- biggestkkfan, “Kris Kristofferson – CMA award 1970,” Youtube video, 00:50, August 12, 2011, https://www.youtube.com/watch?v=-VOCJYFe93A; “Sunday Mornin’ Comin’ Down,” track 12 on Kristofferson, Kristofferson, Legacy/Monument Records, 1970, re-released as Me and Bobby McGee, Monument Records, 1971; Roxy Gordon, “Partly Truth and Partly Fiction: A Pilgrim’s Perspective on Kris Kristofferson,” No Depression: The Journal of Roots Music, October 31, 1999, 86; Kristofferson, “Kris Kristofferson Just Wanted ‘Respect for Country Music,’” interview by Chet Flippo, CMT, November 8, 2004, http://www.cmt.com/news/1493550/kris-kristofferson-just-wanted-respect-for-country-music/; and Paul Hemphill, “Kris Kristofferson is the New Nashville Sound,” New York Times, December 6, 1970, https://www.nytimes.com/1970/12/06/archives/kris-kristofferson-is-the-new-nashville-sound-the-new-nashville.html.
- John Buckley, “Country Music and American Values,” Popular Music and Society 6, no. 4 (1979): 293; Paul Dimaggio, Richard A. Peterson, and Jack Esco Jr., “Country Music: Ballad of the Silent Majority,” in The Sounds of Social Change: Studies in Popular Culture, eds. R. Serge Denisoff and Richard A. Peterson (Chicago: Rand McNally, 1972), 39; McCandlish Phillips, “Leaders in Country Music See Chance to Win the City,” New York Times, April 16, 1973, https://www.nytimes.com/1973/04/16/archives/leaders-in-country-music-see-chance-to-win-the-city-countrymusic.html; Jerry Hopkins, “The Hollywood Hillbillies: What’s Old is New,” Rolling Stone, March 1, 1969, 1, 4; Paul Hemphill, The Nashville Sound: Bright Lights and Country Music (New York: Simon and Schuster, 1970), 30–40, 57, 177–179; “Why Country Music is Suddenly Big Business,” US News and World Report, July 29, 1974, 58–60; “Lord, They’ve Done It All,” Time, May 6, 1974, 51–55; Cory Lock, “Countercultural Cowboys: Progressive Texas Country of the 1970s and 1980s,” Journal of Texas Music History 3, no. 1 (Spring 2003): 15–16; John Grissim, Country Music: White Man’s Blues (New York: Paperback Library, 1970), 10; and Bill C. Malone, Don’t Get Above Your Raisin’: Country Music and the Southern Working Class (Chicago: University of Illinois Press, 2002), 244.
- Jefferson Cowie, Stayin’ Alive: The 1970s and the Last Days of the Working Class (New York: New Press, 2010), 2, 10, 170, 174; Grissim, Blues, 10–11; Bill C. Malone and David Stricklin, Southern Music/American Music, rev. ed. (Lexington: University Press of Kentucky, 2003), 132; James C. Cobb, “From Muskogee to Luckenbach: Country Music and the ‘Southernization’ of America,” in Redefining Southern Culture: Mind and Identity in the Modern South (Athens: University of Georgia Press, 1999), 78–79; R. Serge Denisoff, “Kent State, Muskogee and the White House,” Broadside, no. 108, July/August 1970, 2–4; Jonathan D. McCarthy, Richard A. Peterson, and William L. Yancey, “Singing Along With the Silent Majority,” in Side-Saddle on the Golden Calf: Social Structure and Popular Culture in America, ed. George H. Lewis (Pacific Palisades, CA: Goodyear, 1972), 287–314; Dimaggio, Peterson, and Esco, “Ballad,” 44– 45; Charles L. Hughes, Country Soul: Making Music and Race in the American South (Chapel Hill: University of North Carolina Press, 2015), 1; Hemphill, Nashville Sound, 153; and Malone, Raisin’, ix, 133, 238–240.
- Cowie, Stayin’ Alive, 134.
- Jeffrey J. Lange, Smile When You Call Me a Hillbilly: Country Music’s Struggle for Respectability, 1939–1954 (Athens: University of Georgia Press, 2004), 4, 196, 199, 201; Malone and Stricklin, Southern Music, 129–130, 132–135; Bill C. Malone and Jocelyn R. Neal, Country Music, U.S.A., 3rd ed. (Austin: University of Texas Press, 2010), 254–267; and Chet Flippo, “From the Bump-Bump Room to the Barricades: Waylon, Tompall, Glaser and the Outlaw Revolution,” in Country: The Music and the Musicians: From the Beginnings to the ’90s, eds. Paul Kingsbury and Alan Axelrod (New York: Abbeville, 1988), 455.
