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That’s fine by him the status quo, he knows, will catch up eventually.
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The statue partly commemorates Willie’s role in helping Austin become “the live music capital of the world.” It sits at Willie Nelson Boulevard and Lavaca Street in front of Austin City Limits Live at the Moody Theater, a venue he helped build - not only with dollars (his nephew, Freddy Fletcher, conceived the place), but as the artist whose pilot appearance helped sell Austin City Limits, a little public-television show that eventually established Austin’s musical credibility worldwide and is now nearly as iconic as he is.īut no matter where Willie goes, seemingly everybody loves this well-weathered 84-year-old, who’s regarded more as a kindhearted, joke-telling stoner granddad than a threat to any status quo - musical, political or otherwise (despite his 5th-degree black belt in the martial art Gongkwon Yusul). His peace activism and support of family farms, animal rescue, marijuana legalization, LGBTQ rights and environmental causes cement the deal. His role in establishing outlaw country bronzes his place in music history, but his low-key, good-natured attitude and unwillingness to take himself too seriously endear him even to people who don’t care about his music. The winking acknowledgement of his favorite indulgence at such an event somehow perfectly conveyed why he’s a bona-fide, no-last-name-needed legend. Noting the time - a number particularly relevant to cannabis fans - he debuted a song from his then-upcoming album, Heroes, titled “Roll Me Up” (a.k.a. And yet, here he was, immortalized with the most reverential symbol we bestow upon our heroes, erected in homage to someone who became one of the world’s most successful artists and elder statesmen by thumbing his nose at Nashville’s music establishment, and the establishment in general. Most people will never know the peculiar experience of standing next to their own statue usually, we raise monuments to icons posthumously. Squinting in the sun, he peered at a newly unveiled statue - a larger-than-life bronze replica of himself.Īs he studied that benevolent-looking visage, regarding its faithfully rendered part-Cherokee cheekbones, chest-length braids under his trademark bandanna, and even Trigger, his well-worn Martin acoustic, the irony of this honor was not lost on him. on April 20, 2012, Willie Nelson stood on a street corner in Austin, Texas, looking mildly bemused. The verdict: It’s as much about character as career.
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As he approaches his 85th birthday, it’s fair to ask what makes the man a legend - and the legend a man. His cultural impact stretches even further he’s an established film and television actor and best-selling author, not to mention philanthropist and crusader for humanitarian causes.
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Though venerated as a co-founder of outlaw country, his recorded output spans nearly the entire spectrum of popular song and stands as one of the greatest bodies of work in modern music history. Rather, he’s always searching for the most direct route to the soul of a song, whether he’s elevating the country standard “Always on My Mind” to the realm of modern hymn, or bringing a wistful, lived-in wisdom to Great American Songbook perennials like “Georgia on My Mind.” In the 21st century, Nelson’s outlaw ethos has continued to manifest itself in all sorts of surprising ways: He’s become America’s most visible pro-marijuana activist and Snoop Dogg’s unlikeliest duet partner.The word “legend” gets tossed around often, but if anyone fits the definition, it’s Willie Nelson. But Nelson’s brand of down-home simplicity shouldn’t be confused with dogmatic purism (he’s also no stranger to adult-contemporary crossovers, like his duet with Julio Iglesias, “To All the Girls I've Loved Before”). Upon joining the post-hippie roots-music radicals taking over the Austin scene (and swearing off barbers forevermore), the Texas-born Nelson became an icon of the ’70s outlaw-country movement, favoring a stripped-down style that could both evoke desert-highway vistas (“On the Road Again”) and initiate the most intimate of conversations (“Blue Eyes Crying in the Rain”). Even before he became the Red Headed Stranger, Willie Nelson was already a Nashville songwriting legend, providing Patsy Cline with her 1961 signature tune, “Crazy.” But as a fledgling performer in his own right, the clean-cut honky-tonker’s humble approach and conversational croon was increasingly at odds with mainstream country music’s tilt toward variety-show glitz.