Johnny Cash

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Podcast: God knows, there's more to rising tensions in country music than politics

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Podcast: God knows, there's more to rising tensions in country music than politics

Gentle readers, here is the GetReligion question for this week.

Here we go: Who would you trust to know more about the complex cultural, moral, religious and, yes, political world of country music — the editors of Rolling Stone magazine or the late, great Johnny Cash?

I asked this question during this week’s “Crossroads” podcast (CLICK HERE to tune that in), which focused on a Rolling Stone feature with this headline: “The Culture Wars Are Tearing the Close-Knit Country Music Community Apart.”

To cut to the chase, these country music fights are all about politics — of course. And also, it’s totally new (#NOT) for country stars to speak out on issues of culture, morality, family, politics, economics, race, etc. Forget that Hank Williams guy, Jimmie Rodgers, Merle Haggard, Loretta Lynn and lots of other superstars.

People like Cash. It helps to read this next quote slowly and imagine the Man in Black’s voice-of-God singing and speaking tones

:… When asked to describe his musical values, Cash preached country gospel: "I love songs about horses, railroads, land, judgment day, family, hard times, whiskey, courtship, marriage, adultery, separation, murder, war, prison, rambling, damnation, home, salvation, death, pride, humor, piety, rebellion, patriotism, larceny, determination, tragedy, rowdiness, heartbreak and love. And mother. And God."

Yes. there’s some politics in there — along with some other important topics.


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Washington Post offers look at five country music myths and misses a familiar ghost

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I have been feeling my inner music-beat writer stirring a bit, as of late. Maybe, like Pete Townshend, I’m getting old. Then again, my East Tennessee home is a short drive from the birthplace of country music, and only slightly further from Nashville.

Thus, my eyes tend to focus a bit when I see this kind of headline in a blue-zip code elite newspaper, in this case the Washington Post: “Five myths about country music.”

Yes, this did run as a “perspective” piece in the Outlook section, so I am not looking at this as a news piece. Instead, I am simply noting an interesting chunk of this country-music flyover, since I would argue that it points toward a familiar news “ghost” in popular culture. I am referring to the prominent role that religion and religious imagery plays in country music and how that helps shape its audience.

Here is the overture of this piece by Jocelyn Neal, a music professor at the University of North Carolina at Chapel Hill. She is the author of “Country Music: A Cultural and Stylistic History,” from Oxford Press.

Love it or leave it, country music — with its whiskey-soaked nostalgia and crying steel guitars, its trains, trucks and lost love — is a defining feature of the American soundscape. This fall, Ken Burns’s documentary series, along with an outpouring of Dolly Parton tributes on NPR, Netflix and the stage at the Grand Ole Opry, has trained a spotlight on the genre. Still, myths infuse many people’s understanding of country music — and some of them are integral to its appeal.

Something seems to be missing there.

Let’s turn to an alternative summary statement, provided by someone who knew quite a bit about this topic — Johnny “The Man in Black” Cash. Asked to state his musical values, he said:


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About the Washington Post report on SBC's Russell Moore: It's best to simply say, 'Read carefully'

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Suffice it to say, I received more than a few emails yesterday asking for my reaction to yesterday's Washington Post story by former GetReligionista Sarah Pulliam Bailey that ran under this long, detailed, dramatic headline: "Could Southern Baptist Russell Moore lose his job? Churches threaten to pull funds after months of Trump controversy."

One email late last night, which I will decline to share, offered a 500-word plus dissection of the whole piece focusing on this question that many others were asking: Was it accurate to say that the Rev. Frank Page, president of the Southern Baptist Convention's executive committee, "indicated" that he was prepared to ask Moore -- the denomination's high-profile point man in Washington, D.C. -- to resign on Monday?

As you would imagine, this quickly morphed into discussions of whether Moore -- a consistent #AntiTrump #AntiHillary voice during the madness of 2016 -- was going to be fired.

Out of all of his blunt quotes about Trump, and there are many, here is one from an op-ed in The New York Times that I think expresses what Moore was consistently saying:

Jesus taught his disciples to “count the cost” of following him. We should know, he said, where we’re going and what we’re leaving behind. We should also count the cost of following Donald Trump. To do so would mean that we’ve decided to join the other side of the culture war, that image and celebrity and money and power and social Darwinist “winning” trump the conservation of moral principles and a just society. We ought to listen, to get past the boisterous confidence and the television lights and the waving arms and hear just whose speech we’re applauding.

As you would imagine (and I say this as someone who was openly #AntiTrump #AntiHillary), more than a few people in Southern Baptist circles argued -- in public and behind the scenes -- that Moore's opposition to Trump was the same thing as offering support to the candidacy of Hillary Clinton.

This brings us to the overture of Bailey's much circulated story, a story that was updated with quite a bit of new material on Monday evening.

Concern is mounting among evangelicals that Russell Moore, president of the Southern Baptist Convention’s policy arm, could lose his job following months of backlash over his critiques of President Trump and religious leaders who publicly supported the Republican candidate. Any such move could be explosive for the nation’s largest Protestant denomination, which has been divided over politics, theology and, perhaps most starkly, race.


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How did 'Christian' — as an adjective in mass media — come to mean shallow and lousy?

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How did 'Christian' — as an adjective in mass media — come to mean shallow and lousy?

On one level, this week's "Crossroads" podcast (click here to tune that in) is a follow-up discussion of my recent blog here about the New York Times article that, allegedly, tried to look for Jesus at Comic-Con 2015. That event in San Diego is, as I described it in my discussion with Todd Wilken, the great annual gathering of the pop-culture tribes for a "sacred dance" of hero worship and, of course, marketing.

The Times team apparently went to this event looking for evidence that the emerging mini-industry of films and television miniseries targeting "Christian" consumers -- in this case, "Christian" clearly means "evangelical" -- just isn't with it, or cool enough, when it comes to competing in the pop-culture major leagues. But that article, I argued, really didn't pay attention to (a) the work of Christians in mainstream media and (b) the ongoing debates, decade after decade, about aith questions raised in franchises such as "Star Wars," zombie movies, the X-Men, Doctor Who, etc., etc., etc.

In the end, the podcast ended up focusing on how the term "Christian" -- used as a adjective for marketing purposes -- has in our times become another way of saying shoddy, cheap, shallow and derivative. This led to some obvious questions.

Was J.S. Bach a "Christian" composer? Is Christopher Parkening a "Christian" classical guitarist?

Was J.R.R. Tolkien a "Christian" novelist?

How about C.S. Lewis? How about Jane Austen? How about Aleksandr Solzhenitsyn? When Fyodor Dostoyevsky sat down to write, was he thinking to himself, "How can I please the 'Christian' marketplace?" How about Flannery O'Connor? By the way, her work was the subject of my "On Religion" column for Universal this past week.


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BBC probes Johnny Cash's vague interest in redemption

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The late Johnny Cash was a lot of things at the same time, which has often left journalists a bit confused about the sources of his remarkable passion and creativity. For starters, the man ended up in the Country Music Hall of Fame, the Rock and Roll Hall of Fame, the Gospel Music Hall of Fame, the Nashville Songwriters Hall of Fame and the Rockabilly Hall of Fame. I think that covers most of the bases. Did I miss a hall of fame or two?


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