This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (May 2009)

Not to be confused with Baronet.

Royal, noble and chivalric ranks

Emperor & Empress consort Empress & Emperor consort

Empress dowager or Empress mother

King & Queen consort or Princess consort Queen & King consort or Prince consort

Queen dowager or Queen mother Princess dowager or Princess mother

Grand Duke & Grand Duchess Grand Prince & Grand Princess

Viceroy & Vicereine

Archduke & Archduchess Infante & Infanta

Duke & Duchess Prince & Princess

Marquess & Marchioness Marquis & Marquise Margrave & Margravine

Count & Countess Earl & Countess

Viscount & Viscountess

Baron & Baroness Freiherr & Freifrau

Baronet & Baronetess Hereditary Knight, Ritter

Knight & Dame

Nobile, Edler von

This box: view talk edit

A British Baron's coronet.

Baron is a title of nobility. In the kingdom of England, the medieval Latin word baro, baronis, was used originally to denote a tenant-in-chief of the early Norman kings, who held his lands by the feudal tenure of "barony", in Latin per baroniam, and who was entitled to attend the Great Council which by the 13th century had developed into the Parliament of England.^[1]

The title was quite common in most European countries often in a slightly modified form. In Italian, the word used was Barone. The corresponding title in the Holy Roman Empire was Freiherr.

Etymology[link]

The word baron comes from the Old French baron, from a Late Latin baro "man; servant, soldier, mercenary" (so used in Salic Law; Alemannic Law has barus in the same sense). Isidore in the 7th century thought the word was from Greek βαρύς "heavy" (because of the "heavy work" done by mercenaries), but the word is presumably of Old Frankish origin, cognate with Old English beorn meaning "warrior, nobleman"). Cornutus in the first century already reports a word barones which he took to be of Gaulish origin. He glosses it as meaning servos militum and explains it as meaning "stupid", by reference to classical Latin bāro "simpleton, dunce";^[2] because of this early reference, the word has also been suggested to derive from an otherwise unknown Celtic *bar, but OED takes this to be "a figment".^[3]

Barons in the United Kingdom and the Commonwealth[link]

In the Peerage of the United Kingdom, barons form the lowest rank, placed immediately below viscounts. A female of baronial rank has the title baroness. Feudal baronies (or "baronies by tenure") are now obsolete in England and without any legal force but any such historical titles are held in gross, that is to say are deemed to be enveloped within a more modern extant peerage title also held by the holder, sometimes along with vestigial manorial rights and tenures by grand serjeanty.

William I introduced "baron" as a rank in England to distinguish the men who had pledged their loyalty to him under the feudal system. Previously, in the Anglo-Saxon kingdom of England, the king's companions held the title of earl and in Scotland, the title of thane. All who held their feudal barony "in-chief of the king", that is with the king as his immediate overlord, became alike barones regis ("barons of the king"), bound to perform a stipulated annual military service, and obliged to attend his council. Eventually the greatest of the nobles, especially those in the marches, such as the Earls of Chester or the Bishops of Durham, whose territories were often deemed palatinate, that is to say "worthy of a prince", might refer to their own tenants as "barons", where lesser magnates spoke simply of their "men" (homines).

The robe worn by a baron during his creation ceremony in 17th-century Britain, engraved by Wenceslas Hollar.

Initially those who held land directly from the king by military service, from earls downwards, all bore alike the title of baron, which was thus the factor uniting all members of the ancient baronage as peers one of another. Under King Henry II(1135-1154), the Dialogus de Scaccario already distinguished between greater barons, who held per baroniam by knight's service, and lesser barons, who held manors. Technically, Lords of Manors are barons, or freemen, however they do not use the term as a title. John Selden in his esteemed work Titles of Honour writes, "The word Baro (Latin for Baron) hath been also so much communicated, that not only all Lords of Mannors have been from antient time, and are at this day called sometimes Barons (as in the stile of their Court Barons, which is Curia Baronis, &c. And I have read hors de son Barony in a barr to an Avowry for hors de son fee) But also the Judges of the Exchequer have it from antient time fixed on them."^[4] Within a century of the Norman Conquest of 1066, as in the case of Thomas Becket in 1164, there arose the practice of sending to each greater baron a personal summons demanding his attendance at the King's Council, which evolved into the Parliament and later into the House of Lords, whilst as was stipulated in Magna Carta of 1215, the lesser barons of each county would receive a single summons as a group through the sheriff, and representatives only from their number would be elected to attend on behalf of the group. These representatives developed into the Knights of the Shire, elected by the County Court presided over by the sheriff, who themselves formed the precursor of the House of Commons. Thus appeared a definite distinction, which eventually had the effect of restricting to the greater barons alone the privileges and duties of peerage.

Later, the king started to create new baronies in one of two ways: by a writ of summons directing a chosen man to attend Parliament, and in an even later development by letters patent. Writs of summons became the normal method in medieval times, displacing the method of feudal barony, but creation of baronies by letters patent is the sole method adopted in modern times. Since the adoption of summons by writ, baronies thus no longer relate directly to land-holding, and thus no more feudal baronies needed thenceforth to be created. Following the Modus Tenendi Parliamenta of 1419, the Tenures Abolition Act 1660, the Feudal Tenure Act (1662), and the Fines and Recoveries Act of 1834, titles of feudal barony became obsolete and without legal force.

In the twentieth century Britain introduced the concept of non-hereditary life peers. All appointees to this distinction have been at the rank of baron. Life-peers are not counted as part of the aristocracy although in accordance with the tradition applied to hereditary peers they too are formally addressed in parliament by their peers as "The Noble Lord".

In addition, baronies are often used by their holders as subsidiary titles, for example as courtesy titles for the son and heir of an Earl or higher peer.

Scotland[link]

A Scottish Baron's helmet.

In Scotland, the rank of baron is a rank of the ancient feudal nobility of Scotland and refers to a holder of a feudal barony, formerly a feudal superiority over a proper territorial entity erected into a free barony by a Crown Charter, and is not usually considered a rank of Peerage; as such it can be transferred by either inheritance or conveyance.

The Scottish equivalent of an English baron is a Lord of Parliament.

