Monday, November 9, 2020

RSN: Dan Rather | We Have a New President

 


 

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09 November 20


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08 November 20

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Get In Here And Donate Folks, Come On! Let's kill this fundraiser now. Don't let it drag out another X number of days. Fewer than 75 readers have donated, yet so far in November, 250,000 have come. That is both pathetic and abusive. Sincere thanks to all those who have responded. / Marc Ash, Founder Reader Supported News

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Dan Rather | We Have a New President
Dan Rather. (photo: CBS)
Dan Rather, Dan Rather's Facebook Page
Rather writes: "We have a new president. After all that we have seen and endured, amidst pain and outrage, loss and danger, we now will enter a new chapter in our national story."

The nature of our electoral system had a nation, and the world, waiting anxiously on the vote in a handful of states, nevermind that the general will of the American people has delivered a much more overwhelming verdict. There will be a lot more to say in the days, weeks, and months ahead. Amidst the fatigue and the uncertainty of the future, we must stay steady and resolute in finding a way to heal and move our nation forward to tackle its many challenges.

There are a lot of looming dangers, political and otherwise. There are senate runoffs and a raging pandemic. What will Donald Trump do? What about his enablers in the Republican Party? What about our public health and our national sanity? The questions start gushing like an open fire hydrant. But for now, the voting system held, a president-elect has been declared and America has a different destiny. #Courage.

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Even before becoming president-elect, Joe Biden has been working on a coordinated, national plan for fighting the coronavirus. (photo: Drew Angerer/Getty Images)
Even before becoming president-elect, Joe Biden has been working on a coordinated, national plan for fighting the coronavirus. (photo: Drew Angerer/Getty Images)


President-Elect Biden Has a Plan to Combat COVID-19. Here's What's in It
Allison Aubrey, NPR
Aubrey writes: "As coronavirus cases surge around the country, President-elect Joe Biden says voters have given him a mandate to take action."
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Donald Trump. (photo: Andrew Harrer/Bloomberg/Getty Images)
Donald Trump. (photo: Andrew Harrer/Bloomberg/Getty Images)


Rebecca Gordon | In a Looking-Glass World: Our Work Is Just Beginning
Rebecca Gordon, TomDispatch
Gordon writes: "For the last four years, progressives have been fighting largely to hold onto what we managed to gain during Barack Obama’s presidency."

EXCERPTS:

In 2016, the country was already riven by deep economic inequality. While Hillary Clinton promised “good-paying jobs” for those struggling to stay housed and buy food, we didn’t believe it. We’d heard the same promises so many times before, and yet the federal minimum wage was still stuck where it had been ever since 2009, at $7.25 an hour. Would a Clinton presidency really make a difference for working people? Not if we didn't push her -- and hard.

The candidate we were worried about was never Donald Trump, but Hillary Clinton. And the challenge we expected to confront was how to shove that quintessential centrist a few notches to the left. We were strategizing on how we might organize to get a new administration to shift government spending from foreign wars to human needs at home and around the world. We wondered how people in this country might finally secure the “peace dividend” that had been promised to us in the period just after the Cold War, back when her husband Bill became president. In those first (and, as it turned out, only) Clinton years, what we got instead was so-called welfare reform whose consequences are still being felt today, as layoffs drive millions into poverty.

We doubted Hillary Clinton’s commitment to addressing most of our other concerns as well: mass incarceration and police violence, structural racism, economic inequality, and most urgent of all (though some of us were just beginning to realize it), the climate emergency. In fact, nationwide, people like us were preparing to spend a day or two celebrating the election of the first woman president and then get down to work opposing many of her anticipated policies. In the peace and justice movements, in organized labor, in community-based organizations, in the two-year-old Black Lives Matter movement, people were ready to roll.

And then the unthinkable happened. The woman we might have loved to hate lost that election and the white-supremacist, woman-hating monster we would grow to detest entered the Oval Office.

For the last four years, progressives have been fighting largely to hold onto what we managed to gain during Barack Obama’s presidency: an imperfect healthcare plan that nonetheless insured millions of Americans for the first time; a signature on the Paris climate accord and another on a six-nation agreement to prevent Iran from pursuing nuclear weapons; expanded environmental protections for public lands; the opportunity for recipients of Deferred Action for Childhood Arrivals -- DACA -- status to keep on working and studying in the U.S.