- Hemphill, Nashville Sound, 241; Grissim, Blues, 58, 199–200, 298–299; Frye Gaillard, Watermelon Wine: The Spirit of Country Music (New York: St. Martin’s, 1978), xv, 28, 172, 176; Lange, Hillbilly, 4; John Egerton, The Americanization of Dixie: The Southernization of America (New York: Harper’s Magazine Press, 1974), 205–206; Larry L. King, “The Grand Ole Opry,” Harper’s, July 1, 1968, 43–50; “Big Business,” US News and World Report, 60; Charles Portis, “That New Sound From Nashville,” Saturday Evening Post, February 12, 1966, 34; Jerry Hopkins, “Joe South: ‘Country and Western Music is Shit,” Rolling Stone, June 14, 1969, 8; and Diane Pecknold, That Selling Sound: The Rise of the Country Music Industry (Durham, NC: Duke University Press, 2007), 168–175, 199.
- Bruce J. Schulman, The Seventies: The Great Shift in American Culture, Society, and Politics (Cambridge, MA: Da Capo, 2002), 103, 105, 106, 117; Cowie, Stayin’ Alive, 170, 174; and Hughes, Country Soul, 129, 132.
- Schulman,Seventies, xiv, 103 (Southern Growth Policies Board quote found here), 114–116, 117; “New Day A’ Coming in the South,” Time, May 31, 1971, 14; Hugh Sidey, “A Visit to Good-Ole-Boys Country,” Time, May 6, 1974, 14; “Those Good Ole Boys,” Time, September 27, 1976, 47; Patrick Carr, “Will the Circle Be Unbroken: The Changing Image of Country Music,” Music and the Musicians, 512–514; Chet Flippo, “Country and Western: Some New-Fangled Ideas,” American Libraries 5, no. 4 (April 1974): 185; Dominic Sandbrook, Mad as Hell: The Crisis of the 1970s and the Rise of the Populist Right (New York: Anchor Books, 2012), 135–137; Rick Perlstein, The Invisible Bridge: The Fall of Nixon and the Rise of Reagan (New York: Simon and Schuster, 2014), 581–586; and Cobb, “Muskogee,” 82–84.
- Egerton, Americanization, xix–xxi; Malone, Raisin’, 210, 237–238, 240–241; Cobb, “Muskogee,” 78–79; Schulman, Seventies, 108; Cowie, Stayin’ Alive, 168, 169; Lock, “Countercultural Cowboys,” 16; Hughes, Country Soul, 128, 129, 132; Robert Christgau, “Obvious Believers,” Village Voice, May 1969; Denisoff, “Kent State”; Patrick Anderson, “The Real Nashville,” New York Times, August 31, 1975; Phillips, “Leaders”; Hemphill, “New Nashville”; Kevin Phillips, “Revolutionary Music,” Washington Post, May 6, 1971; Paul Dickson, “Singing to Silent America,” The Nation, February 23, 1970, 211–213; Florence King, “Red Necks, White Socks, and Blue Ribbon Fear: The Nashville Sound of Discontent,” Harper’s, July 1, 1974, 31; Richard Goldstein, “My Country Music Problem . . . and Yours,” Mademoiselle 77, no. 2 (1973): 114–115; Hemphill, Nashville Sound, 116; and Flippo, “New-Fangled,” 185.
- Malone and Neal,Country Music, U.S.A., 304–306; Hemphill, Nashville Sound, 67; Gaillard, Watermelon, 19, 42–46, 52–53 73–74, 183; Hemphill, “New Nashville”; Richard Hilburn, “New Breed Making Musical Impact,” Los Angeles Times, February 15, 1969; Edwin Miller, “Kris Kristofferson: Lonely Sound from Nashville,” Seventeen, April 1971, 131, 200–201; Christopher Wren, “Country Music,” Look, July 13, 1971, 11; Grissim, Blues, 228; Jan Clemens, “Hippies Swarming All Over the Country Music Scene,” Chicago Today, December 11, 1971; Jack Lloyd, “Something New in the Country,” Philadelphia Inquirer, October 8, 1971; Robert Hilburn article, October 1970, Kris Kristofferson file, Country Music Hall of Fame, Frist Library and Archive, Nashville (hereafter CMHF); Peter Doggett, Are You Ready for the Country (New York: Penguin Books, 2001), 314–15; Michael Pousner, “Rock N’ Roll: For the Moment At Least Acid’s Draining From Rock,” Tribune Review (Greensburg, PA), August 27, 1971; and Robert Shelton, “When Flat and Scruggs Sing Dylan, What’s Up?,” New York Times, November 24, 1968.