Style of address[link]

Normally one refers to or addresses Baron [X] as Lord [X] and his wife as Lady [X]. In the case of women who hold baronies in their own right, they can be referred to as Baroness [X] as well as Lady [X]. In direct address, they can also be referred to as My Lord, Your Lordship, or Your Ladyship, but never as My Lady (except in the case of a female judge). The husband of a Baroness in her own right does not receive any style in her right. Children of Barons and Baronesses in their own right, whether hereditary or for life, have the style The Honourable [Forename] [Surname]. After the death of the father or mother, the child may continue to use the style Honourable.

Scottish feudal barons style their surnames similarly to Clan Chiefs, with the name of their barony following their name, as in John Smith of Edinburgh or John Smith, Baron of Edinburgh.^[5] Most formally, and in writing, they are styled as The Much Honoured Baron of Edinburgh. Their wives are styled Lady Edinburgh, or The Baroness of Edinburgh. The phrase Lady of Edinburgh is wrong, if the lady in question does not hold a Scottish barony in her own right. Orally, Scottish barons may be addressed with the name of their barony, as in Edinburgh or else as Baron without anything else following, which if present would suggest a peerage barony. Informally, when referring to a Scots feudal baron in the third person, the name Laird of [X] is used or simply [X].

Non-Scottish barons are styled The Right Honourable The Lord [Barony]. Barons' wives are styled The Right Honourable The Lady [Barony]. Baronesses in their own right are either titled The Right Honourable The Baroness [Barony] or The Right Honourable The Lady [Barony], mainly based on personal preference (e.g., Margaret, Lady Thatcher and Brenda, Baroness Hale, both created baronesses in their own right). Note the order of the names. 'Lady Margaret Thatcher' would denote that she was the daughter of an earl, marquess or duke. Right Honourable is frequently abbreviated to Rt Hon. When referred to by the Sovereign in public instruments, The Right Honourable is changed to Our right trusty and well-beloved, with counsellor attached if they are a Privy Counsellor.

Courtesy barons are styled simply Lord [Barony], and their wives are Lady [Barony]. The style of Right Honourable and/or the article "The" in front of the title is not used for them.

Coronet[link]

A baron, in the peerage of England and Wales, Great Britain, (Northern) Ireland, or the United kingdom, or lord, in the peerage of Scotland, is entitled to a coronet bearing six silver balls (called pearls, but never real pearls) around the rim, equally spaced and all of equal size and height. The rim itself is neither jewelled, nor "chased" (which is the case for the coronets of peers of higher degree).

The actual coronet is mostly worn on certain ceremonial occasions, such as the coronation of a new monarch, but a baron can bear his coronet of rank on his coat of arms above the shield. In heraldry, the baron's coronet is shown with four of the balls visible.

Scottish feudal barons were entitled to a red cap of maintenance (chapeau) turned up ermine if petitioning for a grant or matriculation of a coat of arms between the 1930s and 2004. This chapeau is identical to the red cap worn by an English baron, but without the silver balls or gilt. This is sometimes depicted in armorial paintings between the shield and the helmet. Additionally, if the baron is the head of a family he may include a chiefly coronet which is similar to a ducal coronet, but with four strawberry leaves. Because the chapeau was a relatively recent innovation, a number of ancient Arms of Scottish feudal barons do not display the chapeau. Now Scottish feudal barons are principally recognised by the baron's helm, which in Scotland is a steel helmet with grille of three grilles, garnished in gold. Occasionally the great tilting-helm garnished with gold is shown, or a helmet befitting a higher rank, if held.^[6]

Continental Europe[link]

The Low Countries[link]

In the medieval era, some allodial and enfiefed lands held by nobles were created or recognized as baronies by the Holy Roman Emperors, within whose realm most of the Low Countries lay. Subsequently, the Habsburgs continued to confer the baronial title in the Southern Netherlands, first as kings of Spain and then, again, as emperors until abolition of the Holy Roman Empire, but these had become titular elevations rather than grants of new territory.

In the Netherlands after 1815, titles of baron authorized by previous monarchs (except those of the Napoleonic Kingdom of Holland) were usually recognized by the Dutch kings. But such recognition was not automatic, having to be authenticated by the Supreme Council of Nobility and then approved by the sovereign. This ceased to be possible after the Dutch constitution was revised in 1983. More than one hundred Dutch baronial families have been recognized. The title is usually inherited by all males descended patrilineally from the original recipient of the title, although in a few noble families baron is the title of cadet family members, while in a few others it is heritable according to primogeniture.

After its secession in 1830, Belgium incorporated into its nobility all titles of baron borne by Belgian citizens which had been recognized by the Netherlands since 1815. In addition, its monarchs have since created or recognized other titles of baron, and the sovereign continues to exercise the prerogative to confer baronial and other titles of nobility.

Luxembourg's monarch retains the right to confer the baronial title. Two of the grand duchy's prime ministers inherited baronial titles that were used during their tenures in office, Victor de Tornaco and Félix de Blochausen.

France[link]

During the Ancien Régime, French baronies were very much like Scottish ones. Feudal landholders were entitled to style themselves baron if they were nobles; a roturier (commoner) could only be a seigneur de la baronnie (lord of the barony). These baronies could be sold freely, until the abolition of feudalism in 1789. The title of baron was assumed as a titre de courtoisie by many nobles, both members of the Nobles of the Robe and cadets of Nobles of the Sword who had no legal right to any noble title. Napoléon created a new empire nobility, in which baron was the second lowest title. The titles followed a male-only line of descent and could not be purchased. In 1815, King Louis XVIII created a new peerage system based on the British model. Baron-peer was the lowest title, but the heirs to pre-1789 barons could remain barons, as could the elder sons of viscount-peers and younger sons of count-peers. This peerage was abolished in 1848, though some titles still exist today.

Germany[link]

In pre-republican Germany all the knightly families of the Holy Roman Empire (sometimes distinguished by the prefix von or zu) eventually were recognised as of baronial rank, although Ritter is the literal translation for "knight", and persons who held that title enjoyed a distinct, but lower, rank in Germany's nobility than barons (Freiherren). Families which had always held this status were called "original nobility" (Uradel), and were heraldically entitled to a three pointed coronet. Families which had been ennobled at a definite point in time (Briefadel or "nobility by patent") had seven points on their coronet. These families held their fief in vassalage from a suzerain. The holder of an allodial (i.e. suzerain-free) barony was thus called a Free Lord, or Freiherr. Subsequently, sovereigns in Germany conferred the title of Freiherr as a rank in the nobility, without implication of allodial or feudal status.