“In Short, There Is Still Much to Do”

My favorite scene in Gillo Pontecorvo’s classic 1966 film The Battle of Algiers takes place at night on a rooftop in the Arab quarter of that city. Ali La Pointe, a passionate recruit to the cause of the National Liberation Front (NLF), which is fighting to throw the French colonizers out of Algeria, is speaking with Ben M’Hidi, a high-ranking NLF official. Ali is unhappy that the movement has called a general strike in order to demonstrate its power and reach to the United Nations. He resents the seven-day restriction on the use of firearms. “Acts of violence don’t win wars,” Ben M’Hidi tells Ali. “Finally, the people themselves must act.”

For the last four years, Donald Trump has made war on the people of this country and indeed on the people of the entire world. He’s attacked so many of us, from immigrant children at the U.S. border to anyone who tries to breathe in the fire-choked states of California, Oregon, Washington, and most recently Colorado. He’s allowed those 230,000 Americans to die in a pandemic that could have been controlled and thrown millions into poverty, to mention just a few of his "war" crimes. Finally, the people themselves must act.

On that darkened rooftop in an eerie silence, Ben M’Hidi continues his conversation with La Pointe. “You know, Ali,” he says. “It’s hard enough to start a revolution, even harder to sustain it, and hardest of all to win it.” He pauses, then continues, “But it’s only afterwards, once we’ve won, that the real difficulties begin. In short, there is still much to do.”

It’s hard enough to vote out a looking-glass president. But it’s only once we’ve won, whether that’s now or four years from now, that the real work begins. There is, indeed, still much to do.

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Gay Pride parade in Las Vegas. (photo: AP)
Gay Pride parade in Las Vegas. (photo: AP)


Nevada Is the First US State to Protect Gay Marriage in Its Constitution
Carter Sherman, VICE
Sherman writes: "The Silver State has quietly achieved a major milestone: It's the first state in the country to enshrine protections for gay marriage in its constitution, reversing an older amendment that had banned it."

EXCERPT:

More than 60 percent of Nevada voters on Tuesday decided in favor of a ballot measure requiring the state to issue marriage licenses to couples regardless of gender and to treat their marriages as equal.

“It feels good that we let the voters decide,” Chris Davin, president of Equality Nevada, told NBC News. “The people said this, not judges or lawmakers. This was direct democracy—it’s how everything should be.”

The push to get this measure in front of voters started back in 2017, when the Nevada state legislature originally approved it. The state constitution’s 2002 ban on same-sex marriage has not been enforced for years, thanks to the Supreme Court case Obergefell v. Hodges, which legalized same-sex marriage nationwide in 2015. But the idea of a state constitutional amendment took on new urgency when the late, liberal Supreme Court Justice Ruth Bader Ginsburg was replaced by conservative Justice Amy Coney Barrett.

LGBTQ rights supporters now fear the court’s 2015 landmark decision may be in danger, as there is now a new 6-3 conservative majority on the Supreme Court.

Nevada’s new constitutional amendment would make sure that even if the U.S. Supreme Court overturns Obergefell, erasing federal protections for same-sex marriage, gay couples in Nevada will still be able to marry. (Religious organizations and clergy members can still decline to marry gay couples.)

During her confirmation hearing just weeks ago, Barrett, a devout Catholic, refused to give her opinion on Obergefell, citing past Supreme Court nominees’ traditional reticence to comment on precedent. She also refused to say whether she believed that Lawrence v. Texas, the 2003 case that abolished state sodomy laws, was correctly decided.

About 5 percent of Americans identify as LGBT, according to the Public Religion Research Institute. Although the Supreme Court ruled in June that employers can’t fire people just for being gay or transgender, LGBTQ people still largely lack broad federal anti-discrimination protections.

As of 2020, more than 60 percent of Americans support same-sex marriage, the Public Religious Research Institute found. That’s an enormous leap from 2007, when just about one-third of Americans said the same.

Despite mixed results for progressive initiatives, this year’s election included numerous wins for LGBTQ legislatorsSarah McBride became the country’s first openly trans state senator in Delaware, while Mauree Turner won a seat in the Oklahoma state legislature, making Turner the nation’s first openly nonbinary state legislator.

More than 1,000 LGTBQ candidates ran for office at the state, local, and federal levels this year. Nearly 600 made it to Election Day, according to the LGBTQ Victory Fund, the premiere national organization that focuses on electing LGTBQ people at all governmental levels. At least 160 of the Victory Fund’s 312 endorsed candidates won their races this year.

