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Pēc 26 gadiem Columbia Records atceļ kantrī leģendu Džoniju Kešu

Pēc 26 gadiem Columbia Records atceļ kantrī leģendu Džoniju Kešu

Kritiķu atzinīgi novērtētais 2002. gada biogrāfiskais filma Walk The Line attēlota Džonija Keša dzīve un karjera no viņa sākotnējās pieaugšanas līdz zvaigznei 50. gados līdz atdzimšanai pēc narkotiku izraisītas lejupslīdes 1960. gados. Šī laika posma izvēlei bija pilnīga jēga no Holivudas perspektīvas, taču no vēsturiskā viedokļa tā atstāja vairāk nekā pusi stāsta. Vēl bija dramatiska atdzimšana Džonija Keša 50 gadu karjeras otrajā pusē, kas sasniedza vēl vienu zemāko punktu 1986. gada 15. jūlijā, kad Columbia Records pēc 26 gadu vēstures veidošanas partnerattiecībām izslēdza viņu no sava saraksta.

Kolumbija pirmo reizi parakstīja Džoniju Kešu 1960. gadā, izmantojot ienesīgu līgumu, lai aizvilinātu viņu no sava Sun Records, viņa pirmā izdevniecības, kā arī Elvisa Preslija, Džerija Lī Lūisa un Karla Perkinsa agrīnās mājas. Kešas pirmais Kolumbijas singls “All Over Again” ieņēma valsti Top 5, bet otrais - “Don't Take Your Guns To Town” - līdz pat 1. vietai, vienlaikus pārceļoties uz popmūzikas top 40. Bet vēl bija gaidāmi Kešas karjeras lielākie hiti, tostarp neticami astoņi #1 albumi astoņu gadu laikā: Uguns gredzens: labākais no Džonija Keša (1963); I Walk The Line (1964); Džonija Keša labākie hiti (1967); Folsoma cietumā (1968); Sankventinā (1969); Labdien, es esmu Džonijs Kešs (1970); Džonija Keša šovs (1970); un Vīrietis melnā (1971). Šajā laikā Džonijs Kešs ieguva sevi kā titānisks skaitlis amerikāņu populārajā kultūrā, vienlaikus pārdodot miljoniem miljonu ierakstu Kolumbijai, taču līdz astoņdesmito gadu vidum kantrī mūzikas mode bija krasi novirzījusies no viņa vecās skolas stila. hits vienkārši pārstāja nākt.

1986. gadā, arī nesen no sava mākslinieku saraksta izsvītrojot džeza leģendu Milesu Deivisu, Kolumbija izvēlējās pārtraukt vairs neienesīgās attiecības ar Džoniju Kešu. Skaidra nauda ilgi nepalika profesionālā ziņā, tomēr nākamo septiņu gadu laikā izdevumā Mercury Records izdeva četrus oriģinālos albumus un daudzus iepriekšēja materiāla atkārtotus ierakstus. Taču tikai 1994. gadā Kešs patiesi atrada savu radošo virzienu. Tas bija gads, kad viņš izdeva albumu Amerikāņu ieraksti, pirmais albumu sērijā ar tāda paša nosaukuma etiķeti, kuru vadīja Rick Rubin, Beastie Boys oriģinālais producents un līdzdibinātājs kopā ar Raselu Simmonsu no Def Jam Records.

Rubina ietekmē Kešs pārgāja pie neapstrādātas, nojauktas skaņas, kas izrādījās ārkārtīgi veiksmīga gan kritiķu, gan kantrī tradicionālistu, gan hipsteru jaunpienācēju vidū kantrī mūzikā. Kad viņa otrais Rubina producētais albums, Neķēdēts, 1998. gadā ieguva Grammy balvu kā labākais kantrī albums, American Recordings ievietoja pilnas lapas reklāmu Stends žurnāls ar 1970. gada fotogrāfiju, kurā Kešs vicina savu vidējo pirkstu zem sarkastiskās kopijas līnijas: “American Recordings un Johnny Cash vēlētos pateikties Nešvilas mūzikas iestādei un kantri radio par jūsu atbalstu.”

Pirms nāves 2003. gadā Džonijam Kešam bija vēl divi masveidā veiksmīgi solo albumi ar American Recordings. 2007. gadā Riks Rubins kļuva par Columbia Records līdzpriekšsēdētāju, un šo amatu viņš atstāja 2012. gadā.


Džonijs Kešs

Džons R. Kašs (dzimis J. R. Kass 1932. gada 26. februāris - 2003. gada 12. septembris) bija amerikāņu dziedātājs, dziesmu autors, mūziķis un aktieris. [4] Liela daļa Keša mūzikas ietvēra bēdu, morālu bēdu un izpirkšanas tēmas, it īpaši viņa karjeras vēlākajos posmos. [5] [6] Viņš bija pazīstams ar savu dziļo, mierīgo basbaritona balsi, [a] [7] viņa Tenesī Trīs pavadošās grupas īpatnējo skanējumu, ko raksturo vilcienam līdzīgi čīkstoši ģitāras ritmi, dumpīgums [8] [9] ] kopā ar arvien drūmāku un pazemīgāku izturēšanos, [5] bezmaksas cietuma koncertiem, [10] un zīmola pilnīgi melnas skatuves drēbju skapi, kas viņam deva iesauku "Cilvēks melnā". [b]

Pēc četriem Gaisa spēkos pavadītajiem gadiem Keša piedzima nabadzīgiem kokvilnas audzētājiem Kingslendā, Arkanzasā, un ieguva slavu plaukstošajā rockabilly ainā Memfisā, Tenesī. Viņš tradicionāli sāka savus koncertus, vienkārši iepazīstinot ar sevi: "Hello, I'm Johnny Cash", [c] kam sekoja "Folsom Prison Blues" - viena no viņa paraksta dziesmām. Līdzās "Folsom Prison Blues" viņa paraksta dziesmās ietilpst "I Walk the Line", "Ring of Fire", "Get Rhythm" un "Man in Black". Viņš ierakstīja arī tādus humoristiskus numurus kā "Viens gabals vienā reizē" un "Zēns vārdā Sjū", duets ar savu nākamo sievu Džūnu ar nosaukumu "Džeksons" (pēc viņu kāzām seko daudzi citi dueti) un dzelzceļa dziesmas, piemēram, "Hei , Porter "," Orange Blossom Special "un" Rock Island Line ". [13] Pēdējā karjeras posmā viņš klāja tā laika mūsdienu rokmākslinieku dziesmas, no kurām viņa ievērojamākie kaverversijas bija Nine Inch Nails skaņdarbs "Hurt", Soundgarden "Rusty Cage" un Depeche Mode "Personal Jesus".

Kešs ir viens no visu laiku vislabāk pārdotajiem mūzikas māksliniekiem, pārdodot vairāk nekā 90 miljonus ierakstu visā pasaulē. [14] [15] Viņa žanru aptverošā mūzika aptvēra kantrī, rokenrolu, rokabilly, blūza, folk un gospeļa skaņas. Šī crossover apelācija viņam izpelnījās reto godu tikt iekļautai kantrī mūzikas, rokenrola un gospeļmūzikas slavas zālēs.


Džonijs Kešs

Kerija Riversa Kase. Kad Džonam bija 3 gadi, viņa tēvs izmantoja jaunu Rūzvelta saimniecības programmu un pārcēla savu jauno ģimeni uz Dišes koloniju Arkanzasas ziemeļaustrumos. Tur Kešu ģimene audzēja 20 hektārus kokvilnas un citas sezonas kultūras, un jaunais Džons strādāja kopā ar vecākiem un brāļiem un māsām laukos.

Mūzika bija Cash mājsaimniecības ikdienas dzīves neatņemama sastāvdaļa. Džons iemūžināja dažādas mūzikas ietekmes, sākot no mātes tautasdziesmām un himnām līdz darba dziesmām no laukiem un blakus esošajiem dzelzceļa pagalmiem. Viņš absorbēja šīs skaņas, piemēram, sūklis absorbē ūdeni. Vēlākajos gados Keša iedvesmu smēlās no savas dzīves Arkanzasā: "Pickin 'Time", "Five Feet High and Rising" un "Look at Them Beans" - tās visas ir pārdomas par Kešas agrīno dzīvi.

Kase palika Dīsas kolonijā līdz vidusskolas beigšanai 1950. gadā. Jaunībā viņš devās uz Detroitu darba meklējumos. Viņš nonāca Pontiacā, Mičesā, un sāka strādāt automobiļu rūpnīcā. Viņa darbības laiks Ziemeļvalstī bija īslaicīgs, un Kešs drīz vien tika iekļauts ASV gaisa spēkos. Pēc pamatapmācības Teksasā (kur viņš iepazinās ar pirmo sievu Vivianu Liberto) viņš tika nosūtīts uz Landsbergu, Vāciju. Kalpojot, Cash organizēja savu pirmo grupu Landsberg Barbarians. īkšķis | 300 pikseļi | pa labi | Džonijs Kešs - sāp

Pēc izrakstīšanas 1954. gadā Kešs atgriezās štata apgabalā un apprecējās ar Liberto. Viņš un viņa jaunā līgava drīz vien apmetās Memfisā, kur Keša strādāja dažādus darbus, tostarp ierīces pārdevēju, vienlaikus mēģinot ielauzties mūzikas biznesā.