Today there is no legal privilege associated with hereditary titles in Germany, and in Austria they have been banned (though persisting in social use). In republican Germany, Freiherr and Baron remain heritable only as part of the legal surname, (and may thereby be transmitted by females to their husbands and children, without implication of nobility).

In Luxembourg and Liechtenstein (where German is the official language), barons remain members of the recognized nobility, and the sovereigns retain authority to confer the title (morganatic cadets of the princely dynasty received the title Baron of Lanskron, using both "Freiherr" and "Baron" for different members of this branch).

Generally, all legitimate males of a German baronial family inherit the title Freiherr or Baron from birth, as well as all legitimate daughters inherit the title of Freiin or Baroness. As a result, German barons have been more numerous than those of, e.g., France, Spain, and the United Kingdom, where primogeniture prevails.

Nordic countries[link]

The corresponding title is Baron in the Danish nobility and that of Norway, Friherre in the Swedish nobility, and Vapaaherra in the nobility of Finland.

In the beginning, Finnish nobles were all without honorific titulature, and known simply as lords. Since the Middle Ages, each head of a noble family had been entitled to a vote in any of Finland's provincial diets whenever held, as in the realm's Herrainpäivät, later Aatelissääty of the Riksdag of the Estates. In 1561, Sweden's King Eric XIV granted the hereditary titles of count and vapaaherra to some of these, but not all. Although their cadet family members were not entitled to vote or sit in the Riksdag, they were legally entitled to the same title as the head of the family, but in customary address they became Paroni or Paronitar. Theoretically, in the sixteenth and seventeenth centuries, families elevated to vapaaherra status were granted a barony in fief, enjoying some rights of taxation and judicial authority. Subsequently, the "barony" was titular, usually attached to a family property, which was sometimes entailed. Their exemptions from taxes on landed properties continued into the twentieth century, although in the nineteenth century tax reforms narrowed this privilege. Nobility creations continued until 1917, the end of Finland's grand ducal monarchy.

Spain[link]

In Spain the title follows Vizconde in the noble hierarchy, and ranks above Señor. Baronesa is the feminine form, for the wife of a baron or for a woman who has been granted the title in her own right. In general, titles of baron created before the nineteenth century originate from the Crown of Aragon. Barons lost territorial jurisdiction around the middle of the nineteenth century, and from then on the title became purely honorific. Although most barons have not also held the rank of grandeza, the title has been conferred in conjunction with the grandeza. The sovereign continues to grant baronial titles.

Italy[link]

In Italy barone was the lowest rank of feudal nobility except for that of signore or vassallo (lord of the manor). The title of baron was most generally introduced into southern Italy (including Sicily) by the Normans during the 11th century. Whereas originally a barony might consist of two or more manors, by 1700 we see what were formerly single manors erected into baronies, counties or even marquisates. Since the early 1800s, when feudalism was abolished in the various Italian states, it has often been granted as a simple hereditary title without any territorial designation or predicato. The untitled younger son of a baron is a nobile dei baroni and in informal usage might be called a baron, while certain baronies devolve to heirs male general. Since 1948 titles of nobility have not been recognised by the Italian state. In the absence of a nobiliary or heraldic authority in Italy there are, in fact, numerous persons who claim to be barons or counts without any basis for such claims. Baron and noble (nobile) are hereditary titles and, as such, could only be created or recognised by the kings of Italy or (before 1860) the pre-unitary Italian states such as the Two Sicilies, Tuscany, Parma or Modena, or by the Holy See (Vatican) or the Republic of San Marino. Beginning around 1800, a number of signori (lords of the manor) began to style themselves barone but in many cases this was not sanctioned legally by decree, while there was even less justification in the holder of any large (non-feudal) landed estate calling himself a baron. Unfortunately, both were common practices. In most of peninsular Italy the widespread medieval introduction of the of the title was Longobardic, while in Sicily and Sardinia it was coeval with Norman rule some centuries later, and one referred to the baronage when speaking of landed nobles generally.

Other[link]

Like other major Western noble titles, baron is sometimes used to render certain titles in non-western languages with their own traditions, even though they are necessarily historically unrelated and thus hard to compare, which are considered 'equivalent' in relative rank.

This is the case with China's nán (男), hereditary title of nobility of the fifth rank (男爵), as well as its derivatives and adaptations:

• the Indian equivalent damapati
• the Japanese equivalent danshaku (だんしゃく, 男爵)
• the Georgian equivalent samefo aznauri
• the Korean equivalent namjak (남작, 男爵)
• the Manchu equivalent ashan-i hafan
• the Vietnamese equivalent nam tước
• the Romanian equivalent Baroneasă for Baroness.

In some republics of continental Europe, the unofficial title of "Baron" retains a purely social prestige, with no particular political privileges.

In the Polynesian island monarchy of Tonga, as opposed to the situation in Europe, barons are granted this imported title (in English), alongside traditional chiefly styles, and continue to hold and exercise some political power.

See also[link]

• Barony (country subdivision)
• Scottish feudal barony
• English feudal barony
• Irish feudal barony
• Feudalism
• Fief
• Lord
• List of baronies in the peerages of the British Isles
• List of Scottish feudal baronies
• Scottish feudal lordship
• Marcher Lord
• List of Marcher lordships
• Tenures Abolition Act 1660
• Land tenure
• Land tenure in England
• Honour (feudal land tenure)

Sources[link]

• Sanders, I. J. English Baronies: A Study of their Origin and Descent, 1086–1327. Clarendon Press, 1960.
• Round, J. Horace, "The House of Lords", published in: "Peerage and Pedigree, Studies in Peerage Law and Family History", Vol.1, London, 1910, pp.324-362
• Heraldica
• The Royal Ark
•  Chisholm, Hugh, ed. (1911). "Baron". Encyclopædia Britannica (11th ed.). Cambridge University Press. 

References[link]

This page or section lists people that share the same given name. If an internal link led you here, you may wish to change that link to point directly to the intended article.