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Angela Davis on September 10, 2012 in Toronto, Canada. (photo: Jemal Countess/Getty Images)
Angela Davis on September 10, 2012 in Toronto, Canada. (photo: Jemal Countess/Getty Images)


Angela Davis on the Struggle for Socialist Internationalism and a Real Democracy
Astra Taylor, Jacobin
Taylor writes: "In mid-October, renowned filmmaker and writer Astra Taylor spoke with legendary thinker and radical Angela Davis in a livestream event cosponsored by Jacobin and Haymarket Books."
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Employees of Jordan's Independent Election Commission prepare ballot boxes at a polling centre in Jordan's capital, Amman. (photo: Khalil Mazraawi/AFP)
Employees of Jordan's Independent Election Commission prepare ballot boxes at a polling centre in Jordan's capital, Amman. (photo: Khalil Mazraawi/AFP)


Jordan to Elect New Parliament Amid Deepening Economic Crisis
Al Jazeera
Excerpt: "Voters in coronavirus-battered Jordan will head to the polls on Tuesday to elect a new parliament amid a deepening economic crisis worsened by the pandemic."

EXCERPT:

Jordan has taken an economic hammering from COVID-19 with some $3bn lost in vital tourism revenues in the first nine months of 2020.

Campaigning for the legislative elections was also forced to switch to videos posted on social media platforms, especially Facebook.

Home to some of the world’s finest archaeological sites, including the ancient city of Petra, tourism normally accounts for 14 percent of Jordan’s GDP.

But the industry has been brought to a standstill by the COVID-19 pandemic.

War in the region is further taxing resources. The country is home to some 2.2 million Palestinian refugees and more than 650,000 Syrian refugees, according to the United Nations refugee agency, UNHCR.

Jordan estimates the cost of hosting Syrian refugees at about $10bn and regularly complains of a lack of international support.

In March 2020, the IMF approved $1.3bn in aid for Jordan, subsequently adding about $396m in emergency funds to soften the impact of COVID-19.

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Joe Biden. (photo: Alex Brandon/AP)
Joe Biden. (photo: Alex Brandon/AP)


Joe Biden Could Bring Paris Climate Goals 'Within Striking Distance'
Fiona Harvey, Guardian UK
Harvey writes: "The election of Joe Biden as president of the US could reduce global heating by about 0.1C, bringing the goals of the Paris agreement 'within striking distance', if his plans are fulfilled, according to a detailed analysis."

Biden’s policy of a target to reach net zero carbon emissions by 2050, and plans for a $1.7tn investment in a green recovery from the Covid crisis, would reduce US emissions in the next 30 years by about 75 gigatonnes of carbon dioxide or its equivalents. Calculations by the Climate Action Tracker show that this reduction would be enough to avoid a temperature rise of about 0.1C by 2100.

However, Biden is likely to face stiff opposition to many of his proposals, from the Republican party nationally and at state level, while his room for manoeuvre will be limited by the Democrats’ showing in the Senate. If legal challenges to his plans are brought, they will be decided by a heavily conservative supreme court.

The US is the world’s biggest economy and second biggest emitter of greenhouse gases, but Donald Trump reversed measures taken by Barack Obama to reduce greenhouse gases, and rejected the Paris agreement on climate change, which binds nations to hold global heating to well below 2C, with an aspiration to limit temperature rises to 1.5C.

Trump’s stance left the US increasingly isolated among major economies. In recent weeks, China’s president, Xi Jinping, surprised the world by pledging to reach net zero emissions by 2060, and to cause emissions to peak by 2030. That would be enough to reduce the world’s projected temperature rise by 0.2C to 0.3C, according to Climate Action Tracker.

Japan has also recently endorsed a net zero target, as has South Korea, and the EU has its £1tn green deal. If Biden’s pledges were to be followed through, that would mean economies producing more than half of global carbon emissions had a publicly stated pledge of reaching net zero emissions by about 2050.

This adds up to the potential for a “historic tipping point” on the climate, according to Climate Action Tracker. The US and China’s pledges would be enough to reduce global heating to about 2.3C or 2.4C by the end of the century. That is about 25-40% of the effort needed to limit heating to 1.5C, the aspirational goal of the Paris agreement.

Bill Hare, of Climate Analytics, one of the partner organisations in the Climate Action Tracker, said: “This looks like an historic tipping point: with Biden’s election, China, the US, the EU, Japan, South Korea – two-thirds of the world economy and over 50% of global greenhouse gas emissions – have net zero greenhouse gas emissions by mid-century commitments. These commitments are very close, if not within, 1.5C-consistent pathways for this set of countries and for the first time ever puts the Paris agreement’s 1.5C limit within striking distance.”

Biden has promised to rejoin the Paris agreement and to invest in low-carbon technology that would put the US on a path to drastically lower emissions in the next decade.