1954. gadā Keša noklausījās Sema Filipsa albuma Sun Records solo mākslinieku. Viņš izklaidēja cerības ierakstīt izdevniecībai gospeļmūziku, taču Filips šo ideju uzreiz noraidīja. Tomēr nākamajā pavasarī Kešs bija Sun Studios, lai ierakstītu kopā ar savu grupu The Tennessee Three. Sākotnējā grupā bija ģitārists Luters Pērkinss, basģitārists Māršals Grants un Red Kernodle uz pedāļa tērauda. Kernodle izglābās no sesijas un Kešas pirmā izdevuma leiblam "Hey Porter" bija reti, bet ļoti efektīvs instrumentālais pavadījums. Lai gan dziesma bija iespaidīgs singls, dziesmu neizdevās iekļaut diagrammā.

Cash turpmākais Sun izdevums tomēr bija ievērojami labāks. "Raudāt, raudāt, raudāt" izdevās saplaisāt Stendss Top 20, sasniedzot 14. vietu. Sekoja ilgstoši topu singli. "So Doggone Lonesome" un "Folsom Prison Blues" gan ielauzās tirdzniecības publikācijas top 10. Bet Keša ceturtais topa singls izrādījās viņa karjeras dziesma. Filma "I Walk the Line" tika uzņemtaStendss pozīciju Nr. 1 un rekordu topos palika neticami 43 nedēļas, galu galā pārdodot vairāk nekā 2 miljonus eksemplāru.

1956. gadā viņš saprata senu sapni, kad tika uzaicināts uzstāties Grand Ole Opry. Līdz 1957. gadam Keša bija savākusi iespaidīgu hitu virkni un strādāja vairāk nekā 200 randiņu gadā. Nākamajā gadā viņš pārgāja uz Columbia Records, lai meklētu lielāku māksliniecisko brīvību. Viņam vēl joprojām bija vēlme veidot evaņģēlija ierakstus un viņš uzskatīja, ka viņam ir lielākas iespējas sasniegt šo mērķi citā izdevniecībā.

Atlikušajos piecdesmitajos gados un pagājušā gadsimta sešdesmitajos gados Cash turpināja radīt ievērojamus ierakstus un konsekventi uzrādīja diagrammas. "Neņemiet savus ieročus pilsētā", "I Got Stripes", "Ring of Fire", "Understand Your Man" un "The Ballad of Ira Hayes" - tie visi sasniedza rekordu topu augšējos reģistrus. Izskats ieslēgts Eda Salivana šovs, Šovakar šovs un sekoja citas visaugstāk novērtētās tīkla programmas. Sešdesmito gadu sākumā tika konceptēti tādi albumi kā Rūgtās asaras un Balādes par patiesajiem rietumiem padarīja viņu par iecienītāko tautas mūzikas pūļa vidū, kas vainagojās ar parādīšanos Ņūportas folkfestivālā.

Bet viss nebija labi. Skaidra nauda kļuva nekontrolējama. Viņa laulība sabruka, un šķiršanās šķita neizbēgama. Arī viņa nogurdinošais ekskursiju grafiks (kas tagad bija līdz 300 izrādēm gadā) bija izdarījis savu. Nauda kļuva atkarīga no narkotikām, lai saglabātu drudžaino tempu. Sešdesmito gadu vidū Keša bija vraks, un tas sāka ietekmēt viņa karjeru.

Tomēr līdz 1967. gadam Kešam izdevās pārvarēt atkarību ar dziedošā partnera Jūnija Kārtera un viņas ģimenes palīdzību. 1968. gadā viņš un Kārters apprecējās, un viņa karjera piedzīvoja renesansi. Atlikušajā desmitgadē un septiņdesmitajos gados Kešs bija savas spēles augšgalā. Gan Folsomas cietumā, gan Sankventinā veiktie tiešraides ieraksti ieguva zeltu, un sekoja apbalvojumu pase, tostarp Kantrī mūzikas asociācijas Gada izklaidētāja un vīriešu vokālistu balvas 1969. gadā.

Tomēr pēdējā atlīdzība bija tīkla televīzijas vieta. Pirmizrāde 1969. gadā, Džonija Keša šovs ēterā ABC. Izrāde, kas tika uzņemta Nešvilas Rimana auditorijā, demonstrēja eklektisku viesu kombināciju, sākot no Boba Dilana un Nila Janga līdz Luisam Ārmstrongam un Merlei Haggardai. Ar savu viesu atlasi Kešs palīdzēja pārvarēt plaisu starp paaudzēm un nojaukt muzikālās barjeras. Viņš arī izmantoja izrādi kā forumu, lai apspriestu un paaugstinātu valsts kolektīvo apziņu par mūsdienu sociālajiem jautājumiem, piemēram, Amerikas pamatiedzīvotāju stāvokli, cietumu reformu un konfliktu Vjetnamā. Izrāde tika pārtraukta 1971. gadā, bet Keša vairākus gadus turpināja uzņemt daudzus īpašos piedāvājumus.

1980. gadā 48 gadu vecumā Džonijs Kešs kļuva par jaunāko dzīvojošo kantrī mūzikas slavas zāles dalībnieku. Rokenrola slavas zāle savu godu viņam piešķīra 1995. gadā, tādējādi padarot viņu par vienu no nedaudzajiem lauku māksliniekiem abās organizācijās.

1985. gadā Keša pievienojās draugiem Villijam Nelsonam, Velonam Dženingsam un Krisam Kristofersonam, lai izveidotu The Highwaymen. Supergrupa laika posmā no 1985. līdz 1995. gadam izdeva trīs albumus, ar singlu "Highwayman" no pirmā albuma gūstot pirmo numuru, Šosejas darbinieki. Kaut arī Kešs deviņdesmito gadu beigās cīnījās ar nopietnām veselības problēmām, Kešs iestājās profesionālā renesansē pēc tam, kad bija parakstījis līgumu ar repa producenta Rika Rubina amerikāņu ierakstu kompāniju. Amerikāņu ieraksti, kas izdots 1994. gadā, ieguva Grammy balvu kā labākais mūsdienu folkloras albums. Turpmākais darbs, 1996 Neķēdēts1997. gadā ieguva Grammy kā labākais kantrī albums. Viņa izlaidums 2000. gadā Amerikānis III: vientuļnieks, ietvēra Nīla Dimanta dziesmas "Solitary Man" vāku, kas 2001. gadā ieguva "Cash a Grammy" balvu par labāko vīriešu dzimuma vokālo sniegumu.

2002. gadā iznāca Cash Amerikāņu IV: Cilvēks nāk apkārt kas ietvēra Nine Inch Nails singlu "Hurt". 2003. gadā Keša nopelnīja trīs CMA balvas, un atzītais videoklips filmai "Hurt" ieguva MTV balvu un Grammy balvu.

Džonijs Kešs 2003. gada maijā negaidīti zaudējis sievu Jūniju Kārteri Kešu 2003. gada 12. septembrī Baptistu slimnīcā Nešvilā, Tenesī, mira no diabēta komplikācijām.

2005. gadā viņa agrīnās romantikas ar Kārteru filmas versija ar nosaukumu Ejiet pa līniju, tika nominēts Oskaram kā labākā filma. Viena diska apkopojums ar nosaukumu Leģenda par Džoniju Kešu tika izdots arī 2005. gadā un turpināja pārdot vairāk nekā 2 miljonus eksemplāru. Nākamajā gadā Lost Highway izlaida savu amerikāņu ierakstu pēdējo daļu, Amerikāņu V: simt šoseju, kurā redzamas viņa pēdējās sesijas ar Rubinu.  

2013. gada decembrī pazudis Džonija Keša albums ar nosaukumu##Ārā starp zvaigznēm, kurā ir 12 dziesmas, kuras no 1981. līdz 1984. gadam ierakstījuši Džonijs Kešs un Billijs Šerrils, atklāja viņa vienīgais dēls Jūnijam Kārteram Džons Kārters Kešs. To atstāja tā ražošanas uzņēmums  Kolumbija, bet pēc atklāšanas gandrīz 30 gadus vēlāk tas tika izlaists 2014. gada 25. martā kā pēcnāves albums. Mantotie ieraksti.


Nedrīkst aizmirst jaunos un#038 atkārtoti izdotos Džonija Keša izlaidumus

Visiem jums, Džonija Keša faniem, pēdējā laikā ir bijušas izlaišanas un paziņojumu aktivitātes, un jums jāzina, ka dažas no tām ir jaunākas lietas, dažas no tām ir vecas, un visas tās ir jūsu radaru cienīgas.

Lai gan daudzi Džonijs Kešs vai kantrī mūzikas cienītāji jau ir sarūpējuši ikonu Džonija Keša cietuma albumu kopiju Folsoma cietumā (1968) un Sankventinā (1969) no lietoto preču veikala vai ierakstu veikala vai no jūsu vecāku ierakstu kolekcijas, abi beidzot tiks atkārtoti izdoti jauni vinila formātā 7. augustā. Ir diezgan traki domāt, ka vinila izdrukas kādreiz ir beigušās, taču tas tā ir bijis gadiem ilgi.

Arī 7. augustā vinilā atkārtoti tiks izdots Džonijs Kešs Greatest Hits Vol. 1, un Džonija Keša kolekcija, Viņa lielākie hīti, sēj. 2, iemūžinot Cash ’ lielākās dziesmas savā Columbia Records laikmetā. Tātad, ja jūs gaidījāt savu iespēju savākt The Man in Black ’ slavenākās vinila dziesmas un izrādes, šī būs jūsu iespēja.

