPherson Saw-Horse by The Goslings Everclear by Junket Reverence by Crimony M31 by Wingtip Sloat 5 V Envelope by Mote Remember This Series by Telegraph Series No Song To Sing by Michael Chapman When The Bottom Fell Out by Vic Chesnutt Sad Eyed Lady Of The Lowlands by Bob Dylan Love Will Be The Answer by Watchpocket Oxygen by Gary Higgins Blues Stay Away From Me by Merle Haggard R.K. by Rein Sanction Rats And Insects by Menthols Grumbler by Ed Hall Lumber by Xerobot Lost 9-6 by The Scissor Girls Vertical Slum by Rake Lewis by Bugskull Stalled On The Tracks by Smog Velvet Night by Duppi Bad Dream/Hartford's Beat Suite by Magik Markers Secrets by The Cure Palms To Tell by Pillars And Tongues Janet Says by Simon Joyner And The Fallen Men Cry Baby Cry by Hollins And Starr Don't Let It Get You Down by Shadrack Chameleon If I Knew You Were The One by Richard Twice There But Not There by Flying Saucer Attack Nerve Language by Axolotl Change In The Ocean by Shana Cleveland And The Sandcastles Sleezy by Zeena Parkins Deeper Than Inside by Rites Of Spring

[im-still-dreaming-about]

The Highwaymen play in Central Park May 23rd 1993

[geraldinesnell]

RIP Michael Cimino

I feel like he had this commitment to his vision and whilst he bankrupted United Artists, the critics at the time probably contributed hugely to the end of this kind of studio-produced auteur cinema by trolling it so much. 

Glad he got to see it appreciated at Venice in 2012. Quite literally an ‘epic’ film.

And pertinent now for its dealings with the machinations of the elite, immigrants etc.

[dopescissorscashwagon]

Kris Krisofferson & Hank Williams Jr.

[dopescissorscashwagon]

Reba McEntire & Kris Krisofferson

[dopescissorscashwagon]

'The Highwaymen' Johnny Cash, Willie Nelson, Kris Krisofferson, & Waylon Jenning

R.I.P. Kris Krisofferson