Rejoining Paris will be a boost to international climate action, but domestically the president will face a deeply divided nation and may struggle to push forward his climate plans. Many states, cities and local governments are signed up to strong climate action, although some face legal challenges to doing so.

Under the Paris agreement, all countries must come forward every five years with strengthened national commitments – called nationally determined contributions (NDCs) – to curb greenhouse gas emissions, which means new NDCs stipulating fresh targets for 2030 are due by the end of this year. Biden will not be able to meet that deadline, but will be under pressure to draft a US NDC in time for the postponed UN climate summit, Cop26, which was scheduled to begin on Monday but will take place next November because of the coronavirus pandemic.

Biden will face stiff opposition from some business interests and from Republican climate sceptics emboldened by four years of Trump’s presidency. This may make it impossible to realise the full emissions reductions’ policies that Biden endorsed in his presidential campaign.

However, if under his presidency the US adopts a clear stance on the climate internationally, the impact will be much greater around the world than just the contribution from its own emissions reductions, say experts. The influence of the US is such that it would have a multiplier effect on other economies.

“It is the US driving the world in this direction that will be most important,” said Todd Stern, who served as the US special envoy for climate change under Obama. “If you have got the US, the EU, China working together you can expand to the whole world. It is not just about the US’s domestic emissions, but the US position as a world leader.”

Paul Bledsoe, a former Clinton White House climate adviser, now a lecturer at American University in Washington, said Biden could also push other countries to take faster action on the road to the 2050 goal. “Biden intends to reanimate the Paris process and much else, likely committing the US to a zero net emissions goal by 2050, while focusing on more aggressive 2030 targets, not just for the US, but by compelling China and other emitters towards more serious 2030 goals,” he said. “These are just the beginning of what promises to be an extraordinarily ambitious Biden international climate agenda, trying to make up time for the lost Trump years and prevent climate destabilisation.”

To seize the initiative, Biden should quickly set out a pathway to stiff emissions cuts by 2030, said Nat Keohane, senior vice-president for climate at the Environmental Defense Fund. “This is not just about the US re-entering the Paris agreement, but about a credible and ambitious target for 2030,” he said. “The Paris agreement is no longer about agreement, but about meeting the commitments and raising [countries’] ambition. To have the US back in the game rather than on the sidelines is critically important.”

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RSN: FOCUS: Amanda Petrusich | Willie Nelson Understands

 

 

Reader Supported News
08 November 20

It's Live on the HomePage Now:
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THE KEY IS, “REASONABLE SUPPORT” - RSN is actually built to function with a small fraction of the readers contributing on a monthly basis. When we struggle to get 1% of the Readers to respond with a contribution during the course of a funding drive, that simply isn’t reasonable. With “reasonable” support this runs on autopilot. / Marc Ash, Founder Reader Supported News

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FOCUS: Amanda Petrusich | Willie Nelson Understands


Willie Nelson. (photo: Rick Kern/Getty Images)
Amanda Petrusich, The New Yorker
Excerpt: "There's a great energy exchange that we just can't have right now. I can remember the last show that we did, at the Houston Livestock Show and Rodeo. That was back in early March - that's the last time we got to play music. We had eighty thousand people there. I'll never forget that show."

At eighty-seven, the musician knows what it’s like to lose a partner, your house, all your money, those big dreams.


ell, you can’t make a record if you ain’t got nothin’ to say,” Willie Nelson sings on “Shotgun Willie,” the opening track from his LP of the same name, from 1973. Nelson, who turned eighty-seven in April, has released seventy full-length records since his début, in 1962, and doesn’t seem anywhere close to running out of material. In September, he published “Me and Sister Bobbie,” a memoir co-written with his older sister and longtime piano player, Bobbie Nelson. Through alternating chapters, the Nelsons tell the story of how they were brought up by their grandparents in the tiny town of Abbott, Texas, and the decades of triumphs and devastations (romantic, professional, familial) that they helped each other through. Nelson has published memoirs before (his first, “Willie: An Autobiography,” was released in 1988, and his most recent, “It’s a Long Story: My Life,” came out in 2015), but “Me and Sister Bobbie” feels especially tender and intimate. While music became a lifeline for Willie, Bobbie, who is now eighty-nine, suffered deeply for her art. In the nineteen-fifties, she briefly lost custody of her three sons, after her in-laws successfully argued that she spent too much time playing music with her brother. “Women were made to be homemakers. Women weren’t meant to make music,” she writes. “This sharp-tongued lawyer called me the kind of woman whose only means of earning a living was playing piano in honky-tonks. He referred to me as a harlot. I broke down in tears.”