Viens no konsekventi aizmirstākajiem un aizmirstākajiem Džonija Keša mūzikas laikmetiem bija pēc tam, kad Kolumbija viņu slaveni pameta, bet pirms viņš sāka strādāt ar Riku Rubinu un viņa American Recordings nospiedumu. Tas bija laiks, kad Cash tika parakstīts Mercury Records no 1986. līdz 1991. gadam.

Tagad Johnny Cash ’s Mercury gadi ir izlaisti kastes formā. 7 CD vai 7 LP komplektā ir seši studijas albumi, ieskaitot 1986. gadu Klase ‘55 ierakstīts kopā ar Roy Orbison, Jerry Lee Lewis un Carl Perkins, un Ūdens no mājas akām kas ietver sadarbību ar tādiem māksliniekiem kā Pols Makartnijs, Emmylou Harris un Everly Brothers. Kastes komplekts tika izlaists 26. jūnijā pēc sākotnēji paredzētā izlaišanas 24. aprīlī. Izlaidumu pavadīja ļoti maz fanfāru.

Citi kastēs iekļautie albumi ir Džonijs Kešs ierodas pilsētā (1987), Boom Chicka Boom (1990), un Dzīves noslēpums (1991). Kastes komplekta CD versijā ietilpst arī Klasiskā nauda: Slavas zāles sērija (agrīnie maisījumi). Šie 1988. gada albuma agrīnie miksi ir apgūti no lentēm, kas tikko atklātas universālajās velvēs. Visi albumi ir remasterēti no Kevina Rīvsa oriģinālajām Mercury maģistra lentēm UMG Studios Nešvilā. Jaunas laineru piezīmes rakstījis vēsturnieks Skots Šinders.

Kopā ar Johnny Cash un#8217s Mercury gadiem kopumā, kastes komplektā ir arī septiņi bonusa celiņi, kas ietver B-puses, alternatīvas versijas un neizlaists iznākums “I Draw The Line”. Nav pietiekami daudz no šiem retajiem un nepublicētajiem ierakstiem, kas beidzot ierauga dienasgaismu.

Un, ja jūs nevēlaties atsperoties visam kastīšu komplektam, Viegls braucējs: labākais no dzīvsudraba ierakstiem, jauna 24 kolekciju kolekcija no Cash's Mercury diskogrāfijas ir izdota arī CD, 2LP un digitālā lejupielādē. Katrs Johnny Cash albums no viņa Mercury gadiem ir pieejams arī 180 gramu vinilā.

Un visbeidzot, bet ne mazāk svarīgi, Third Man Records ir paziņojis, ka 1973. gada 5. maijā Losandželosas Ahmansona teātrī izdod tiešraidē 17 dziesmu izpildījumu, kurā piedalās Džonijs Kešs. Nakts, ko atcerēties. Daļa no Clive Davis kuratētās un#8220Week to Remember ” koncertu sērijas, kurā uz skatuves kāpa daudzi Kolumbijas parakstīti mākslinieki, un tā tiks izdota trešā cilvēka 31.jūlijā “vintage white ” vinilā.

Komplektā ietilpst arī DVD, kurā redzami aizkulišu filmas kadri, kas uzņemti no notikuma, kurā, kā teikts, retos gadījumos iemūžināts Džonijs Kešs. Komplektā ietilpst arī zelta krāsa 7 un#8243, kurā Rustona Kellija vienā pusē spēlē “Dark and Bloody Ground ””, bet otrā - noslēpumainais mākslinieks, kas spēlē noslēpumainu Džonija Keša dziesmu.

Nakts, ko atcerēties Dziesmu saraksts:

1. Lielā upe
2. Svētdienas rīts nāk uz leju
3. Ņūorleānas pilsēta
4. Ballada Of Barbara
5. Zēns vārdā Sjū
6. Dodoties uz Memfisu
7. Tas sudrabainais tētis - ar Kārli Pērkinu
8. Medley: Hey Porter/ Folsom Prison Blues/ Wreck Of The Old 97/ Orange Blossom Special
9. I Walk The Line
10. Džeksons un#8211 ar Džūnu Kārteru Kešu
11. Ja es būtu galdnieks - ar Jūniju Kārteru Kešu
12. Palīdzi man izdzīvot nakti
13. Palīdziet man ar Jūnija Kārtera Kešu un Leriju Getlinu |
14. Kungs, vai tas esmu es?/Pēdējais vakarēdiens
15. Ja man būtu āmurs ar Jūniju Kārteru Kešu
17. Tētis dziedāja basīti ar Jūniju Kārteru Kešu un ampluā Kārlu Pērkinsu
16. Vai aplis būs nepārtraukts kopā ar Jūniju Kārteru Kešu un ampluā Kārlu Pērkinsu
18. Folsom cietuma blūzs (outro)


3. nodaļa: Uz augšu

1958. gada jūlija sesija Nešvilā kopā ar producentu Donu Lomu iezīmēja Kešas iekļūšanu nozīmīgākajās leiblu grupās, kad viņš sāka darbu pie dziesmām, kas ietvertu viņa Kolumbijas debijas albumu The Fabulous Johnny Cash. Rietumu dziesma no šī albuma "Take Take Your Guns To Town" 1959. gadā sešas nedēļas atradās lauku topu augšgalā, un Kešs kungs ienāca jaunā desmitgadē kā labi pazīstams mākslinieks labākajos gados.

Mūzikas leģenda Džonijs Kešs (Foto: John R. Hamilton / John Wayne Enterprises)

"Sešdesmitie gadi, iespējams, bija mans produktīvākais laiks, radoši runājot," viņš rakstīja izdevumā Cash. "Bieži es nebiju savā labākajā balsī, jo amfetamīni izžāvēja kaklu un reizēm samazināja mani līdz čukstiem un čukstiem, bet tas nebija stāsts visu laiku, un mana enerģija un izlaide bija augsta."

Kasa kunga narkotiku lietošana saasinājās. Viņš iznīcināja viesnīcas numurus, atcēla šovus, sāka ugunsgrēkus, sagrāva automašīnas, tika aizturēts par nelikumīgu tablešu iegādi, izsita Grand Ole Opry lukturus un atsvešinājās no sievas un četrām meitām.

"Es sāktu justies labi pēc divām vai trim dienām bez narkotikām," viņš rakstīja. "Tad es tomēr atgrieztos mājās, parasti pirmdien, un laulības spriedze būtu tik smaga, ka brauktu pie šī aptiekāra, paņemtu divas vai trīs simti tablešu un dotos tuksnesī. mans kemperis, un paliec tur, augstu, tik ilgi, cik es varēju. "

1962. gada 11. februārī Džons Kārters pievienojās Džonija Keša ceļa izstādei. Viņa bija akustiskās ģitāras lieliskās mātes Meibeles Kārteres meita un Kārteru klana, grupas, kas pazīstama kā "Pirmā kantrī mūzikas ģimene", locekle. Jau kādu laiku Kešas kungs bija sajūsmā par viņas skaistumu, humoru un talantu, un viņa ātri atpazina gan Keša kunga magnētismu, gan acīmredzamo vajadzību pēc sarga.

Papildus skalošanas tabletēm un nervu nomierināšanai viņa uzrakstīja Kasa kungam dziesmu, kurā aprakstītas satrauktas sajūtas par viņu saasinošajām attiecībām. Tas kļūtu par vienu no viņa pazīstamākajiem hitiem: Kārtera un Mērlas Kilgoras rakstītie, 1963. gadā gredzena gredzens Nr.

"Šāda dziesma turpinās mūžīgi," 2002. gadā laikrakstam "The Tennessean" sacīja Keša kungs.

Lai gan liela daļa muzikālās Nešvilas ignorēja strauji augošo tautas kustību, Keša kungs pieņēma dažus tautas māksliniekus un ideoloģijas. Viņš parādījās Ņujorkas folkfestivālā 1965. gadā, ierakstīja duetu ar Kārteru pie Boba Dilana filmas It Ain't Me Babe 1964. gadā, ierakstīja konceptuālu albumu par indiāņu dzīvi Bitter Tears un publiski atbalstīja pilsoņu tiesību kustību.

"Kad es biju jauns, es redzēju, kā mans tētis uzstājas pret Vjetnamas karu, pret Ku Klux Klan, un tur sakņojas mana sabiedriskā aktivitāte," meita Rozanna Keša pastāstīja laikrakstam The Tennessean. "Viņš nekad neliecās. Viņš nekad pat gandrīz neliecās."

Pārdomāta iekļaušanās balss un tautas un kantrī mākslinieku savstarpējās apputeksnēšanas kanāls, 1960. gadu vidū Keša kungs arī varētu būt dusmīgs un vardarbīgs cilvēks, kuram ir nosliece uz izliekumiem un uzliesmojumiem.

"Amfetamīnu un alkohola maisījums bija tracinoša inde," viņš rakstīja žurnālā Man In Black. "Mana sieva un bērni baidījās no dīvainā cilvēka, par kuru biju kļuvis."

1967. gada sākumā viņš ar Vivianu izšķīrās, daudzu tablešu izraisītas izvirtības laikā, bet 1967. gada beigās Kešs kungs apņēmās atbrīvoties no narkotikām, lai gan viņa 1968. gada 13. janvāra izrāde Folsomas cietumā bija pierādījums tam, ka viņš joprojām ir diezgan mierīgs. pieskarieties viņa tumšajai pusei.