- Andrew Vaughan,John Hartford: Pilot of a Steam Powered Aereo-Plain (Franklin, TN: Stuffworks, 2013); undated flier for John Hartford Looks at Life, John Hartford file, CMHF, Frist Library and Archive, Nashville; Hilburn, “New Breed”; Burt Korall, “A New Breed of Country Musicians Steps Forward,” New York Times, May 21, 1972; Robert Shelton, “It’s So Healthy in the Country,” New York Times, March 24, 1968; Phillips, “Leaders”; Jack Bernhardt, “‘Like Paris in the Twenties’: Notes on a Nashville Scene, 1971–1974,” Journal of Country Music 13, no. 3 (1990): 26–27; Bruce Cook, “‘Tom T. Just Goes His Own Way’: His Country Music is Best Described as Art,” National Observer, January 29, 1972; Grissim, Blues, 13, 60, 224–225, 233; Hemphill, Nashville Sound, 71, 225, 239; Richard Cromelin, review of In Search of a Song, by Tom. T. Hall, Rolling Stone, January 6, 1972, 70; Les Bridges, “Kristofferson: A Legend in His Own Whacked Out Time,” Chicago Tribune, August 19, 1973; Lynn Van Marie, “Mickey’s Music: Memories With a Southern Ring,” Chicago Tribune, March 25, 1973; Clemens, “Hippies Swarming”; “Big Business,” US News and World Report, 59; Malone and Neal, Country Music, U.S.A., 304–306; Cobb, “Muskogee,” 87; Gaillard, Watermelon, 76, 185; and Malone, Raisin’, 13.
- Marshall Chapman, They Came to Nashville (Nashville: Vanderbilt University Press, 2010), 3–27; Larry Arnett, “Stranger Than Fiction: The Real Life Adventures of Songwriter Kris Kristofferson,” Country Song Roundup, April 1969, 17–18; Hemphill, “New Nashville”; Grissim, Blues, 224–225, 226–228; David Rensin, “King Kristofferson,” Country Music 2, no. 13 (September 1974): 24–32; Sally Quinn, “Kristofferson: Hits and Myths,” Washington Post, May 18, 1971; Korall, “New Breed”; Doggett, Ready, 311; Alec Dubro, review of The Silver Tongued Devil and I, by Kris Kristofferson, Rolling Stone, September 16, 1971, 42; Townsend Miller, “Who is Kristofferson? Fans Know,” Austin American-Statesman, March 8, 1972; Stereo Review, January 1972, Kristofferson file, CMHF, Frist Library and Archive, Nashville; Bruce Cook, “Nashville’s Counter-Culture,” Saturday Review, October 4, 1975, 48–49; Tom Smucker, “Bob Dylan Meets the Revolution,” Fusion, October 31, 1969, in Bob Dylan: A Retrospective, ed. Craig McGregor (New York: William Morrow, 1972), 299; Malone and Stricklin, Southern Music, 134, 138–139; and Malone and Neal, Country Music U.S.A., 305–306.
- Pete Hamill, “The Revolt of the White Lower Middle Class,” New York Magazine, April 14, 1969; Cowie, Stayin’ Alive, 42; Hemphill, Nashville Sound, 177–179; Malone and Neal, Country Music, U.S.A., 306; and “Just the Other Side of Nowhere,” track 8 on Kristofferson, Kristofferson.
- Malone and Neal, Country Music, U.S.A., 307; Doggett, Ready, 312–314; Joel Vance, “Kris Kristofferson,” in The Best of the Music Makers, ed. George T. Simon (Garden City, NY: Doubleday and Company, Inc., 1979), 328; Kristofferson; “Help Me Make It Through the Night,” by Kris Kristofferson and Fred Foster, track 5 on Kristofferson, Kristofferson; Sammi Smith, vocalist, “Help Me Make It Through the Night,” by Kris Kristofferson and Fred Foster, track 7 on Smith, Help Me Make It Through the Night, Mega, 1970; Hughes, Country Soul, 131; “Best of All Possible Worlds,” track 4 on Kristofferson, Kristofferson; and Peter Cooper, “‘Freedom’s Still the Most Thing for Me’: A Conversation with Kris Kristofferson,” No Depression 55, January–February 2005.