Although Nelson is now one of the most beloved and iconic figures in American music—the bandanna, the braids, the ever-present haze of marijuana smoke—he didn’t find real success until he was in his late thirties. “I’d been struggling like the dickens to make some money at the music game and failed miserably,” he writes. Part of what makes Nelson’s music so resonant across generations is his deep and visceral connection to failure—he understands, on a cellular level, what it feels like to lose a partner, your house, all your money, those big dreams. Before he moved to Nashville, in 1960, he worked as a radio d.j., pumped gas, did heavy stitching at a saddle factory, worked at a grain elevator, and had a brief gig as a laborer for a carpet-removal service. He eventually discovered that he had an uncanny aptitude for hocking encyclopedias door to door. “Folks I was selling to were living in bare-bones apartments. Many were scraping by with hardly any food in the fridge. Then here comes this slick-talking Willie saying that, for only the daily price of a pack of Camels, the whole world of knowledge would open to them,” he writes. Nelson felt too guilty about the entire enterprise and quit. (He still jokingly refers to himself as a better con man than musician.) Once he arrived in Nashville, things didn’t click into place overnight. One snowy evening, he recalled, he lay down in the middle of the street, “half hoping a car would ride over me.” None did. “I had to get up off my ass and, like everyone else in this cold world, keep on trying to figure out how to make a living.” Nelson and I spoke on the phone in mid-October. In conversation, he laughs often and loudly. It is a sweet and welcome sound.

In “Me and Sister Bobbie,” you write that you were “born restless. Born curious. Born ready to run.” Has it been challenging for you to be grounded these past few months?

It’s been a real challenge. I’ve never really run into anything like this before—but neither has anyone else! We’ll have to sweat it out, I guess. I’m here in Texas now.

You’ve done a few virtual broadcasts since quarantine started. As someone with a couple million live shows under your belt, how have those felt?

Well, it works all right. [Laughs] But it’s not the same thing, you know? I miss the audience. And I know the audience misses the music—whether it’s me or someone else up there, the audience has come a long way and paid a lot of money to come in and clap their hands for somebody. There’s a great energy exchange that we just can’t have right now. I can remember the last show that we did, at the Houston Livestock Show and Rodeo. That was back in early March—that’s the last time we got to play music. We had eighty thousand people there. I’ll never forget that show.

In your new book, you and your older sister, Bobbie, share the story of your life together in alternating chapters—we get her version of events, and then your version of events. Toward the end of the book, you write, “Having Bobbie in the band changed the course of my music in more ways than most people understand.” How else did she influence your art?

Well, in every way possible, I’m sure. Because she could read and write music from the time that she was a little girl. She’s an incredible musician. It’s impossible not to learn something when you’re four years old, and you’re sitting there on the piano stool by her.

She was the one who first suggested that you record standards for your album “Stardust,” from 1978, which, incidentally, remained on the country chart for a full decade.

We’d been playing those songs all our lives, so it wasn’t like they were strangers. I love the songs “Stardust” and “Moonlight in Vermont”—those are some of my all-time favorite songs. To be able to play them with my sister and my family—well, that was just the best.

Another idea that comes up a lot in the book is Texas itself. At times, it almost feels as if there’s some kind of invisible line that keeps tugging you both back there.

It goes all the way back to where I was born. Bobbie and I were born in Abbott, Texas, which is a really small town of three or four hundred people. Used to say the population never changes, because every time a baby’s born a man leaves town. So, anyway, I grew up in that town, and—excuse my language, but our motto down there was all we know how to do is fight, fuck, and throw rocks. [Laughs] It was fun. We fought bumblebees, each other—it didn’t matter. We just had a good time wrestling and boxing and growing up, like kids do.

You describe the Abbott United Methodist Church as the site of some of your earliest musical memories. I’m curious what you recall about the hymns that you sang there, and how performing that music made you feel?

Well, the church is still there, and me and Sister Bobbie are still a huge part of it. We bought that church a few years ago. It actually launched us. The preacher up there is a real good friend. He’s doing a good job—with this pandemic and everything, it’s hard to get a crowd together, but people still love to go to that church.

For the most part, it seems that you didn’t really see your proclivity for mischief and your religious faith to be at odds. But were there ever moments where you did feel that tension acutely?

You know, it’s funny. I have mixed emotions about it. The way I’ve made my money was playing in honky-tonks. One good example is the Night Owl, in West Texas, north of Waco about thirty miles. It’s close to Abbott, six miles from Abbott. I grew up playing music there. I picked cotton up until I was ten or twelve years old, so to be able to make some money playing music in a beer joint—I felt pretty lucky. And the funny part of it was the people that I was singing to on Saturday nights—I was also singing to a lot of them on Sunday morning, at church. Abbott has a Methodist church, across the street is a Baptist church, across the street is a Church of Christ, down the road a little bit is the Catholic church. So we have churches all over the place—it’s impossible to live in Abbott and not go to one of those churches.