Folsomā viņš iepriecināja ieslodzītos, lamādamies un jokodams un dziedādams par suņiem, kas sūc olas, un kokaīna blūzu ar miesīgumu un mežonību, kas vienlaikus bija saviļņojošs, izklaidējošs un iejūtīgs. Šova ieraksts, kas izdots kā Džonijs Kešs Folsomas cietumā, tagad tiek uzskatīts par vienu no nozīmīgākajiem albumiem kantrī mūzikas vēsturē.

Kasas kungam 1968. gads piedāvāja brīnišķīgus un traģiskus brīžus. Viņš 1. februārī piedāvāja jūnijam Kārteram uz skatuves un mēnesi vēlāk apprecējās. Viņš ķērās pie koncertu datumu izdomāšanas, ko viņš bija palaidis garām, kad bija pārāk saviebies, un izdeva divus topu topus. Bet 1968. gada augustā māju ugunsgrēkā gāja bojā ilggadējais grupas biedrs un "boom-chicka-boom" novators Luters Pērkinss. Ģitārists Bobs Votens drīz pievienojās grupai, kļūstot par daļu no grupas, kurā piedalījās Marshall Grant, bundzinieks W.S. "Fluke" Holande un oriģinālais Sun rockabilly Carl Perkins.

Ģimenes stāvokļa un dzīvesveida maiņa sakrita ar pastiprinātu uzmanību garīgām lietām, un Keša kungs bieži runāja ar auditoriju un intervētājiem par savu kristīgo pārliecību. Vēlāk viņš uzrakstīja grāmatu par apustuli Pāvilu ar nosaukumu Cilvēks baltā.

Pagājušā gadsimta 60. gadu beigās Kass kungs koncertēja kopā ar ansambli, kurā bija Perkins, Kārteru ģimenes locekļi un vokālā grupa The Statler Brothers. Šāds talantu klāsts nodrošināja auditorijas daudzveidību, un Kasas kungs un kundze turpināja šo ainu mājās, uzaicinot mūziķus dalīties stāstos un apmainīties ar dziesmām.

Kass uzturēja draudzību ar māksliniekiem ārpus valsts, un viņš kopā ar bandžo inovatoru Ērlu Skrūzu bija divi no nedaudzajiem ievērojamiem Nešvilas māksliniekiem, kuri šajā strīdīgajā pilsoņu tiesību nemieru un kara laikā Vjetnamā sajaucās ar politiski kreisi noskaņotiem tautas un popmūziķiem. .

Viens Cash kunga draugs bija Bobs Dilans: Kopš 1960. gadu sākuma viņi turpināja saraksti. Kass dziedāja kopā ar Dilanu dziesmā Girl From the North Country, kas bija Dilana 1969. gada Nešvilas Skyline albuma sākuma dziesma. Kass kungs arī pievienoja šim albumam Grammy uzvarētāju līnijpārvadātāju piezīmes.

Bobs Dilans, pa kreisi, mēģina kopā ar Džoniju Kešu uz Rimana auditorijas skatuves pirms filmas "Džonija Keša šovs" uzņemšanas 1969. gadā. (Foto: Jimmy Ellis / The Tennessean)

Sarežģītā Tālo Austrumu turnejā 1969. gadā tika konstatēts, ka Kešs kungs dažreiz spēlē vairāk nekā 10 izrādes dienā militāriem karaspēkiem dažādās vietās, tostarp Saigonā, Vjetnamā. Šīs ekskursijas stress valkāja Cash kungu, un viņš atgriezās pie tablešu izlaišanas.

"Mana atbrīvošanās no narkotiku atkarības nebija pastāvīga," viņš vēlāk rakstīja. "Lai gan es nekad neesmu regresējis, ka gadiem ilgi esmu pavadījis amfetamīnus, kopš 1967. gada dažādos laikos esmu lietojis garastāvokli mainošas zāles: amfetamīnus, miegazāles un recepšu pretsāpju līdzekļus."

1969. gada februārī Kass kungs atkal izveidoja albumu cietumā. Šoreiz tas bija Sankventins, kur viņš iepriekš bija viesojies trīs reizes. Viņš šim gadījumam bija uzrakstījis dziesmu ar nosaukumu San Quentin.

"San Kventin, lai tu pūti un dedzini ellē," viņš dziedāja, un ieslodzītie kliedza bīstami skanošu atzinības un neatlaidīgu ciešanu sajaukumu. Keša kungs bieži vēlāk atzīmēja, ka notikuma vieta tik tikko nav kontrolēta un ka, ja viņš būtu kliedzis: "Pārtrauciet!", Ieslodzītie būtu sacēlušies.

Gan Sankventins, gan Folsomas cietuma blūzs tika uzrakstīti pirmās personas stāstījumā, kas daudziem klausītājiem lika pieņemt, ka Keša kungs pats ir bijis cietumā. Viņš to nebija izdarījis, lai gan nedaudz laika pavadīja cietumā par nelielām apsūdzībām.

Šajā vakarā ierakstītā Šela Silversteina ierakstītā dziesma Boy Named Sue bija lielākais albuma At San Quentin hīts. Tas bija piecu nedēļu kantrī hīts Nr. 1, un tas ieguva Kantrī mūzikas asociācijas gada singla balvu.

1969. gada jūnijā San Quentin tika izlaists, un tas iezīmēja ABC-TV filmas The Johnny Cash Show sākumu. Kass kungs ierakstīja lielāko daļu no 56 izrādes epizodēm Nešvilas Rimana auditorijā, un viņš uzstāja, ka viesizpildītāju vidū būs tolaik pretrunīgi vērtētie mākslinieki, tostarp Dilans, Pīts Zīgers un Arlo Gutrijs. Netipisks country, rock, folk un džeza sajaukums bija paredzēts, lai pievērstu uzmanību saiknēm, nevis sadursmēm, un programma palīdzēja paplašināt Keša kunga slavu starp tiem, kuri nebija klausījušies kantrī mūziku.

Kass kungs 1969. gadā pārdotu vairāk nekā 6 miljonus ierakstu, padarot to par veiksmīgāko gadu viņa karjerā. Vjetnama bija nikna, Ričards Niksons bija prezidents, un Džonijs Kešs, 37 gadus vecais Kingslendas štats, Arka, bija lielāks nekā The Beatles.


Nepieciešams crash kurss kantrī mūzikas vēsturē? Lūk, 100 gadu nieki

Vai jūs bijāt tas cilvēks pie nieku galda, kurš aizmirsa, kad Džonijs Kešs nomira? Vai nevarat atcerēties, kurā gadā Patsijs Klīns izdeva dziesmu "Trakais"? Zīmējiet tukšu informāciju par to, cik ilgi Grand Ole Opry ir bijis apkārt?

No Kitijas Velsas dzimšanas 1919. gadā līdz Keisija Musgreivsa kundzībai Grammy balvu pasniegšanas ceremonijā 2019. gadā, šeit ir 100 gadu kantrimūzikas zināšanas. Rakt.

Ar "Tas nebija Dievs, kurš radīja Honky Tonk Angels", Kitija Velsa kļuva par pirmo sieviešu solo mākslinieci, kas 1952. gadā iekļuva Billboard kantrī topā. Šeit Wells, pazīstams kā kantrimūzikas karaliene, pateicas pēc iesākšanas Minnija Pērla kantrī mūzikas slavas zāle, pagājušā gada ieslodzītais, CMA balvu izstādē Grand Ole Opry House 1976. gada 11. oktobrī. (Foto: Gerald Holly / The Tennessean)

1919: Kitija Velsa dzimusi Nešvilā.

1920: Mazais Džimijs Dikenss ir dzimis Boltā, Rietumvirdžīnijā.

1921: Honky-tonk dižais Vebs Pīrss ir dzimis Rietumonro, Luiziānā.

1922: Kantrī mūzikas komerciālie ieraksti sākas ar vijolnieku Eku Robertsonu.

1923: Henks Viljamss ir dzimis Olīvu kalnā, Alabamas štatā.

1924: Radio diktors Džordžs D. Hejs pievienojas "National Barn Dance" programmai Čikāgas WLS-AM, un šī koncepcija viņam sekos nākamajā koncertā Nešvilas WSM-AM.

1925: WSM debitē savu vienas stundas "šķūņa deju" programmu, kas pāraugtu vēsturiskajā Grand Ole Opry.

1926: Valsts lieliskais Rejs Praiss ir dzimis Vudas apgabalā, Teksasā.

1927: Ierakstu sesija, ko žanra vēsturnieki dēvē par kantrī mūzikas "lielo sprādzienu", notiek studijā Bristolē, Tenesī. Sesiju laikā tika iegūti debijas albumi no The Carter Family un Jimmie Rodgers.

1928: Rodžerss izlaiž savu pirmo "Blue Yodel (T - Teksasa)". Nākamo piecu gadu laikā līdz viņa nāvei 1933. gadā sekos ducis turpinājumu.

1929: Piedzimst jūnijs Kārters Kešs un Buks Ouvens.

1930: Dzimis dziesmu rakstīšanas izcilais cirtainais Putmens. Pēc 34 gadiem viņš uzrakstīs "Zaļa, zaļa mājas zāle".

Džordžs Džounss uzstājas CBS Records vakariņu laikā un šovā Municipal auditorijā 1968. gada 21. oktobrī. (Foto: S.A. Tarkington / The Tennessean)

1931: Džordžs Džonss ir dzimis Saratogā, Teksasā.

1932: Satriecošs gads kantrī mūzikas dzimšanai. Džonijs Kešs, Patsija Klīna, Loreta Līna un Mels Tilliss piedzimst septiņu mēnešu laikā.