Sugar Aloes, aka Michael Anthony Osuana, is a prominent Calypsonian hailing from Trinidad and Tobago. Singing local hits such as "Party Time" and parang favorite "Juanita", Aloes has amassed a fan base of at least three generations of Trinidadians and calypso lovers region-wide. Sugar Aloes is also famous for his songs "I love being me" and "Signs of the end of Time". On Sunday February 3, 2008 Michael Anthony Osuana, aka Sugar Aloes, was crowned the winner of the Calypso Monarch 2008 Competition at Queens Park Oval in Port-of-Spain, Trinidad. He won this competition singing a song entitled "Look in the Mirrow". In this song, he made some sarcastic remarks about government, which maintained a certain degree of humour.< [1] [2] [3]

This Trinidadian biographical article is a stub. You can help Wikipedia by expanding it. v t e

This article on a Caribbean musician is a stub. You can help Wikipedia by expanding it. v t e

Johnny Cash
Cash in 1969.
Background information
Birth name	John R. Cash
Born	(1932-02-26)February 26, 1932 Kingsland, Arkansas, United States
Origin	Kingsland, Arkansas, United States
Died	September 12, 2003(2003-09-12) (aged 71) Nashville, Tennessee, United States
Genres	Country, rock and roll, folk, americana, gospel, blues, rockabilly
Occupations	Singer-songwriter, musician, actor
Instruments	Vocals, guitar, harmonica, mandolin
Years active	1955–2003
Labels	Sun, Columbia, Mercury, American, House of Cash, Legacy Recordings
Associated acts	The Tennessee Three, The Highwaymen, June Carter Cash, The Statler Brothers, The Carter Family, The Oak Ridge Boys, Area Code 615, Roy Orbison, Jerry Lee Lewis, Carl Perkins, Bob Dylan, Tom Petty and the Heartbreakers
Website	johnnycash.com
Notable instruments
Martin Acoustic Guitars[1]

John R. "Johnny" Cash (February 26, 1932 – September 12, 2003), was an American singer-songwriter, actor,^[2] and author,^[2] who has been called one of the most influential musicians of the 20th century.^[3] Although he is primarily remembered as a country music icon, his songs and sound spanned many other genres including rockabilly and rock and roll—especially early in his career—as well as blues, folk, and gospel. This crossover appeal led to Cash being inducted in the Country Music Hall of Fame, the Rock and Roll Hall of Fame, and Gospel Music Hall of Fame.

Cash was known for his deep, distinctive bass-baritone voice;^[4][5][6] for the "boom-chicka-boom" sound of his Tennessee Three backing band; for his rebelliousness,^[7][8] coupled with an increasingly somber and humble demeanor;^[4] for providing free concerts inside prison walls;^[9][10] and for his dark performance clothing, which earned him the nickname "The Man in Black".^[11] He traditionally started his concerts by saying, "Hello, I'm Johnny Cash."^[12][13] and usually following it up with his standard "Folsom Prison Blues".

Much of Cash's music, especially that of his later career, echoed themes of sorrow, moral tribulation and redemption.^[4][14] His signature songs include "I Walk the Line", "Folsom Prison Blues", "Ring of Fire", "Get Rhythm" and "Man in Black". He also recorded humorous numbers, including "One Piece at a Time" and "A Boy Named Sue"; a duet with his future wife, June Carter, called "Jackson"; as well as railroad songs including "Hey, Porter" and "Rock Island Line".^[15] Late in his career, Cash covered songs by several rock artists, most notably "Hurt" by Nine Inch Nails - the resulting music video was voted one of the best of all time and is sometimes seen as Cash's epitaph.

Cash, a troubled but devout Christian,^[16][17] has been characterized as a "lens through which to view American contradictions and challenges."^[18][19][20] A Biblical scholar,^[2][21][22] he penned a Christian novel titled Man in White,^[23][24] and he made a spoken word recording of the entire New King James Version of the New Testament.^[25][26] Even so, Cash declared that he was "the biggest sinner of them all", and viewed himself overall as a complicated and contradictory man.^[27][28] Accordingly,^[29] Cash is said to have "contained multitudes", and has been deemed "the philosopher-prince of American country music".^[30][31]

Personal life[link]

Early life[link]

Johnny Cash was born in Kingsland, Arkansas,^[32] the fourth of seven children to Ray Cash (May 13, 1897, Kingsland, Arkansas – December 23, 1985, Hendersonville, Tennessee)^[33] and Carrie Cloveree Rivers (March 13, 1904, Rison, Arkansas – March 11, 1991, Hendersonville, Tennessee).^[34][35] Cash was named John R. Cash because his parents couldn't think of a name, but he went by J. R. all throughout his childhood as a shortened version of his real name. When Cash enlisted in the Air Force, they wouldn't let him use initials as his name, so he began to use his legal name of John R. Cash. In 1955, when signing with Sun Records, he took Johnny Cash as his stage name.^[36]

The Cash children were, in order: Roy, Margaret Louise, Jack, J. R., Reba, Joanne and Tommy.^[37][38] His younger brother, Tommy Cash, also became a successful country artist.

In March 1935, when Cash was three years old, the family settled in Dyess, Arkansas. He started working in cotton fields at age five, singing along with his family simultaneously while working. The family farm was flooded on at least two occasions, which later inspired him to write the song "Five Feet High and Rising".^[39] His family's economic and personal struggles during the Great Depression inspired many of his songs, especially those about other people facing similar difficulties.

Cash was very close to his older brother, Jack.^[40] In May 1944, Jack was pulled into a whirling head saw in the mill where he worked and was almost cut in two. He suffered for over a week before he died on May 20, 1944, at age 15.^[39] Cash often spoke of the horrible guilt he felt over this incident. According to Cash: The Autobiography, his father was away that morning, but he and his mother, and Jack himself, all had premonitions or a sense of foreboding about that day, causing his mother to urge Jack to skip work and go fishing with his brother. Jack insisted on working, as the family needed the money. On his deathbed, Jack said he had visions of heaven and angels. Decades later, Cash spoke of looking forward to meeting his brother in heaven.