There’s a line in the book where Bobbie writes that, as a child, you were never afraid of anything. Is that true?

Well, it is true—you name it, I’ve been in trouble for it. I’ve never learned to be afraid. I’m still not afraid. I’m afraid of fear. Who was it that said the only thing we have to fear is fear itself?

F.D.R.?

Yes, I think you’re right.

That’s a strong philosophy to live by.

I got into martial arts when I was kid, and I’ve been in it all of my life. There ain’t nobody trying to run over me or nothing! [Laughs] It wouldn’t be smart. I get along with everybody because I don’t have any fears. I don’t care how big you are—I can probably kick your ass! [Laughs]

I believe it, Willie! I’d put my money on you every time.

I’ve got several black belts, but I’ve also got a fifth degree in Korean mixed martial arts. A fifth degree is about as high as you can get.

When did you start practicing martial arts?

When I was a kid. Remember funny books, comic books? Charles Atlas was in there with body building, judo, and jiu jitsu. I learned all those things when I was a kid. It was something to do, and it was healthy for me. It kept my body working and busy. I got into all kinds of sports: football, baseball, basketball, you name it. I’m much better at martial arts than I am at golfing.

Some of your earliest songs were about heartbreak. You were pretty young when you realized that love and sex are some of the powerful forces in the world. A major theme in the book for both you and Bobbie is the intoxication of romance—how devastating it can be to lose someone, and the way in which those experiences sometimes drive us to do stupid and reckless things. How did it feel to relive some of those moments?

Well, mixed emotions there, too. Some of it I enjoyed going back through, and a lot of it I didn’t ever care to get back to. I had a lot of heartaches and bad memories. So, you know, it was a little of everything.

You say of your first guitar, “I knew by holding it against my chest it was hearing my heart. It became a part of me.” I wonder, does music feel like the most instinctive way to express your feelings? Is it easier to play through some of that stuff than to express it out loud?

Oh, I don’t know. The first guitar I owned, my grandfather bought it from a Sears, Roebuck catalogue. It was a Stella guitar, and I think it cost four or five dollars. I’ve had all kinds of instruments. I love Trigger, the guitar I have now, because I can get a sound out of it that I like. I’m a huge Django Reinhardt fan, and I get a tone out Trigger that’s similar—it’s similar to what I like about Django.

And that’s why you’ve held onto her for all these years? Oh, I suppose I’ve just made Trigger female, like a ship—

Well, Trigger in my mind is Roy Rogers’s horse named Trigger. So I guess it’s a male.

Have you always loved horses?

I think today I’ve got about seventy-five. I’m around horses a lot, and I’ve learned there is a truth to the old term “havin’ horse sense.” Those old cowboys knew what they were talking about, ’cause horses are smart—they’re smarter than we are. When I get on a horse, it’s just a little step up in the world.

In the book, you write, “Inspiration isn’t something under my control.” I have to admit, as someone who occasionally struggles with writer’s block, I found that idea hugely comforting! “Hello Walls,” one of your earliest commercial hits, was born of this moment of boredom and inefficiency. Fallow periods like that are sometimes necessary for creativity, but, man, it can be really hard to endure them. Did you ever have moments or points in your career where you worried that inspiration would never come again?

No. I wrote a song one time—I don’t know if I ever finished it or not. It started out with “I don’t want to write another song, but you can’t tell that to my mind. / It just keeps throwing out words, and I’ve got to make ’em rhyme.” And that’s just the way I feel about things. It’s like breathing to me.

Your second big hit after you moved to Nashville was “Crazy,” which was very famously recorded by Patsy Cline. You write that her husband woke her up at one in the morning to play it for her, and you thought, “I didn’t see that as a good way to get a lady to hear a song.” When that song took off, did you feel as if you could finally exhale? As if you had “made it,” whatever that might mean?

Patsy Cline’s record of “Crazy” was a No. 1 all-time jukebox song. So, as far as money was concerned, I made a little money there, and I made some money off of “Hello Walls.” Faron Young, who recorded “Hello Walls,” tried to get me to stay in town, in Nashville, and just write songs for him and let him go tour. And, you know, that wasn’t me. I had to get out there and tour myself.