1933: Agrīnā kantrī zvaigzne Džimijs Rodžerss nomirst 35 gadu vecumā.

1934: Vecā laika vijolnieks Gids Tanners izdod vienu no gada lielākajiem hitiem "Down Yonder".

1935: Kārteru ģimene izdod albumu "Vai aplis var būt nesalauzts (by and By)".

1936: Kriss Kristofersons ir dzimis Braunsvilā, Teksasā.

1937: Kitija Velsa un Džonijs Raits ir precējušies, uzsākot garu mūzikas pilsētas spēka pāru rindu. Viņi paliks kopā 74 gadus.

Čārlijs Prids dzimis Misisipi 1938. gadā. (Foto: Charles Sykes / Invision / AP)

1938: Topošais kantrī mūzikas priekšlasītājs Charley Pride dzimis Misisipi štatā.

1939: Džīns Autijs izdod savu paraksta melodiju "Atkal seglos".

1940: Džimija Deivisa ieraksts "You Are My Sunshine" ir viens no gada labākajiem hitiem.

1941: Ernests Tubbs izdod godīgi tonk kantrī dziesmu "Walking the Floor Over You".

1942: Tammy Wynette, kantrī mūzikas "pirmā lēdija", dzimusi Itavambas apgabalā, Misisipi.

1943: Grand Ole Opry pārceļas uz Ryman auditoriju Nešvilas centrā.

1944: Brenda Lī dzimusi Atlantā.

1945: Dženijas Lū Kārsones rakstītā un Teksa Ritera izpildītā dziesma "You Two-Timed Me One Time Too Too" kļūst par pirmo kantrī hitu, ko uzrakstījusi sieviete.

Dollija Partona dzimusi Pittman Center, Tenesī, 1946. gadā. Šeit Partons dzied dziesmu "Don 't Try to Cry" RCA Records šova laikā D.J. Konvents 1967. gada 21. oktobrī, pašvaldības auditorijā. (Foto: Jimmy Ellis / Tenesis)

1946: Dolly Parton ir dzimusi Pitmana centrā, Tenesī.

1947: Henkam Viljamsam ir pirmais lielais hits ar dziesmu “Move It On Over”.

1948: Edijs Arnolds, Tenesī Plowboy, dominē Billboard topos ar sešām dziesmām, kas ieguva gada labāko slotu.

1949: Opija mīļākais mazais Džimijs Dikenss bauda virkni hitu, tostarp "Country Boy" un "A-Sleeping at the Foot of the Bed".

1950: WSM, Grand Ole Opry radio vadītājs, paplašinās līdz televīzijai, uzsākot WSM-TV.

1951: Loreta Linna iegūst vēl vienu mazo māsu Brendu, kura izaugs par Opry dalībnieci Kristālu Geilu.

1952: Ar dziesmu "Tas nebija Dievs, kas radīja Honky Tonk Angels" Kitija Velsa ir pirmā sieviešu solo māksliniece, kas iekļuvusi Billboard kantrī topa pirmajā vietā.

1953: Svinētais kantri mākslinieks Henks Viljamss Jaungada dienā nomirst 29 gadu vecumā.

1954: Elvis Preslijs piedalās Grand Ole Opry.

1955: Lieli panākumi sasniedz dažus ievērojamus jaunus kantrī mūzikas vārdus, tostarp Džoniju Kešu, Porteru Vagoneru un Džordžu Džounsu.

1956: Džonijs Kešs raksta un ieraksta dziesmu "I Walk the Line".

1957: Tas ir mazliet kantrī, mazliet rokenrols - "Jailhouse Rock" vienlaikus atrodas Country & amp Western un R & ampB topu augšgalā.

1958: Džonijs Kešs uzstājas Sankventinas cietumā-šovā, kurā piedalījās Merle Haggard, kura tobrīd izcieta divu gadu sodu.

1959: Pirmajā Grammy balvā ir iekļauta vienas valsts balva par labāko izpildījumu valstī un rietumos. Tas iet uz Kingston Trio "Tomu Dūliju".

1960: Lejas Brodvejā tiek atklāta Nešvilas slavenākā godīgā tonka-Tootsies Orchid Lounge.

1961: Patsija Klīna izdod hita versiju Villija Nelsona dziesmai "Crazy".

1962: Dvēseles leģenda Rejs Čārlzs izdod dziesmu "Modern Sounds in Country and Western Music".

1963: Patsija Klīna nomirst lidmašīnas avārijā 30 gadu vecumā.

1964: Džims Rīvs tiek nogalināts lidmašīnas katastrofā.

1965: Dzimusi topošā kantrī/popzvaigzne Šenija Tvena.

1966: "Just Between You and Me", decembrī iznāk pirmais lielākais kantrī hīts par Čārlija praidu.

1967: Kantrimūzikas asociācija rīko savu pirmo balvu pasniegšanas ceremoniju Nešvilā.

1968: Džonijs Kešs izdod savu vēsturisko dzīvo albumu "At Folsom Prison".

1969: Kantrimūzikas programmas "Hee Haw" un "The Johnny Cash Show" debitē Nešvilā.

Loreta Līna uzstājas kā viesis uz Grand Ole Opry skatuves 1985. gada 19. oktobrī, kur pēc četru mēnešu prombūtnes atgriezās vadītājs Roy Acuff. Sirds uzturs neļāva 82 gadus vecajam Acuffam uzstāties. (Foto: Kathleen Smith / The Tennessean)

1970: Loreta Līna izdod savu karjeru noteicošo hitu "Ogļu kalnraču meita".

1971: Elisone Krausa dzimusi Dekatūrā, Ilinoisas štatā.

1972: The inaugural CMA "Fan Fair" launches in Nashville, an event that would evolve into the annual CMA Music Festival.

1973: The year's top hits include "Old Dogs, Children and Watermelon Wine," "Louisiana Woman, Mississippi Man" and, just in time for Christmas, "If We Make It Through December."

1974: The Grand Ole Opry moves from the Ryman Auditorium to the newly built Opry House at Opryland.

1975: George Jones and Tammy Wynette get divorced, but that doesn't stop them from continuing to release hit duets, including "Golden Ring."

1976: Future country music giants Blake Shelton and Luke Bryan are born.

1977: Elvis Presley dies at his Graceland estate at age 42.

1978: As "Mammas Don't Let Your Babies Grow Up to Be Cowboys" rules the radio, Chris Stapleton is born in Lexington, Kentucky.

1979: Bluegrass pioneer Lester Flatt dies.

1980: Country music takes over Hollywood, with motion pictures "Coal Miner's Daughter," "Urban Cowboy," "Honeysuckle Rose" and "9 to 5" all debuting on the silver screen.

1981: After a 21-year run, TV's "The Porter Wagoner Show" airs its final episode.

1982: In the same year he's inducted into the Country Music Hall of Fame, Marty Robbins dies at age 57.

1983: Cable TV goes country with the launches of CMTV (now CMT) and The Nashville Network (TNN).

1984: Ernest Tubb dies at age 70.

The Highwaymen were Waylon Jennings, Johnny Cash, Willie Nelson and Kris Kristofferson. (Photo: Courtesy of Sony Music Entertainment / Photo by Jim McGuire)

1985: Johnny Cash, Waylon Jennings, Willie Nelson and Kris Kristofferson form the Highwaymen, an outlaw country supergroup.

1986: After 28 years, Columbia Records drops Johnny Cash from its roster.

1987: Randy Travis' "Forever and Ever, Amen" is essentially country's song of the summer, topping the chart for three weeks.

1988: Kacey Musgraves is born in Golden, Texas.

1989: A string of artists defined as the country music Class of 1989 — Garth Brooks, Clint Black, Alan Jackson and Travis Tritt — begin a run of mainstream success. Also, Taylor Swift is born.

Garth Brookswon the Entertainer of the Year award during the 1991 to 1994, 1998 and 1999 Academy of Country Music Awards shows. Here, he is with one of his four awards from the CMA Awards show, including Entertainer of the Year, in 1991 (Photo: Delores Delvin / The Tennessean)

1990: Garth Brooks releases his landmark album "No Fences," and its first single, "Friends in Low Places."

1991: After sustaining injuries in a car accident while en route to the Grand Ole Opry, Dottie West dies at age 58.

1992: Crossover hit "Achy Breaky Heart" by Billy Ray Cyrus begins its ascent into the pop culture history books.

1993: Conway Twitty dies at 59.

1994: Twenty years after it lost the Grand Ole Opry, the Ryman Auditorium is reopened and quickly becomes Nashville's most cherished venue.

1995: Canadian country singer Shania Twain rises to fame with her sophomore album, "The Woman in Me."

1996: Hit-makers Tim McGraw and Faith Hill get married.

Hit-makers Tim McGraw and Faith Hill got married in 1996. Here, they give an interview at the Daisy Hill Barn Party in Franklin on Oct. 13, 1996. They were married on Oct. 6. (Photo: Freeman Ramsey / The Tennessean)

1997: LeAnn Rimes and Trisha Yearwood each record "How Do I Live," and both versions are huge hits.

1998: Faith Hill's "This Kiss" continues an era of huge country/pop crossovers.

1999: Keith Urban makes his solo American country music debut.

2000: The soundtrack to "O Brother, Where Art Thou?" sparks renewed interest in traditional country, folk and bluegrass.

2001: Garth Brooks enters his first full year of retirement, having walked away from the stage in October 2000.

