A Rebel To the End

By Alexander Billet; March 12, 2010 - Znet
http://www.zcommunications.org/a-rebel-to-the-end-by-alexand...

O death, where is thy sting? O grave, where is thy victory?

So asks the book of Corinthians 15:55, which Johnny Cash chose to reference in the one original composition that appears on American VI: Ain't No Grave. That the Man in Black was by this point facing the imminent reality of death should be surprising to nobody. The ten songs that make up this final installment in the American Recordings series were recorded with Rick Rubin mere months after Cash's wife June had passed away. He was so frail that he spent most of the sessions sitting down.

And yet, it's hard to imagine another artist able to greet the reaper with such graceful defiance. To be sure, death had always played a large role in Cash's repertoire. But with his health deteriorating, the gravity of the situation seems to drip off of American VI. The pared-down arrangements, Cash's weathered singing voice, even the release date--what would have been his 78th birthday--all convey a haunting sense of mortality.

Or is it immortality? The album's title track [see youtube video below] sees a rapturous gospel song retooled into a slow, plodding dirge. The song's tone is far from resigned, however. Rather, it sounds as if Cash is defying death itself to keep him off this mortal coil as he declares that "there ain't no grave can hold my body down."

It's a lyric chilling in its profundity. Since Cash's death in 2003, there have been no shortage of forces who have sought to manipulate and reclaim his legacy for themselves. It might seem an easy task. After all, dead men can't argue, and figures on the conservative right have been notably smug in morphing this most rebellious of country legends into one of their own.

It's easy to imagine the likes of Glenn Beck squirming at this batch of songs, though. Like the other parts that make up the American records, American VI is mostly cover versions. But notably missing are the unique takes on modern artists' work (the version of Sheryl Crow's Redemption Day notwithstanding). Old favorites feature prominently here--songs that Johnny had long loved to perform and record. And in their own way, they reveal a stunning answer to any confusion on whose side this artist stood.

One thing that is never in doubt is the deep love and knowledge that Cash held for American music. Several songs are taken directly from the rich history of country music's golden age--Porter Wagoner's A Satisfied Mind, Hank Snow's I Don't Hurt Anymore. Others reflect how truly eclectic and far-reaching Cash's influence could be.

In May of 1962, after a horrific performance at Carnegie Hall, a despondent Cash found himself approached by Ed McCurdy, a socialist and folksinger who had just barely escaped the grip of McCarthyism into the thriving Greenwich Village folk scene. McCurdy ended up taking Cash to the Gaslight Cafe, a favorite hub in the Village.

McCurdy was a major figure in his own right. In 1949, in the aftermath of the Second World War, he penned (Last Night) I Had the Strangest Dream, a stirring anti-war missive that became such a hit that other folk mainstays like Pete Seeger and Guy Carawan would record their own versions.

"Strangest Dream" also held a massive resonance with Cash, and appears on American VI. His most famous performance of the song was at Madison Square Garden in 1969, where he recalled for the audience a recent conversation between himself and a reporter who asked about his visit to the troops in Vietnam. "That makes you a hawk, doesn't it?" asked the reporter. "No, no, that don't make me a hawk," Cash told the crowd. "But I said if you watch the helicopters bring in the wounded boys, and then you go into the wards and sing for 'em and try to do your best to cheer 'em up, so they can get back home, it might make you a dove with claws."

Johnny never did say what his thoughts were on the war on Iraq, but songs like these, recorded in the months following the initial invasion, make it pretty clear what he thought.

Then there's the version of Can't Help But Wonder Where I'm Bound, a gentle rambler originally written by Tom Paxton. Another player in the Village scene, Paxton essentially became recognized as "Dylan before Dylan." Still writing songs today, he's applied a deft song-writing skill to protests against war, racism, poverty and corruption. Knowing this places songs like Can't Help But Wonder in a different light, as if Cash himself is asking not just where he is going, but more broadly what is to become of us, the human race.

In all these respects, American VI represents an unmistakable statement on what kind of artist Cash really was. Far beyond the borders of the country mainstream, he stood as a living, breathing example of American music's indefatigable humanity. It's a tradition that's been hidden from us, no doubt about it. Much like Cash's own legacy, it's been obscured under half-truths and omissions.

Cash himself would have looked at these manipulations with clear disdain. But then, he never really did have much time for the accepted orthodoxy. American VI: Ain't No Grave shows that even in death, Johnny Cash can't stand being silenced.

Alexander Billet, a music journalist, writer and activist living in Chicago, runs the website Rebel Frequencies (http://rebelfrequencies.blogspot.com). His articles have appeared in Z Magazine, New Politics, the International Socialist Review, CounterPunch, PopMatters.com and SocialistWorker.org.

Contact him or subscribe to his mailing list at rebelfrequencies@gmail.com.