On your most recent album, “First Rose of Spring,” you cover “I’m the Only Hell My Mama Ever Raised,” which was a single for Johnny Paycheck, in 1977. I know you briefly replaced Johnny on bass in Ray Price’s band. What do you remember about him?

He was a good buddy, a good friend of mine. When he was playing bass for Ray Price, his name was Johnny Young. And he quit Ray’s band. At that time, I was writing songs for Pamper Music, which was Ray Price’s publishing company in Nashville. Ray called me and said, “Uh, can you play bass?” And I said, “Hell, can’t everybody?” I’d never played bass in my life. So I went out on the road with Ray Price and played bass for a year out there. It was funny because I would open the show, and I’d do about thirty minutes. I’d get up there and sing Hank Williams songs. I didn’t have anything of my own I could do except “Hello Walls.” I was singing Hank Williams songs, and telling Little Jimmy Dickens jokes. All through my show, somebody was always sayin’, “Where’s Ray? Where’s Ray?”

Are there any musicians from that era who you still keep up with?

Well, all of them I was in touch with, but a lot of them have passed on. I’ve lost a lot of my good friends. I won’t start naming ’em, because I could go on for an hour of people who’ve died in the last few years. But I still have friends who I talk to. I still talk to Bobby Bare occasionally. He’s a great artist, a good friend of mine—he was always there. He helped me a lot when I was out there struggling. I have the radio station now, the Roadhouse, where I can play and listen to songs that I really like. I get to program it the way I want to—I get to hear Ray Price and Hank Williams, all them old guys. Waylon, and John, and Kris. The artists that I love to hear—I’ve got a way to listen to ’em now. And that’s . . . I love that.

You released a record a few years ago called “Last Man Standing.” At eighty-seven, do you have that feeling?

It was kind of a funny thing—I don’t want to be the last man standing. But, wait a minute—maybe I do! [Laughs]

You mentioned exercise earlier, and I know that switching from alcohol and cigarettes to marijuana midway through your life was hugely transformational for you. Any other secrets to your longevity?

Positive thinking. Do you remember a book by Norman Vincent Peale, “The Power of Positive Thinking”? It was one of the first books I got into. I believe that with all my heart: energy follows thought, so be careful what you’re thinking.

Throughout your career, you’ve been so masterly with other writers’ material. I’m curious about what makes you decide to add a song to your repertoire. Does it have to resonate for you emotionally? Do you prepare to cover a song in the same way an actor might prepare for a role, by trying to figure out what motivates or moves the central character?

It’s instinct, you know? Instinctively, I like the song, I like the words, I like the melody, and it’s fun to sing. I get a kick out of singing “Stardust” and “Crazy.” There’s something about ’em that’s all positive. So I hear something that I would love to sing, and I sing it. It’s not any more difficult than that. It’s just me doing what I wanna do.

You’ve talked in the past about Frank Sinatra being your favorite singer. I can certainly see how his particular vocal style—the way he sort of messes around with the beat—might have opened up possibilities for you. Are there other singers who did that, too?

Ray Price was a great, great singer. Hank Williams. Bob Wills. I learned from them. I grew up on their music. I started out singing Texas dance music, and then I moved into some other categories. As far as I know, I’ve gotten into most of the categories. [Laughs] I haven’t done a lot of classical music, but it’s still early!

Rightly or wrongly, I think most people still tend to think of you as chiefly a country-music artist. You’ve been involved, in one way or another, with the country community for more than sixty years now. How have you seen it change?

Well, there’s several different brands of country music now. You’ve got the new guys that are coming along, and then us old guys. A lot of the stuff they do is good. And the old stuff that we’ve been doing—it’s always been good. So I see some good in everything that’s going on. Nashville has got it. Of course, with the pandemic, we can’t go play nowhere. It makes it really hard for all of us. Honestly, I listen to the stations that play the old standards. I’m sure there’s some young talent out there that’s coming along, and one day they’ll be considered the new old standards, like Ray Price and Frank Sinatra. But, right now, they’re paying their dues.

The idea of paying one’s dues seems particularly crucial in country music.

I was lucky enough to be able to play in honky-tonks, because I grew up at ’em. I could play what they wanted to hear and what I wanted to play. I was part of the Grand Ole Opry, but one of the rules—back then, I don’t know about now—was that you had to play the Opry at least twenty-six weeks out of the year if you wanted to say that you were a Grand Ole Opry star. My problem was I’d be playing Thursday and Friday—I’d be down in Texas, making some money in the honky-tonks—and then I’d have to get back to Nashville by Saturday night in order to be a member of the Grand Ole Opry. It was a great and prestigious job, but the money wasn’t there. I had to have some money to take care of my family. I eventually left Nashville, moved back to Texas, and ever since then I’ve been making a pretty good living.