- Dubro, Rolling Stone, September 16, 1971; “Good Christian Soldier,” by Bobby Bare and Billy Joe Shaver, track 4 on Kristofferson, The Silver Tongued Devil and I, Monument Records, 1971; “Billy Dee” and “The Pilgrim, Chapter 33,” tracks 3 and 9 on Kristofferson, The Silver Tongued Devil and I; “Epitaph (Black and Blue),” by Kris Kristofferson and Donnie Fritts, track 10 on Kristofferson, The Silver Tongued Devil and I; “Casey’s Last Ride,” track 7 on Kristofferson, Kristofferson; Malone and Stricklin, Southern Music, 134; Will the Circle Be Unbroken: Country Music in America, eds. Paul Kingsbury and Al-anna Nash (London: DK Publishing, 2006), 278; Malone, Raisin’, 248; Susan Jetton, “Kris’s Country Comes on Strong,” Charlotte Observer, October 16, 1971; and Gaillard, Watermelon, 122, 127, 187.
- “Jesus Was a Capricorn (Owed to John Prine),” track 1 on Kristofferson, Jesus Was A Capricorn, Monument Records, 1972; “The Law is For Protection of the People,” track 6 on Kristofferson, Kristofferson; and “Kris Kristofferson, Nashville’s Best Educated Superstar,” in Showcase: An Entertainment Preview of Music City U.S.A., microfiche, “Kristofferson, Kris,” clipping 1972–1973, CMHF, Frist Library and Archive, Nashville.
- Grissim, Blues, 215; Jann S. Wenner, “Country Tradition Goes to Heart of Dylan Songs,” Rolling Stone, May 25, 1968, 1, 14; Cromelin, Rolling Stone, January 6, 1972; Pete Axthelm, “Lookin’ at Country with Loretta Lynn,” Newsweek, June 18 1973, 65–72; Ray LaRocque, “Kris Kristofferson is a New Hank Williams,” Worcester Telegram, October 24, 1971; Wren, “Country Music,” 13; Dick Richmond, “Kris: I’m No Swaggering Lover,” St. Louis Post-Dispatch, December 4, 1972; and Gaillard, Watermelon, 53.
- Travis Stimeling, Cosmic Cowboys and New Hicks: The Countercultural Sounds of Austin’s Progressive Country Music Scene (New York: Oxford University Press, 2011), 9, 22; Ben Fong-Torres, Hickory Wind: The Life and Times of Gram Parsons (New York: St. Martin’s Griffin, 1991), 97; Malone, Raisin’, 140; Wenner, “Country Tradition,” 14; Hemphill, “New Nashville”; Clemens, “Hippies Swarming”; “If You Don’t Like Hank Williams,” track 10 on Kristofferson, Surreal Thing, One Way Records, 1976; Dubro, Rolling Stone, September 16, 1971.
- Jack Hurst, “Kristofferson Beats the Devil,” Tennessean, September 6, 1970; Jamie Ryburn, “So What?!,” Tulsa Daily World, October 31, 1971; Miller, “Fans Know”; Lloyd, “Something New”; Jetton, “Kris’s Country”; Stereo Review, January 1972; Jack Hurst, “There’s Good Times and Bad Times: Kristofferson Winces Under Image,” Tennessean, January 11, 1971; Quinn, “Hits and Myths”; David Morrison, “Shut Up and Sing,” Atlanta Constitution, November 15, 1974; Hemphill, “New Nashville”; Korall, “New Breed”; Patrick Thomas, “Ex-GI Folkie Kris Kristofferson,” Rolling Stone, March 18, 1971, 20; Ray Rezos, review of Kristofferson, by Kris Kristofferson, Rolling Stone, November 12, 1970, 38; Dubro, Rolling Stone, September 16, 1971; Bill Preston, Jr., “Kristofferson ‘Songwriter of the Year,’” Tennessean, January 20, 1971; Robert Hilburn, “Kristofferson Fuels Country Revival,” Los Angeles Times, February 14, 1971; Robert Hilburn, “Kris Kristofferson at the Troubadour,” Los Angeles Times, June 10, 1971; Jack Garner, “Ex-Rhodes Scholar Country Music Man,” Times-Union (Rochester, NY), October 23, 1971; Malone and Neal, Country Music, U.S.A., 305; Doggett, Ready, 311, 315; 1972 Showcase, CMHF; Tony Scherman, “Country,” American Heritage 45, no. 7 (November 1994); and Rensin, “King Kristofferson,” 30.