2002: Alan Jackson's 9/11 response, "Where Were You (When the World Stopped Turning)," is named CMA's Song of the Year.

2003: Johnny Cash dies at age 71.

2004: Miranda Lambert begins work on her debut album, "Kerosene," launching her prolific career.

"American Idol" winner Carrie Underwood in June 2005 (Photo: Sanford Myers / The Tennessean)

2005: Carrie Underwood wins the fourth season of "American Idol," launching her country music career.

2006: Bakersfield Sound pioneer Buck Owens dies at age 76.

2007: Both Bon Jovi and the Eagles make a play for Music Row with country-tinged albums.

2008: The legendary Eddy Arnold dies at 89.

2009: Garth Brooks returns to the stage for a five-year Las Vegas residency.

2010: Taylor Swift dominates January's Grammy Awards, including an Album of the Year win for "Fearless."

2011: Country superstars Blake Shelton and Miranda Lambert get married. They'll divorce four years later.

2012: TV's "Nashville" brings the drama of Music Row to prime time.

2013: Bobby Bare, "Cowboy" Jack Clement and Kenny Rogers lead an all-star induction class at the Country Music Hall of Fame.

Taylor Swift has decided to let Apple Music stream her "1989" album. (Photo: John Davisson / Invision / AP)

2014: Taylor Swift makes a clean break from country music with the pure pop album "1989."

2015: A country radio consultant sparks outrage after calling female artists "the tomatoes in our salad," which spawns the hashtag #TomatoGate.

2016: Merle Haggard dies in his home state of California.

2017: Route 91 Harvest, a country music festival in Las Vegas, becomes the site of the deadliest mass shooting in U.S. history.

2018: With “Best Shot," Jimmie Allen becomes the first black male artist to launch his career with a No. 1 song at country radio.

2019: Kacey Musgraves wins the coveted Album of the Year honor at the Grammy Awards for her third studio release, "Golden Hour."


Johnny Cash

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Please note: the tracklisting is detailing the 7 LP Boxset edition.

In 1986, after almost 30 years on Columbia Records, Country music legend Johnny Cash released his first album on Mercury Records &ndash Class Of &rsquo55, in collaboration with fellow Sun Records alumni Roy Orbison, Jerry Lee Lewis and Carl Perkins. Seven years later, his last recording before signing with Rick Rubin&rsquos American Recordings would be another collaboration, &ldquoThe Wanderer&rdquo, with U2.

In the years that span those recordings, Johnny Cash released a total of six albums for Mercury. Despite significant focus and attention around his Columbia and American recordings, his Mercury catalogue has never been revisited&hellip until now.

UMe / Mercury Records are proud to announce that April 2020 will see the release of Johnny Cash: The Complete Mercury Studio Albums (1986-1991) &ndash a 7CD/ 7LP boxed set featuring newly remastered audio for the very first time, using the original Mercury master tapes.

Notably, the album Classic Cash: Hall Of Fame Series is presented in a 2LP format for the very first time. All the LPs are pressed on 180g vinyl for the highest quality audio fidelity and the box includes a MP3 download voucher.

With brand new liner notes by music writer Scott Schinder, Johnny Cash: The Complete Mercury Studio Recordings (1986-1991) represents the very first deep dive into the Country music legend&rsquos Mercury catalogue, and reveals its importance as the bridge between his better known catalogues on Columbia and American.


Johnny Cash: The Complete Columbia Album Collection

The Complete Columbia Album Collection is a box set by country singer Johnny Cash, released in 2012 (see 2012 in music) on Columbia Records and Legacy Recordings.

The set consists of 63 CDs, the majority of which are reissues of 59 albums released by Cash during his 1958–1986 tenure with Columbia. Each CD is packaged in a replica of the original LP cover, with any albums originally issued as a two-LP set condensed onto one disc with the exception of The Gospel Road which remains in a two-CD configuration. Bonus material includes a two-CD set titled The Singles, Plus, compiling non-album tracks and duets taken from other albums a Carter Family album on which Cash provided guest vocals the two albums Cash recorded for Columbia as a member of the supergroup The Highwaymen and an extended edition of the Sun Records album With His Hot and Blue Guitar with additional tracks from the Sun era (including the complete contents of his second Sun album, Sings the Songs That Made Him Famous). Hot and Blue Guitar is the only album to be presented in an extended edition all other albums are featured with their original contents, without augmentation. As such this is not a complete survey of everything Cash recorded for Columbia for example, additional performances from the At Folsom Prison un At San Quentin live shows, included on separate reissues of the two albums, are not included. Also omitted is the 1975 album Destination Victoria Station which had featured new performances of previously released recordings, the 1961 album The Lure of the Grand Canyon, the 1980 gospel album A Believer Sings the Truth, as well as most of the tracks issued on Columbia's Bootleg series of 2011–2012. [1] [2] Out Among the Stars, a complete album recorded by Cash in the early 1980s but not released at that time, is also omitted as it would not be released officially until 2014.

Many of the albums featured in the set make their CD debut in the collection. According to country historian Rich Kienzle's liner notes (part of a 200-page book included in the set), one album Koncert V Praze (In Prague–Live) received its first North American release in the set. [3]


Mocktail

The Blackberry Hill

Photo credit: Elana Lepkowski, stirandstrain.com

Stirred up by Jeff Dasher, lead bartender Shady Lady Saloon in Sacramento, CA, which is near where Folsom Prison still stands. We asked Jeff to make a mocktail since Johnny Cash famously struggled with addiction.

The “Hill” of the drink’s name is a reference to a line in Jeff’s favorite Johnny Cash song, “Cocaine Blues,” where he mentions getting in a little trouble with the sheriff of Jericho Hill.

Ingredients:

  • 1 1/2 ounces Blackberry-thyme syrup (because of “doing time” in prison… get it? Find a recipe here)
  • 3/4 ounce Lemon juice
  • Bundaberg Ginger Beer
  • Vanilla bitters (to add a little darkness to the cocktail to honor the “Man in Black”)
  • Ice
  • Kazenes

Instrukcijas:
Pour Blackberry-thyme syrup and lemon juice in a highball glass. Top that off with ginger beer, add ice and a few drops of bitters. Garnish with a few blackberries and enjoy.


Johnny Cash

Look up the word “legend” in the dictionary and you’ll find Johnny Cash. From his birth in Arkansas in 1932 through his amazing recording career and marriage to June Carter Cash, he lived life to the fullest right up to the very end. Here’s our Johnny Cash timeline.

Feb. 26, 1932
Johnny Cash is born in Kingsland, Arkansas to Ray Cash and Carrie Cloveree, Southern Baptist cotton farmers.

1944
Brother Jack is nearly cut in half by a table saw and dies after a week of suffering. Cash later says that he felt guilt because he had gone fishing that day.

1954
Marries Vivian Liberto.

1955
Releases his first recording with Sun Records: “Hey Porter” and “Cry Cry Cry.”

1955
Daughter Rosanne Cash is born.

1957
Releases a full-length album on Sun Records.

1964
Releases the album, Bitter Tears.

1965
Is arrested in El Paso, Texas for possession of narcotics.

1965
Releases the album, Ballads of the True West.

1966
Is arrested in Starkville, Mississippi for trespassing on private property. He had been picking flowers.

1967
June Carter and Cash win a Grammy for Best Country & Western Performance, Duet, Trio or Group for their song, “Jackson.”

Oct. 1967
Attempts suicide by crawling into Nickajack Cave in Tennessee. He comes out of the cave after having a religious relevation.

1968
Cash proposes to Carter onstage at a concert in London, Ontario and she accepts.

March 1, 1968
Cash and Carter marry.

Aug. 1968
His guitarist Luther Perkins dies in a house fire.

Oct. 1968
Friend and next door neighbor Roy Orbison’s house burns down, killing two of Orbison’s sons. This event, in addition to the loss of Luther Perkins, affected Cash profoundly.

1968
Releases the album, Johnny Cash at Folson Prison.

Johnny Cash at Folsom Prison

1969
Releases the album, Johnny Cash at San Quentin. The single “A Boy Named Sue” reaches #1 on the country charts and #2 on the U.S. pop charts.

Johnny Cash at San Quentin

1969
His tv show premieres on the ABC network.

1970
Their son, John Carter Cash, is born.

1970
Carter and Cash win a Grammy for Best Country Performance by a Duo or Group with Vocal for “If I Were a Carpenter.”

1971
Writes the song “Man in Black” with the lyrics: “I wear the black for the poor and the beaten down, / Livin’ in the hopeless, hungry side of town, / I wear it for the prisoner who has long paid for his crime, / But is there because he’s a victim of the times.”

1975
Publishes an autobiography, Man in Black. It sells 1.3 million copies.

Man in Black by Johnny Cash

Sept. 27. 1976
Cash and Carter guest star together on an episode of Little House on the Prairie entitled “The Collection.”

Johnny Cash on Little House on the Prairie

1980
At the age of 48, Cash is the youngest living inductee into the Country Music Hall of Fame.

1981
Stars in the tv movie, The Pride of Jesse Hallam.

1983
Stars in the tv movie, Murder in Coweta County, co-starring Andy Griffith.

1983
He is attacked by an ostrich in his wild animal park in Tennessee, crushing several ribs and having his stomach torn open. While recovering, he becomes addiction to painkillers.

Dec. 1983
Cash checks into Betty Ford to kick his prescription pill addiction.