I’d say so! I wonder if there is an album in your discography that you feel the most proud of—as a creative achievement, independent of how it may have performed commercially?

When I recorded for RCA, and Chet Atkins was my producer, we did a whole lot of songs. I heard one the other day. What was the name of it? I can’t remember the name of it, but it was a song that I had written fifty years ago and forgotten about. And, when I heard it again, I went, “Aw, hell, that wasn’t a bad song.” Every now and then, I’ll hear one like that on the radio, and I’ll be, like, “Man, I forgot about that one—I should do that again!”

In your career, how have you found a way to balance your creative ambitions with your commercial ambitions?

Well, with the Chet Atkins stuff that I did, musically, it was great—RCA had the best musicians in the world. Some of it was strings, horns, a lot of it was guitar. Chet Atkins was a great producer. He knew how to call together all the great musicians. But the problem was me trying to do my songs live with the bands that I was recording with. I had twenty pieces in the studio, but when I go out to play I’ve only got four or five. So it had to change—I had to play the music that I could play with my band.

Was it hard to stay so consistently true to your own vision for your work?

It was, a bit. But I believe that my knowledge of music, especially country music and the music that I grew up singing and writing and playing—my knowledge might be a little superior to anybody else’s, because they don’t know me, you know? The “Stardust” album—a lot of people thought that would never sell. “Those songs have been around forever. Nobody wants to hear them again.” They didn’t realize how wrong they were.

It must have felt good, in that moment, to be so right.

Yeah. [Laughs] Fooled ya!

You’ve been really supportive of various progressive causes in the course of your career: the environment, the decriminalization of marijuana, small family farms.

We’ve been doing Farm Aid for thirty-five years. We did a virtual Farm Aid this year. It did pretty good—we raised over a million dollars for the small family farmers out there. When a small family farmer goes to a bank to borrow money for next year’s crop, a lot of the bankers won’t give him the money unless he agrees to put a lot of fertilizer and pesticides on the crop, so they’re guaranteed to get their money back. They don’t realize that they’re ruining the damn soil. A lot of the small family farmers fought ’em, and stayed true, and raised food that they could eat and their families could eat. One of the big things we’ve been promoting now is farm-to-market—rather than your breakfast coming from fifteen hundred miles away, find you a farmer out here somewhere, or go to the farmer’s market and get your groceries there. You’ll be helping a lot of people. I know how hard it is to make a living farming. But I know how gratifying it is, too—to plant seeds, and watch ’em grow.

Speaking of which, it seems as if the two main narrative threads of your life are music and family.

A lot of music and a lot of talent in the family, all the way back to Sister Bobbie. Lukas and Micah, my kids with Annie, are great musicians—Lukas is in Nashville now recording an album, and Micah’s got his band out in L.A., and they’re playing regularly. So they’re doing well. They have talent. My daughter Paula is a d.j. now on Roadhouse—she sings and plays a lot.

One of the things that really struck me in the passages about your grandmother, Mama Nelson, was how nonjudgmental and supportive she was, even when you and Bobbie were playing venues she didn’t approve of. She let you grow, let you learn, let you make mistakes on your own. That’s a tough thing to do as a parent.

Yeah, and she was a grandparent. My parents divorced when I was six months old or something, so I really never did know that life. I grew up with my grandparents. My grandfather was a blacksmith, and when I was just a kid I used to help him, shoeing horses or whatever. And then, when he died, my grandmother went to work in a school lunchroom there in Abbott, making eighteen dollars a week. She was a great grandparent, and she helped us so much.

One of everyone’s all-time favorite Willie Nelson stories is about how you smoked a joint on the roof of the White House with Jimmy Carter’s son.

[Laughs] Those were good times, back then. Jimmy Carter and I were good friends. We’d jog together when I’d come to Washington. I’d play a show in Atlanta or Plains, Georgia, and him and his wife, Rosalynn, would come out and sing the gospel songs with me. He’s a great man, and I love him a lot. He’s still around, still doing good things.

This year has been so tough—people are out of work, trying to figure out what comes next, trying to stay safe and healthy in the midst of a pandemic. I’m curious how you think about the musician’s role in a moment like this.

Well, people love to hear music. And we, as musicians, love to play music. So we do it however we can—if it’s virtual, O.K. Whenever we can get back together personally and play the shows, that will be the best, you know. Everybody remembers going to live shows. We certainly don’t want them to stop. The good book says this, too, shall pass. And it will.

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