- Malone and Stricklin, Southern Music, 132, 138; Grissim, Blues, 248, 297; Cobb, “Muskogee,” 85–86; “Interview with Billy Sherrill,” Journal of Country Music 3, no. 2 (May 1978): 63; Gaillard, Watermelon, 75, 81; Doggett, Ready, 309–310, 311–312; Hurst, “Beats the Devil”; Wren, “Country Music,” 11; William Hedgepeth, “Superstars, Poets, Pickers, Prophets,” Look, July 13, 1971, 30, 35; Malone, Raisin’, 138–139; Times-Union (Albany, NY), September, 8, 1971; Jetton, “Kris’s Country”; Kris Kristofferson, vocalist, “Okie From Muskogee,” by Merle Haggard, recorded December 2, 1972, track 13 on Live At the Philharmonic, Monument Records, 1992; “Blame It on the Stones,” by Kris Kristofferson and Bucky Wilkens, track 1 on Kristofferson, Kristofferson; Pousner, “Acid’s”; Anthony Mancini, “Kris Kristofferson: Good Ole Country Boy for Good Old Country Girls,” Cosmopolitan, September 1972, 178–180; and Hemphill, “New Nashville.”
- “The Port Huron Statement,” The Internet Archive, https://archive.org/details/PortHuronStatement, accessed March 19, 2019; “To Beat the Devil,” track 2 on Kristofferson, Kristofferson; Kristofferson, “The Pilgrim- Chapter 33”; Abbie Hoffman, Revolution for the Hell of It (New York: Thunder’s Mouth, 2005), 80.
- Bill Malone, Singing Cowboys and Musical Mountaineers: Southern Culture and the Roots of Country Music (Athens: University of Georgia Press, 2003), 112; Cowie, Stayin’ Alive, 169, 178; Carr, “Circle,” 518; Doggett, Ready, 312–313; Mancini, “Good Ole,” 178–180; Michael J. Kramer, The Republic of Rock: Music and Citizenship in the Sixties Counterculture (New York: Oxford University Press, 2013), 27; Ira Allen, “We Don’t Take Our Trips on LSD,” Harry, January 8, 1971, 14, 17; undated article in Fusion, Tom T. Hall file, CMHF, Frist Library and Archive, Nashville; Harry Haun, “‘Easy Rider’ Takes a Wrong Turn on the Freeway,” undated, Kristofferson file, CMHF, Frist Library and Archive, Nashville; “A Great Future Behind Me,” Wyoming Tribune Eagle, December 26, 1971; Ryburn, “So What”; Hemphill, “New Nashville”; and Richmond, “Swaggering Lover.”
- Hilburn, “Troubador”; Arthur Schlesinger, “The New Mood in Politics,” Esquire, June 1960, 58, 60; Doug Rossinow, The Politics of Authenticity: Liberalism, Christianity, and the New Left in America (New York: Columbia University Press, 1998); and Grace Hale, A Nation of Outsiders: How the White Middle Class Fell in Love With Rebellion in Postwar America (New York: Oxford University Press, 2011), 1, 3–6, 18, 35, 84, 86, 98, 106, 164, 166, 168, 173, 178–179, 188.
- Malone, Raisin’, ix; Nadine Hubbs, Rednecks, Queers, and Country Music (Berkeley: University of California Press, 2014), 107; Cook, “Goes His Own Way”; Axthelm, “Lookin’,” 67; Portis, “New Sound,” 34; Wren, “Country Music,” 12; Judy Kinnard, “Nashville Sound Spreads to the Village’s Bitter End,” Tennessean, May 3, 1970; “Lord, They’ve Done It All,” 51; Cook, “Counter-Culture,” 48–49; and Doggett, Ready, 308.