Cash's early memories were dominated by gospel music and radio. Taught by his mother and a childhood friend, Cash began playing guitar and writing songs as a young boy. In high school he sang on a local radio station; decades later he released an album of traditional gospel songs, called My Mother's Hymn Book. He was also significantly influenced by traditional Irish music that he heard performed weekly by Dennis Day on the Jack Benny radio program.^[41]

Cash enlisted in the United States Air Force on July 7, 1950.^[42] After basic training at Lackland Air Force Base and technical training at Brooks Air Force Base, both in San Antonio, Texas, Cash was assigned to a U.S. Air Force Security Service unit, assigned as a Morse Code Intercept Operator for Soviet Army transmissions at Landsberg, Germany "where he created his first band named The Landsberg Barbarians."^[43] He was the first radio operator to pick up the news of the death of Joseph Stalin.^[44] After he was honorably discharged as a Staff Sergeant on July 3, 1954, he returned to Texas.^[45]

Marriages and family[link]

On July 18, 1951, while in Air Force training, Cash met 17-year-old Vivian Liberto at a roller skating rink in her native San Antonio. They dated for three weeks, until Cash was deployed to Germany for a three year tour. During that time, the couple exchanged hundreds of pages of love letters.^[46] On August 7, 1954, one month after his discharge, they were married at St. Anne's Catholic church in San Antonio. The ceremony was performed by her uncle, Father Vincent Liberto. They had four daughters: Rosanne, Kathy, Cindy and Tara. Cash's drug and alcohol abuse, constant touring, and affairs with other women, and his close relationship with future wife June Carter, led Liberto to file for divorce in 1966.^[47]

In 1968, 13 years after they first met backstage at the Grand Ole Opry, Cash proposed to June Carter, an established country singer, during a live performance in London, Ontario,^[48] marrying on March 1, 1968, in Franklin, Kentucky. They had one child together, John Carter Cash (born March 3, 1970). They continued to work together and tour for 35 years, until June Carter died in 2003. Cash died just four months later. Carter co-wrote one of Cash's biggest hits, "Ring of Fire," with singer Merle Kilgore. She and Cash won two Grammy awards for their duets.

Vivian Liberto claims a different version of the origins of "Ring of Fire" in I Walked the Line: My Life with Johnny, stating that Cash gave Carter the credit for monetary reasons.^[49]

Heritage[link]

Cash's heritage was a British Isles mix. He learned upon researching his heritage that he was of Scottish royal descent on his father's side, traced back to Malcolm I of Scotland.^[50][51][52] After meeting with now-dead laird Major Michael Crichton-Stuart of Falkland, Fife, Scotland, Johnny traced the Cash family tree to eleventh-century Fife;^[53][54][55] Cash Loch and other locations in Fife bear the name of his family.^[53]

Cash also had English and Scots-Irish ancestry. Though he did not have American Indian ancestry, his empathy and compassion for Native American Indians were unabated. These feelings were expressed in several of his songs, including "Apache Tears" and "The Ballad of Ira Hayes", and on his album, Bitter Tears: Ballads of the American Indian. Through his maternal grandmother, Rosanna Lee (Hurst) Rivers, Cash is distantly related to millionaire William Randolph Hearst and socialite Patty Hearst.^{[citation needed]}

Friends[link]

Cash was a long time friend of Woody Hayes (ex Ohio State Buckeyes football coach). The lyrics "I braided Twigs of Willows Made a String of Buckeye Beads" from the song Flesh and Blood was for Woody.^{[citation needed]}

Career[link]

Early career[link]

In 1954, Cash and Vivian moved to Memphis, Tennessee, where he sold appliances while studying to be a radio announcer. At night he played with guitarist Luther Perkins and bassist Marshall Grant. Perkins and Grant were known as the Tennessee Two. Cash worked up the courage to visit the Sun Records studio, hoping to get a recording contract. After auditioning for Sam Phillips, singing mostly gospel songs, Phillips told him that he didn't record gospel music any longer. It was once rumored that Phillips told Cash to "go home and sin, then come back with a song I can sell," though in a 2002 interview Cash denied that Phillips made any such comment.^[56] Cash eventually won over the producer with new songs delivered in his early rock'a'billy style. In 1955 Cash made his first recordings at Sun, "Hey Porter" and "Cry! Cry! Cry!", which were released in late June and met with reasonable success on the country hit parade.

On December 4, 1956, Elvis Presley dropped in on studio owner Sam Phillips to pay a social visit while Carl Perkins was in the studio cutting new tracks, with Jerry Lee Lewis backing him on piano. Cash was also in the studio and the four started an impromptu jam session. Phillips left the tapes running and the recordings, almost half of which were gospel songs, survived and have since been released under the title Million Dollar Quartet.

Cash's next record, "Folsom Prison Blues", made the country Top 5, and "I Walk the Line" became No. 1 on the country charts and entered the pop charts Top 20. "Home of the Blues" followed, recorded in July 1957. That same year Cash became the first Sun artist to release a long-playing album. Although he was Sun's most consistently selling and prolific artist at that time, Cash felt constrained by his contract with the small label partly due to the fact that Phillips wasn't keen on Johnny recording gospel, and he was only getting a 3% royalty as opposed to the standard rate of 5%. Presley had already left Sun, and Phillips was focusing most of his attention and promotion on Lewis. The following year Cash left the label to sign a lucrative offer with Columbia Records, where his single "Don't Take Your Guns to Town" became one of his biggest hits.

In the early 1960s, Cash toured with the Carter Family, which by this time regularly included Mother Maybelle's daughters, Anita, June and Helen. June, whom Cash would eventually marry, later recalled admiring him from afar during these tours. In the 1960s he appeared on Pete Seeger's short lived Rainbow Quest.^[57]

He also acted in a 1961 film entitled Five Minutes to Live, later re-released as Door-to-door Maniac. He also wrote and sang the opening theme.

Outlaw image[link]

As his career was taking off in the late 1950s, Cash started drinking heavily and became addicted to amphetamines and barbiturates. For a brief time, he shared an apartment in Nashville with Waylon Jennings, who was heavily addicted to amphetamines. Cash used the uppers to stay awake during tours. Friends joked about his "nervousness" and erratic behavior, many ignoring the warning signs of his worsening drug addiction. In a behind-the-scenes look at The Johnny Cash Show, Cash claims to have "tried every drug there was to try."

Although in many ways spiraling out of control, Cash's frenetic creativity was still delivering hits. His rendition of "Ring of Fire" was a crossover hit, reaching No. 1 on the country charts and entering the Top 20 on the pop charts. The song was written by June Carter and Merle Kilgore. The song was originally performed by June's sister, but the signature mariachi-style horn arrangement was provided by Cash, who said that it had come to him in a dream.