This article first appeared at the Society of Cinema and Arts website.

Scott MacIntyre : Scott McIntyre is a return to familiar turf to perform a duet on ‘American Idol,’ as the show announces 9 in the final season Top 12. McIntyre, who finished eighth in the season after 8 singing survivors ’search is over,’ is to see and the dumb, and both his story and music, and won him admiration and a whole nation of fans.
Less than one year later, and singer-songwriter is set to release the first full-length, after ‘Idol’ album, ‘nerves,’ March 11 (available on iTunes in the McIntyre and the Internet.) The album is a mix of pop music inspired by the tracks, and more sad songs, but all of that, he says, is a reflection of his personal experiences, including the highs and lows. McIntyre spoke with us shortly before the release to discuss what inspired him, what he thinks back to the ‘Idol’ will be like and what to get sacked for ‘Idol’ is the best part of being a rider.
Your new album, ‘nerves,’ sounds very heartfelt. What’s your take on the album, which inspired this?
It’s really exciting for me to achieve this feat, for the first function, ‘Idol’ album … It’s really a personal project to me. 12 songs are like snapshots 12: things that have passed, and things that I was thinking that I want to share. Album talks about love, loss, and hope when you feel that there is hope around you. I’ve been in all those cases, in a variety of different forms … My heart went through some ups and downs, and thus the title.
How is the heart of these days?
The heart is good! There are a lot of my story that people do not know. I write a book in the coming months, and the album comes out … I am thankful for my life … I had a successful kidney transplant. I remember the time when I literally can not sit on the piano and singing, and the right that every event by the ‘American Idol’. … She has a degree of stability in the Middle, for me … We hope that many people can grab deep into it.
What do you have gravel attribute? What would you say to people with other barriers to self-face?
I get this question a lot, and in different forms … I have been in many cases where abandonment could be a popular decision. And very tempting to settle for less, I think that is probably the place where you’re supposed to be. And I just did not see myself doing that … I mean, [even] ‘Idol’ itself. You can imagine, and when she appeared to the test, and producers and probably had no idea what to do with me. Here in this man with the white cane, and any idea on how to look at the camera lens. We really ventured into uncharted territory for me, and to show the part. I felt like I was able to … Break down some barriers.
Therefore, my goal all happens in the ‘American Idol’ and the goals in the release of this album – album ranges in tempo, and there is some optimism pop and rock, and there is some intimate moments … But it’s really about a lot more than just singing a song. … I really wanted people to walk away with something tangible, it can apply to their lives, and feel the impact of this music and to be able to forget after you hear
Scott McIntyre on the performance of America IdolYou’re return to ‘Idol’ to perform on Thursday to show the Top 12. What you expect it will be like, and what will be singing?
I’m singing ‘Tell her about it,’ by Billy Joel [in a duet with his colleagues in the final season, Matt Giraud 8]. It will be a wonderful opportunity to return, I think. It’s really close view from a different angle. When I was in the show, and you fear for your life appellant. All of these guest artists come on stage, and I was sitting off to the side … On the other hand, you have all this pressure weighing on you: “I’m going to last about a week? What will happen? What does this mean for my career?” Frankly, the moment I got voted off the show. I was sad for about an hour. I was very, very sad.
But, then I felt overjoyed. I think getting started on ‘American Idol’ is probably the best part of the whole experience.
What makes you say that?
We all leave at some point, except for one person. That was the moment I felt like the rest of my career began. Stop everything, you get out of ‘Idol’ bubble, and then I realized what an impact you’ve made. I have no idea of the impact of my story was making in all parts of the world … I felt like because of what I went through, and I was able to reach many people.
What advice do you have for this year’s final?
You have to know who you are as an artist, and how you want to be in the competition. It’s almost impossible to figure this out during the competition. Some people happen to figure it out through [the show] and the judges and say, “Have you found him.” But frankly, I was too busy … The last thing you have time to do is sit down and have an intimate thought process for yourself. What helped me is I know the artist you want to be when I came out of the competition from the moment a test. Which helped to guide my choices song, and that it helped to draw a road map of my country.
Looking at the ‘Idol’ final who are about to be the place that was this time last year, is there any who are your favorite personal or who you relate?
It’s funny to say, but it is too early to say. I thought, going into the Top 24 a week, there will be a few people that stood by me. There were a few … But I feel that everyone is still calculated on how to extract that spark. I think we need to see someone throw in both feet, and act as if they really believe in what they are doing there … I feel like everything is a bit random at this point. There [final], who I really enjoy, but this can not be predicted by a little. We hope in the next week or so, and we’ll see everyone who comes to the fore.
Even if I can tell you one thing and behind the scenes tomorrow, it would be something like, “Give what you have everything!”
Yes, I would like to take them in one room with a coach to me and them! [Laughter] and can be used to urge all a little bit.