- Pousner, “Acid’s”; Leigh Edwards, Johnny Cash and the Paradox of American Identity (Bloomington: Indiana University Press, 2009), 10, 28, 154; Grissim, Blues, 7, 13, 98, 116; Flippo, “New-Fangled,” 186; Lange, Hillbilly, 12–13; Pamela Fox, Natural Acts: Gender, Race, and Rusticity in Country Music (Ann Arbor: University of Michigan Press, 2009), 13, 111; and Richard A. Peterson, Creating Country Music: Fabricating Authenticity (Chicago: University of Chicago Press, 1997), 3, 48–50, 178–179, 192–193, 208–210, 219–220.
- “Lord, They’ve Done It All,” 52; Hedgepeth, “Superstars,” 35; Garner, “Ex-Rhodes”; Doggett, Ready, 318; “You Show Me Yours (And I’ll Show You Mine),” track 1 on Kristofferson, Surreal Thing; “Me and Bobby McGee,” by Kris Kristofferson and Fred Foster, track 3 on Kristofferson, Kristofferson; Quinn, “Hits and Myths”; and Kristofferson, “To Beat the Devil.”
- Hurst, “Beats the Devil”; Vance, “Kris Kristofferson,” 328; Mancini, “Good Ole,” 178; Rezos, Rolling Stone, November 12, 1970; Hemphill, “New Nashville”; Quinn, “Hits and Myths”; Korall, “New Breed”; 1972 Showcase, CMHF; Garner, “Ex-Rhodes”; Hilburn, “Troubador”; Al Rudis, “Kristofferson Happy With Misery, Los Angeles Times, August 17, 1971; Lloyd, “Something New”; and Richmond, “Swaggering Lover.”
- Kris Kristofferson, “The Pilgrim-Chapter 33”; Malone and Neal, Country Music, U.S.A., 305; Edwards, Johnny Cash, 7; Kristofferson, “Best of All Possible Worlds”; and 1972 Showcase, CMHF, Frist Library and Archive, Nashville.
- Peter Cooper, Johnny’s Cash and Charley’s Pride: Lasting Legends and Untold Adventures in Country Music (Nashville: Spring House, 2017), 157; Chet Flippo, review of Jesus Was a Capricorn, by Kris Kristofferson, Rolling Stone, January 4, 1973, 66; Garner, “Ex-Rhodes”; Jared Johnson, “Kris’ Ballads Differ From Hee-Haw Set,” Denver Post, January 21, 1972; and Flippo interview with Kristofferson.
- Tom Burke, “Kris Kristofferson Sings the Good-Life Blues,” Esquire, December 1976, 127; Rex Reed, “Partly Truth, Partly Fiction,” Washington Post, April 15, 1973; Patrick Carr, review of Border Lord, by Kris Kristofferson, Country Music, Kristofferson file, CMHF, Frist Library and Archive, Nashville; Paul Nelson, review of Easter Island, by Kris Kristofferson, Rolling Stone, April 20, 1978, 71, 73; Dean Jensen, “Kris’ Border Lord is no Conqueror,” Milwaukee Sentinel, March 11, 1972; and Ben Gerson, “Kristofferson; Goin’ Down Slow,” Rolling Stone, April 27, 1972, 50.
- Gerson, “Goin’ Down”; “Mickey Newbury—Country Music Roots,” Country Song Roundup, March 1969, 36–37; Tom T. Hall, The Storyteller’s Nashville (Garden City, NY: Doubleday, 1979), 84; Grissim, Blues, 102; Rensin, “King Kristofferson,” 26, 32; Alice M. Grant, “The Musicians in Nashville,” Journal of Country Music 3, no. 2 (Summer 1972): 24–44; Wren, “Country Music,” 12; and Pecknold, Selling Sound, 112–113, 168, 238.
- Kristofferson reached number one on the country charts in 1973, but subsequent albums never reached the heights of his earlier work. Malone and Neal, County Music, U.S.A., 378–379, 398–404; Hall, Storyteller’s, 210, 217; Carr, “Circle,” 521; Scherman, “Country”; Drummond Ayres Jr., “‘Crossovers’ to Country Music Rouse Nashville,” New York Times, December 1, 1974; Cobb, “Muskogee,” 86; Jeff Nightbyrd, “Cosmo Cowboys: Too Much Cowboy and Not Enough Cosmic,” Austin-Sun, April 3, 1975, 13, 19; and Stimeling, Cosmic Cowboys, 73–75.
- Rensin, “King Kristofferson,” 28; Doggett, Ready, 317–318; Axthelm, “Lookin’,” 66; and Wren, “Country Music,” 13.