In June 1965, his truck caught fire due to an overheated wheel bearing, triggering a forest fire that burnt several hundred acres in Los Padres National Forest in California.^[58][59] When the judge asked Cash why he did it, Cash said, "I didn't do it, my truck did, and it's dead, so you can't question it."^[39] The fire destroyed 508 acres (206 ha), burning the foliage off three mountains and killing 49 of the refuge's 53 endangered condors. Cash was unrepentant: "I don't care about your damn yellow buzzards." The federal government sued him and was awarded $125,172 ($923,127 today). Cash eventually settled the case and paid $82,001.^[60] He said he was the only person ever sued by the government for starting a forest fire.^[39]

Although Cash carefully cultivated a romantic outlaw image, he never served a prison sentence. Despite landing in jail seven times for misdemeanors, each stay lasted only a single night. His most infamous run-in with the law occurred while on tour in 1965, when he was arrested October 4 by a narcotics squad in El Paso, Texas. The officers suspected that he was smuggling heroin from Mexico, but it was 688 Dexedrine capsules and 475 Equanil tablets that the singer had hidden inside his guitar case. Because they were prescription drugs rather than illegal narcotics, he received a suspended sentence.

Johnny Cash and his second wife, June Carter

Cash was later arrested on May 11, 1965, in Starkville, Mississippi, for trespassing late at night onto private property to pick flowers. (This incident gave the spark for the song "Starkville City Jail", which he spoke about on his live At San Quentin prison album.)

In the mid 1960s, Cash released a number of concept albums, including Ballads Of the True West (1965), an experimental double record mixing authentic frontier songs with Cash's spoken narration, and Bitter Tears (1964), with songs highlighting the plight of the Native Americans. His drug addiction was at its worst at this point, and his destructive behavior led to a divorce from his first wife and canceled performances.

In 1967, Cash's duet with June Carter, "Jackson", won a Grammy Award.

Johnny Cash's final arrest was in Walker County, Georgia where he was taken in after being involved in a car accident while carrying a bag of prescription pills. Cash attempted to bribe a local deputy, who turned the money down, and then spent the night in a LaFayette, Georgia jail. The singer was released after a long talk with Sheriff Ralph Jones, who warned him of his dangerous behavior and wasted potential. Johnny credited that experience for saving his life, and he later came back to LaFayette to play a benefit concert that attracted 12,000 people (the city population was less than 9,000 at the time) and raised $75,000 for the high school.^[61]

Cash curtailed his use of drugs for several years in 1968, after a spiritual epiphany in the Nickajack Cave, when he attempted to commit suicide while under the heavy influence of drugs. He descended deeper into the cave, trying to lose himself and "just die", when he passed out on the floor. He reported to be exhausted and feeling at the end of his rope when he felt God's presence in his heart and managed to struggle out of the cave (despite the exhaustion) by following a faint light and slight breeze. To him, it was his own rebirth. June, Maybelle, and Ezra Carter moved into Cash's mansion for a month to help him conquer his addiction. Cash proposed onstage to June at a concert at the London Gardens in London, Ontario on February 22, 1968; the couple married a week later (on March 1) in Franklin, Kentucky. June had agreed to marry Cash after he had "cleaned up".^[62] He rediscovered his Christian faith, taking an "altar call" in Evangel Temple, a small church in the Nashville area, pastored by Rev. Jimmie Rodgers Snow, son of country music legend Hank Snow.

According to longtime friend Marshall Grant, Cash's 1968 rebirth experience did not result in his completely stopping use of amphetamines. However, in 1970, Cash ended all drug use for a period of seven years. Grant claims that the birth of Cash's son, John Carter Cash, inspired Cash to end his dependence. Cash began using amphetamines again in 1977. By 1983, he was once again addicted, and entered the Betty Ford Clinic in Rancho Mirage, California for rehabilitation. Cash managed to stay off drugs for several years, but by 1989, he was dependent again and entered Nashville's Cumberland Heights Alcohol and Drug Treatment Center. In 1992, he entered the Loma Linda Behavioural Medicine Centre in Loma Linda, California for his final rehabilitation (several months later, his son followed him into this facility for treatment).^[63][64][65]

Folsom Prison Blues[link]

Cash felt great compassion for prisoners. He began performing concerts at various prisons starting in the late 1950s. His first ever prison concert was held on January 1, 1958 at San Quentin State Prison.^[66] These performances led to a pair of highly successful live albums, Johnny Cash at Folsom Prison (1968) and Johnny Cash at San Quentin (1969).

The Folsom Prison record was introduced by a rendition of his classic "Folsom Prison Blues", while the San Quentin record included the crossover hit single "A Boy Named Sue", a Shel Silverstein-penned novelty song that reached No. 1 on the country charts and No. 2 on the U.S. Top Ten pop charts. The AM versions of the latter contained a couple of profanities which were edited out. The modern CD versions are unedited and uncensored and thus also longer than the original vinyl albums, though they still retain the audience reaction overdubs of the originals.

In addition to his performances at U.S. prisons, Cash also performed at the Österåker Prison in Sweden in 1972. The live album På Österåker ("At Österåker") was released in 1973. Between the songs, Cash can be heard speaking Swedish, which was greatly appreciated by the inmates.

"The Man in Black"[link]

Cash advocated prison reform at his July 1972 meeting with United States President Richard Nixon.

From 1969 to 1971, Cash starred in his own television show, The Johnny Cash Show, on the ABC network. The Statler Brothers opened up for him in every episode; the Carter Family and rockabilly legend Carl Perkins were also part of the regular show entourage. However, Cash also enjoyed booking more mainstream performers as guests; such notables included Neil Young, Louis Armstrong, Kenny Rogers and The First Edition (who appeared a record four times on his show), James Taylor, Ray Charles, Eric Clapton (then leading Derek and the Dominos), and Bob Dylan. During the same period, he contributed the title song and other songs to the film Little Fauss and Big Halsey, which starred Robert Redford, Michael J. Pollard, and Lauren Hutton. The title song, The Ballad of Little Fauss and Big Halsey, written by Carl Perkins, was nominated for a Golden Globe award.

Cash had met with Dylan in the mid 1960s and became closer friends when they were neighbors in the late 1960s in Woodstock, New York. Cash was enthusiastic about reintroducing the reclusive Dylan to his audience. Cash sang a duet with Dylan on Dylan's country album Nashville Skyline and also wrote the album's Grammy-winning liner notes.