1986
Publishes a novel, Man in White.

Man in White by Johnny Cash

July 1986
Columbia Records drops Cash after a decade without a hit.

1993
Sings the vocals on the U2 song, “The Wanderer,” on the Zooropa albums.

April 1994
Releases the acoustic album, American Recordings. Produced by Rick Rubin, the success of the album revives his career and brings him a new generation of fans. It wins a Grammy for Contemporary Folk Album of the Year.

1996
Releases a second album with Rubin called Unchained. The album wins a Grammy award for Best Country Album.

1997
Cash is diagnosed with Shy-Drager syndrome, a neurodegenerative disease related to diabetes.

1998
He is hospitalized with severe pneumonia.

1998
Publishes his second autobiography, Cash: The Autobiography.

2000
Releases the album, American III: Solitary Man. It wins the Grammy for Best Country Male Vocal Performance for the cover of Neil Diamond’s “Solitary Man.”

American III: Solitary Man

2001
Due to heart trouble, June is fitted with a pacemaker.

2002
Releases the album, American IV: The Man Comes Around. One song, “Hurt,” is written by Trent Reznor of Nine Inch Nails and becomes a huge hit.

American IV: The Man Comes Around

Oct. 2002
Films the video for “Hurt.” The video receives seven nominations at the MTV Video Music Awards and wins for Best Cinematography.

Feb. 2003
Wins a Grammy for Best Country Male Vocal Performance for the song “Give My Love to Rose.” The video for “Hurt” wins a Grammy for Best Short Form Video.

April 7, 2003
June appears on the CMT Flameworthy Awards to accept an award in honor of Cash.

May 7, 2003
June undergoes heart valve replacement surgery. The surgery appears at first to be a success.

May 15, 2003
Unexpected complications arise from the surgery and she dies at the age of 73 in Nashville, Tennessee.

Sept. 12, 2003
Johnny Cash dies of complications from diabetes at the age of 71. He is buried next to June in Hendersonville, Tennessee.

Nov. 18, 2005
A film about their life, Walk the Line, is released. It stars Joaquin Phoenix as Cash and Reese Witherspoon as June Carter Cash.


Johnny Cash’s dark California days

Johnny Cash’s life in the 1960s is mostly remembered as a time of glorious achievement — from the landmark prison albums at Folsom and San Quentin to the launch of the ABC-TV series featuring such guests as Bob Dylan and the Doors that led to his becoming a giant figure in popular culture, a symbol to millions, no less, of the best of American social values.

But Cash also experienced excruciatingly dark times in the decade, fueled by drugs and guilt over the breakup of his marriage.

FOR THE RECORD:
Johnny Cash: An article about Johnny Cash in the Oct. 13 Arts & Books section said the Doors appeared on the singer’s television show. The group was not among his guests. -

Cash, 26, moved to California with his wife, Vivian, and his first three daughters in the summer of 1958, hoping for a career in the movies. It was a heady time. Thanks to such hits as “I Walk the Line” and “Folsom Prison Blues,” he was the hottest young country artist in years and had just been lured away from tiny Sun Records by Columbia Records. Cash, whose musical approach was flavored by elements of folk, blues and gospel music, wasn’t a great singer technically, but the heart of his music conveyed elements of human struggle with inspiration and conviction. His trademark “boom-chicka-boom” instrumental sound (pioneered by guitarist Luther Perkins) felt as steady and affirming as an amplified heartbeat.

He bought an upscale, $75,000 home on Hayvenhurst Avenue in Encino that was previously owned by Johnny Carson and just down the street from where the Jackson family would later set up their compound.

The first three years were happy ones, but things started unraveling amid drug and marital tension as well as an embarrassing B-movie film debut (he played a crazed gunman in the film-noirish “Five Minutes to Live”). He would star in more films, including “A Gunfight” in 1971 with Kirk Douglas, and several made-for-TV exercises, but he never earned the reputation of a serious actor.

Hoping for a new start away from the glare of Hollywood, Cash moved his family to the relatively isolated village of Casitas Springs in Ventura County in 1961 — but things only got worse.

Hating confrontation, Cash stopped coming home for months at a time and struck up affairs with other women, notably June Carter, who joined his touring group in 1962. As he fell deeper into drugs, his behavior became so self-destructive that those around him feared for his life. The year 1965 would bring particular humiliation and pain.

One of the most vivid childhood memories of Cash’s two oldest daughters, Rosanne and Kathy, was watching their mother, Vivian, puffing anxiously on a cigarette as she stared through the living room window of their Casitas Springs home on those rare nights when she thought her husband might actually be coming home. Vivian imagined him in the arms of June Carter, or dead somewhere of a drug overdose, and she prayed to see the headlights in the driveway that would prove her wrong. On most nights, Vivian gave up around 1 a.m. and tried to grab a few hours sleep before getting the girls ready for class at St. Catherine-by-the-Sea elementary school.

Though Cash was showing up less and less often, she held out hope that he would be home one night in June 1965 after his manager, Saul Holiff, phoned to say that Johnny was on the way. Vivian took her familiar place at the window and let the girls, who now numbered four, stay up late to greet their father, whom they hadn’t seen in months. By 2 a.m., she knew she was going to be alone with the children again.

It was nearly a week of day-and-night vigils before Cash’s camper — which he named “Jesse” after the outlaw Jesse James — headed up the driveway. Despite all the pain he had caused her, she wanted to run to him just like the day he arrived home at the Memphis airport after a three-year Air Force stay in Germany. As he approached the front door, her nostalgia gave way to resentment. Cash, feeling guilty and defensive, sensed her fury, and an argument broke out immediately. Finally, he shouted that he wanted a divorce. He had broached the subject before, but never so angrily.

Johnny Western, a musician-friend, says Cash told him that he offered Vivian a half-million-dollar settlement, though he must have been kidding himself if he thought he could put that much money together. Most of the new Columbia contract income was going to pay off old loans. Vivian shouted back, refusing even to consider a divorce, and he stormed off to his office sanctuary.

As Kathy recalls, “Dad would try so hard to stay positive, to make light of things, to always have a great sense of humor, but he would get into these moods where he just seemed to shut down and didn’t want to talk or really do much of anything except spend time by himself in his office.”

Rosanne remembers the period as frightening and heartbreaking.

“It just got to where it was like somebody else was coming home, not my daddy,” she says. “The drugs were at work. He’d stay up all night. He and my mom would fight. It was so sad. He would always be having accidents. He turned the tractor over one day and almost killed himself, and we had to call the fire department after he set fire to the hillside. One time he took me on his lap and put his arms around me and said, ‘I’m glad to be alive,’ because the tractor could have rolled over on him. He held me so tightly. I felt so close to him. I wished it could always be like that. But then he’d be gone again.”

The girls finally got to see their dad before they left for school the next morning, but he was gone by the time they returned home. As he had so often, he wanted to escape. He drove his camper to the nearby home of his nephew Damon Fielder.

Damon slid in beside Johnny in the camper on the morning of June 27, and the pair started out on the short drive to the Sespe Creek entrance of the Los Padres National Forest watershed. The forest is one of the many natural wonders of California and one reason why Cash was drawn to Casitas Springs. Covering nearly 1.8 million acres, it stretched from the breathtaking Big Sur coastline to mountain ranges to the south and was home to many protected species, including the California condor.

Getting into the passenger seat was Damon’s first regret of the day. Cash was a terrible driver under the best of circumstances — and it was clear from his dazed look that he had already been into the amphetamines he favored. The resulting series of starts and stops made the camper feel like something from a slapstick comedy.

As Damon crashed against the door while the camper careened along the rugged dirt road, his patience was also taking a beating. Watching Cash take a swig of whiskey and down a few more pills, Damon couldn’t hold his tongue any longer.

“Why do you take those things?”

“I like to control my moods and they help me do that,” Cash replied unapologetically.

Cash just scooped up more pills from an old fruit jar as the camper bounced along the dirt trail.

Damon was so upset he didn’t want to sit near Cash as he stopped near a promising fishing spot. “I’m going to fish over there. I don’t want anything to do with you,” he told Cash, who replied, “That’s fine. I don’t want to be by you, either.” Damon headed to a secluded stretch of water.

His tranquillity was broken by a strong smell in the usually pure Los Padres air. It was smoke, and it was coming from the direction of the camper. He rushed back to find Cash on his knees in front of the truck, fanning a fast-spreading blaze. There was a spent package of matches by his side. Damon figured his uncle had started the fire to keep warm and in his drugged state had let it get out of control.

As flames swept through the nearby brush, he realized they needed to get out fast. He called for Cash to come along, but the belligerent singer said he wasn’t going anywhere. Damon tried to grab his uncle, but Cash resisted, and he was too strong to budge. In a panic, as the fire surrounded them, Damon grabbed a thick tree branch and swung at Cash’s head as hard as he could. The blow brought Cash to his knees, but it didn’t knock him out as Damon had hoped. Cash got up and stumbled over to the shallow creek, where he sat down, thinking he’d be safe.

Damon raced for help, warning other campers along the trail and eventually hooking up with a fire helicopter crew. His heart was racing until the helicopter landed and he saw his uncle was still alive in the creek. This time he had no trouble persuading him to vacate the area. The pills and whiskey had begun to wear off, and the water was cold.

Watching Cash get into the helicopter, Damon knew he’d helped save his uncle’s life. He was crushed a few days later to hear that Cash told his mother, that Damon had left him in the forest to die.