Another artist who received a major career boost from The Johnny Cash Show was songwriter Kris Kristofferson, who was beginning to make a name for himself as a singer/songwriter. During a live performance of Kristofferson's "Sunday Mornin' Comin' Down", Cash refused to change the lyrics to suit network executives, singing the song with its references to marijuana intact: "On a Sunday morning sidewalk / I'm wishin', Lord, that I was stoned."^[67]

By the early 1970s, he had crystallized his public image as "The Man in Black". He regularly performed dressed all in black, wearing a long black knee-length coat. This outfit stood in contrast to the costumes worn by most of the major country acts in his day: rhinestone suit and cowboy boots. In 1971, Cash wrote the song "Man in Black", to help explain his dress code: "We're doing mighty fine I do suppose / In our streak of lightning cars and fancy clothes / But just so we're reminded of the ones who are held back / Up front there ought to be a man in black."

Cash attired in black performing in Bremen, Northern Germany, in September 1972

He wore black on behalf of the poor and hungry, on behalf of "the prisoner who has long paid for his crime",^[68] and on behalf of those who have been betrayed by age or drugs.^[68] "And," Cash added, "with the Vietnam War as painful in my mind as it was in most other Americans', I wore it 'in mournin' for the lives that could have been.' ... Apart from the Vietnam War being over, I don't see much reason to change my position ... The old are still neglected, the poor are still poor, the young are still dying before their time, and we're not making many moves to make things right. There's still plenty of darkness to carry off."^[68]

He and his band had initially worn black shirts because that was the only matching color they had among their various outfits.^[39] He wore other colors on stage early in his career, but he claimed to like wearing black both on and off stage. He stated that, political reasons aside, he simply liked black as his on-stage color.^[39] To this day, the US Navy's winter blue uniform is referred to by sailors as "Johnny Cashes", as the uniform's shirt, tie, and trousers are solid black.^[69]

In the mid 1970s, Cash's popularity and number of hit songs began to decline. He made commercials for Amoco, an unpopular enterprise in an era in which oil companies made high profits while consumers suffered through high gasoline prices and shortages. However, his autobiography (the first of two), titled Man in Black, was published in 1975 and sold 1.3 million copies. A second, Cash: The Autobiography, appeared in 1997. His friendship with Billy Graham led to the production of a film about the life of Jesus, The Gospel Road, which Cash co-wrote and narrated.

He also continued to appear on television, hosting an annual Christmas special on CBS throughout the 1970s. Later television appearances included a role in an episode of Columbo (Swan Song). He also appeared with his wife on an episode of Little House on the Prairie entitled "The Collection" and gave a performance as John Brown in the 1985 American Civil War television mini-series North and South. Johnny and June also appeared in Dr Quinn, Medicine Woman (TV series) as a recurring couple. Cash also had a starring role in a Columbo film.

He was friendly with every US President starting with Richard Nixon. He was closest to Jimmy Carter, with whom he became close friends.^[39] He stated that he found all of them personally charming, noting that this was probably essential to getting oneself elected.^[39]

When invited to perform at the White House for the first time in 1970,^[70] Richard Nixon's office requested that he play "Okie from Muskogee" (a satirical Merle Haggard song about people who despised youthful drug users and war protesters) and "Welfare Cadillac" (a Guy Drake song which denies the integrity of welfare recipients). Cash declined to play either and instead selected other songs, including "The Ballad of Ira Hayes" (about a brave Native American World War II veteran who was mistreated upon his return to Arizona), and his own compositions, "What Is Truth" and "Man in Black". Cash wrote that the reasons for denying Nixon's song choices were not knowing them and having fairly short notice to rehearse them, rather than any political reason.^[39] However, Cash added, even if Nixon's office had given Cash enough time to learn and rehearse the songs, their choice of pieces that conveyed "antihippie and antiblack" sentiments might have backfired.^[71]

Highwaymen[link]

In 1980, Cash became the Country Music Hall of Fame's youngest living inductee at age 48, but during the 1980s his records failed to make a major impact on the country charts, although he continued to tour successfully. In the mid 1980s, he recorded and toured with Waylon Jennings, Willie Nelson, and Kris Kristofferson as The Highwaymen, making three hit albums which were released beginning with the originally titled "Highwaymen" in 1985, followed by "Highwaymen 2" in 1990, and concluding with "Highwaymen - The Road Goes on forever" in 1995.

During that period, Cash appeared in a number of television films. In 1981, he starred in The Pride of Jesse Hallam, winning fine reviews for a film that called attention to adult illiteracy. In the same year, Cash appeared as a "very special guest star" in an episode of the Muppet Show. In 1983, he appeared as a heroic sheriff in Murder in Coweta County, based on a real-life Georgia murder case, which co-starred Andy Griffith as his nemesis. Cash had tried for years to make the film, for which he won acclaim.

Cash relapsed into addiction after being administered painkillers for a serious abdominal injury in 1983 caused by an unusual incident in which he was kicked and wounded by an ostrich he kept on his farm.^[72]

At a hospital visit in 1988, this time to watch over Waylon Jennings (who was recovering from a heart attack), Jennings suggested that Cash have himself checked into the hospital for his own heart condition. Doctors recommended preventive heart surgery, and Cash underwent double bypass surgery in the same hospital. Both recovered, although Cash refused to use any prescription painkillers, fearing a relapse into dependency. Cash later claimed that during his operation, he had what is called a "near death experience". He said he had visions of Heaven that were so beautiful that he was angry when he woke up alive.^{[citation needed]}

Cash's recording career and his general relationship with the Nashville establishment were at an all-time low in the 1980s. He realized that his record label of nearly 30 years, Columbia, was growing indifferent to him and was not properly marketing him (he was "invisible" during that time, as he said in his autobiography). Cash recorded an intentionally awful song to protest, a self-parody.^{[citation needed]} "Chicken in Black" was about Cash's brain being transplanted into a chicken. Ironically, the song turned out to be a larger commercial success than any of his other recent material. Nevertheless, he was hoping to kill the relationship with the label before they did, and it was not long after "Chicken in Black" that Columbia and Cash parted ways.

In 1986, Cash returned to Sun Studios in Memphis to team up with Roy Orbison, Jerry Lee Lewis, and Carl Perkins to create the album Class of '55. Also in 1986, Cash published his only novel, Man in White, a book about Saul and his conversion to become the Apostle Paul. He also recorded Johnny Cash Reads The Complete New Testament in 1990.

American Recordings[link]

Johnny Cash sings a duet with a Navy lieutenant c.1987.

After Columbia Records dropped Cash from his recording contract, he had a short and unsuccessful stint with Mercury Records from 1987 to 1991 (see Johnny Cash discography).