Cash was equally disingenuous when asked by forestry officials investigating the cause of the 508-acre burn how the fire got started. He blamed it on sparks from a defective exhaust system on his camper. When a judge later questioned Cash, he was equally defiant: “I didn’t do it, my truck did and it’s dead, so you can’t question it.” Asked during a deposition about the loss of 49 of the region’s 53 condors in the blaze, he didn’t make any friends when he snapped, “I don’t care about your damn yellow buzzards.”

Columbia Records canceled plans for a live recording at the Kansas State Reformatory — which, in retrospect, was a stroke of good luck. Cash was in such bad shape physically and emotionally that the prison album would probably have been a disaster, ending any chance that there would ever have been a Folsom Prison album.

Touring resumed in mid-July and continued into the fall, breaking only for a couple of recording sessions until a fateful Texas swing that ended in Dallas in October. Things had improved enough that bass player Marshall Grant, who normally handled tour receipts, wasn’t on guard when Cash volunteered to take the receipts with him and deposit them in the group’s joint bank account.

After the Dallas show, Cash flew to El Paso, one of his favorite drug supply points, where he asked a cab driver to take him to Juárez and get him some pills. The driver assured him that it would be no problem, so Cash waited — feeling like an outlaw, he said — as the driver went into a Juárez bar to buy the drugs. “I slid down a little lower in the back seat each time someone looked my way,” he wrote in “Man in Black,” his 1975 autobiography. “I had never done it this way before.”

Back at his hotel, Cash popped a few pills and killed time before the evening flight to Los Angeles by searching for antique guns in some pawnshops. He was looking at a Colt .44 Army pistol, long one of his favorites, when he was approached by a man he suspected was a plainclothes policeman. Cash assumed he was curious about the gun in his hand.

“I collect antique pistols,” Cash volunteered.

“It’s a nice one,” the man replied, in what Cash described as a friendly manner.

After some more small talk, the man asked Cash what time his plane was leaving, and Cash told him.

On the way back to the hotel, he started worrying even though he had hidden all his pills in two socks, one of which he’d put inside his guitar and one in the lining of his suitcase.

By the time Cash got to his seat on the plane, he figured he was home free. Then he saw two men walking down the aisle toward him. One was the man from the pawnshop.

The man asked Cash if he had a gun, and when he nodded that he did, he was ordered off the plane. In an empty room in the terminal, the men went through his luggage and guitar case. They found the pills, but they still didn’t seem satisfied.

Finally, one asked, “Where’s the heroin?”

Cash became angry. He told them he had never taken heroin. The men explained they had assumed he was into heroin because they had seen the cab driver huddling with a known heroin dealer in the Juárez bar.

Cash was relieved, but the officers pointed out that he had still broken the law. He was taken to the county jail until a bond hearing the next day.

When Grant learned of the arrest, he hired a former El Paso County judge, Woodrow Wilson Bean, to represent Cash. Hoping to minimize publicity, Bean — whom Cash proudly pointed out was believed to be a distant relative of the legendary Judge Roy Bean — asked that newsmen be barred from the hearing, but the request was rejected.

Cash was on edge during the hearing. He cursed at a reporter and threatened to kick a photographer’s camera. In the end, he posted a $1,500 bond and was released pending arraignment.

As he headed home, Cash felt as if a mask had been ripped off, leaving him looking like a hypocrite for singing all those gospel songs and telling people they could overcome their problems. He’d been in minor scrapes with the law before, but until now, knowledge of his drug use had been limited to country music insiders. Now his fans knew the truth. Hundreds of newspapers across the country carried a photo of him being escorted out of the courthouse in handcuffs, his face grim, looking all the more sinister behind dark glasses.

This time, at least, Vivian’s wait wasn’t in vain. Cash went straight home and was contrite. Humiliated and fearing the effect of the arrest on his career, he reached out to both his wife and his parents, talking more openly than before about his addiction and vowing to turn himself around. After years of disappointment, Vivian wanted to take his pledge to straighten up as a sign that he also was going to give up June Carter and rededicate himself to his family. Bet bija jau par vēlu.

Vivian angrily showed him the newspaper photo of him in handcuffs and his daughters told him that kids were saying bad things about him in school. For the first time in his life, he said, “I felt real shame.”

Meanwhile, Holiff was working tirelessly to persuade promoters not to give up on Cash. Most did continue to book him, but there was one highly publicized exception. Officials at Texas A&M University canceled plans for a show. “The administration didn’t feel it was wise to present an entertainer with a cloud hanging over him,” said the dean of students. “We try to provide a clean, Christian atmosphere for our students.”

But some students came to Cash’s rescue. Not only did more than 2,000 sign petitions protesting the cancellation, but a student committee worked out a deal for Cash to perform on the scheduled date at a nearby off-campus club.

When Cash returned to El Paso for the arraignment in December, he entered a no-contest plea to the charges. The next day, newspapers throughout the country carried photos of Cash walking from the courthouse, Vivian at his side. But there was no hiding the damage. Vivian told friends it was the most embarrassing moment of her life.

Leaders of the National States’ Rights Party, a white supremacist group in Alabama, seized on the photo, which, when reproduced in grainy newsprint, made Vivian look dark-skinned and possessed of facial features some considered African American. Whether outraged by the apparent miscegenation or eager to get back at him for his protest stance in the song “Ira Hayes” (Native Americans were also a target of white supremacists), the group reprinted the photo in its newspaper the Thunderbolt and undertook an aggressive campaign against Cash.

The group urged its readers to boycott Cash’s recordings and referred to Cash’s “mongrelized” children.

Fearing a backlash among fans, especially those in the South, Holiff launched a counteroffensive. He contacted Vivian’s father, Tom Liberto, asking for a copy of Vivian’s marriage certificate —which would state her race as Caucasian — and a history of her bloodlines. Liberto sent him the marriage certificate and a letter in which he detailed Vivian’s Italian, Dutch and English heritage. The material was sent to the Thunderbolt.

During this period Cash received a few death threats, and a handful of protesters showed up at some dates in the South, but there was no sign that record sales or concert attendance were suffering.

In March 1966 Cash appeared before U.S. District Judge D. W. Suttle, who gave him a 30-day suspended sentence and a $1,000 fine rather than the maximum penalty of a year in jail. Cash had pleaded for leniency: “I know that I have made a terrible mistake and would like to go back to rebuilding the image I had before this happened.”

For all his talk about wanting a divorce, Cash was torn inside. Chief among his concerns was the children.

“I knew I was going to leave Vivian, but then I’d look at those four little girls,” he recalled. “I said, ‘Man, I’m gonna give up something that’s gonna break my heart, but my heart will be broken more if I don’t marry June.’ When I was in California, my big reason for staying stoned all the time was her. I wanted to be somewhere else in my mind.”

Both married to others, Cash and Carter had a far more stormy relationship in the 1960s than his fans assumed. But they were bound by several factors. Besides a physical attraction, they shared a religious faith and the love of making music. The outgoing June also helped the shy, withdrawn Cash deal with the constant career demands.

With the marriage dissolving, however, Cash’s California dream was over. He moved on his own to Nashville, where he continued to battle drugs.

Within days of the arraignment, he was back on pills. Overdoses and near overdoses were so common that everyone in the touring party cited various times and places: Johnny Western mentioned Waterloo, June Carter named Des Moines, Grant alluded to a string of towns. In addition, there were the near-fatal drug-induced accidents, including the time Cash borrowed June’s Cadillac and crashed it into a telephone pole, breaking his nose and knocking out four upper front teeth.

To break the tension, Luther Perkins came up with a piece of advice people in Cash’s camp would repeat for years: “Let him sleep for 24 hours. If he wakes up, he’s alive, if he doesn’t, he’s dead.”

Two years later, in a different part of California, Cash would begin his march to superstardom with a triumphant concert at Folsom State Prison. By 1970, he was the biggest-selling record artist in the country. But he was fighting drugs again in the late 1970s and 1980s, and his sales sank so sharply that he was dropped by Columbia. At the start of the 1990s, Cash believed his record career was over and his musical legacy wasted.

But California was to again play a major part in his life. Cash was headlining the now-defunct Rhythm Café in Santa Ana on Feb. 27, 1993 — the day after his 61st birthday — when he was approached by Rick Rubin, a hugely successful rock and rap producer who felt Cash was still capable of great work. Three months later, they sat down in Rubin’s home above the Sunset Strip and began work on a series of albums that would contain some of the most remarkable music of Cash’s career. He would return to Los Angeles several times over the next decade to work with Rubin. The albums not only reestablished Cash’s musical legacy, but extended it.

Their collaboration was highlighted in 2002 by the music video of “Hurt,” directed by Mark Romanek, that offered a glimpse of the artist in such fragile condition that even June advised him not to release it. But Cash approved the release of the video, a final act of immense artistic courage.

This article is adapted from “Johnny Cash — The Life,” being published this month by Little, Brown. Hilburn was The Times pop music critic from 1970-2005.

What: Writers Bloc presents Robert Hilburn and Kris Kristofferson discussing the life and music of Johnny Cash

Where: Ann and Jerry Moss Theater, New Roads School, 3131 W. Olympic Blvd., Santa Monica

What: Robert Hilburn discusses “Johnny Cash — The Life” with Grammy Museum Executive Director Robert Santelli

Where: Grammy Museum, 800 W. Olympic Blvd., Los Angeles

Admission: Free, reservations required at [email protected]

When: Robert Hilburn and “Johnny Cash — The Life”

Where: Book Soup, 8818 Sunset Blvd., West Hollywood

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