His career was rejuvenated in the 1990s, leading to popularity with an audience not traditionally interested in country music. In 1991, he sang a version of "Man in Black" for the Christian punk band One Bad Pig's album I Scream Sunday. In 1993, he sang "The Wanderer" on U2's album Zooropa. Although no longer sought after by major labels, he was offered a contract with producer Rick Rubin's American Recordings label, better known for rap and hard rock.

Under Rubin's supervision, he recorded American Recordings (1994) in his living room, accompanied only by his Martin Dreadnought guitar – one of many Cash played throughout his career.^[73] The album featured covers of contemporary artists selected by Rubin and had much critical and commercial success, winning a Grammy for Best Contemporary Folk Album. Cash wrote that his reception at the 1994 Glastonbury Festival was one of the highlights of his career. This was the beginning of a decade of music industry accolades and commercial success. Cash teamed up with Brooks & Dunn to contribute "Folsom Prison Blues" to the AIDS benefit album Red Hot + Country produced by the Red Hot Organization. On the same album, he performed the Bob Dylan favorite "Forever Young".

Cash and his wife appeared on a number of episodes of the television series Dr. Quinn, Medicine Woman starring Jane Seymour. The actress thought so highly of Cash that she later named one of her twin sons after him. He lent his voice for a cameo role in The Simpsons episode "El Viaje Misterioso de Nuestro Jomer (The Mysterious Voyage of Homer)," as the "Space Coyote" that guides Homer Simpson on a spiritual quest. In 1996, Cash enlisted the accompaniment of Tom Petty and the Heartbreakers and released Unchained, which won the Best Country Album Grammy. Believing he did not explain enough of himself in his 1975 autobiography Man in Black, he wrote Cash: The Autobiography in 1997.

Last years[link]

In 1997, Cash was diagnosed with the neurodegenerative disease Shy-Drager syndrome, a form of multiple system atrophy. The diagnosis was later altered to autonomic neuropathy associated with diabetes. This illness forced Cash to curtail his touring. He was hospitalized in 1998 with severe pneumonia, which damaged his lungs. The albums American III: Solitary Man (2000) and American IV: The Man Comes Around (2002) contained Cash's response to his illness in the form of songs of a slightly more somber tone than the first two American albums. The video that was released for "Hurt", a cover of the song by Nine Inch Nails, fits Cash's view of his past and feelings of regret. The video for the song, from American IV, is now generally recognized as "his epitaph,"^[74] and received particular critical and popular acclaim.

Cash's grave (top) and the Cash/Carter memorial (bottom)

June Carter Cash died on May 15, 2003, at the age of 73. June had told Cash to keep working, so he continued to record, completing 60 more songs in the last four months of his life, and even performed a couple of surprise shows at the Carter Family Fold outside Bristol, Virginia. At the July 5, 2003, concert (his last public performance), before singing "Ring of Fire", Cash read a statement about his late wife that he had written shortly before taking the stage:

The spirit of June Carter overshadows me tonight with the love she had for me and the love I have for her. We connect somewhere between here and heaven. She came down for a short visit, I guess, from heaven to visit with me tonight to give me courage and inspiration like she always has.

Death[link]

Cash died of complications from diabetes at approximately 2:00 a.m. CT on September 12, 2003, while hospitalized at Baptist Hospital in Nashville - less than four months after his wife. It was suggested that Johnny's health worsened due to a broken heart over June's death.^[75][76] He was buried next to his wife in Hendersonville Memory Gardens near his home in Hendersonville, Tennessee.

On May 24, 2005, Vivian Liberto, Cash's first wife and the mother of Rosanne Cash and three other daughters, died from surgery to remove lung cancer at the age of 71. It was her daughter Rosanne's 50th birthday.^[77]

In June 2005, Cash's lakeside home on Caudill Drive in Hendersonville was put up for sale by his estate. In January 2006, the house was sold to Bee Gees vocalist Barry Gibb and wife Linda and titled in their Florida limited liability company for $2.3 million. The listing agent was Cash's younger brother, Tommy Cash. During a major restoration of the property by the new owner, Cash's home was accidentally destroyed by workers using linseed oil products in a spontaneous combustion-ignited fire on April 10, 2007.^[78]

One of Cash's final collaborations with producer Rick Rubin, entitled American V: A Hundred Highways, was released posthumously on July 4, 2006. The album debuted in the No.1 position on the Billboard Top 200 album chart for the week ending July 22, 2006.

On February 23, 2010, three days before what would have been Cash's 78th birthday, the Cash Family, Rick Rubin, and Lost Highway Records released his second posthumous record, titled American VI: Ain't No Grave.

Legacy[link]

From his early days as a pioneer of rockabilly and rock and roll in the 1950s, to his decades as an international representative of country music, to his resurgence to fame in the 1990s as a living legend and an alternative country icon, Cash influenced countless artists and left a large body of work. Upon his death, Cash was revered by the greatest popular musicians of his time. His rebellious image and often anti-authoritarian stance influenced punk rock.^[79][80]

Among Cash's children, his daughter Rosanne Cash (by first wife Vivian Liberto) and his son John Carter Cash (by June Carter Cash) are notable country-music musicians in their own right.

Cash nurtured and defended artists on the fringes of what was acceptable in country music even while serving as the country music establishment's most visible symbol. At an all-star concert which aired in 1999 on TNT, a diverse group of artists paid him tribute, including Bob Dylan, Chris Isaak, Wyclef Jean, Norah Jones, Kris Kristofferson, Willie Nelson, Dom DeLuise and U2. Cash himself appeared at the end and performed for the first time in more than a year. Two tribute albums were released shortly before his death; Kindred Spirits contains works from established artists, while Dressed in Black contains works from many lesser-known artists.

In total, he wrote over 1,000 songs and released dozens of albums. A box set titled Unearthed was issued posthumously. It included four CDs of unreleased material recorded with Rubin as well as a Best of Cash on American retrospective CD.

In recognition of his lifelong support of SOS Children's Villages, his family invited friends and fans to donate to that charity in his memory. He had a personal link with the SOS village in Diessen, at the Ammersee Lake in Southern Germany, near where he was stationed as a GI, and also with the SOS village in Barrett Town, by Montego Bay, near his holiday home in Jamaica.^[81] The Johnny Cash Memorial Fund was founded.^[82]

In 1999, Cash received the Grammy Lifetime Achievement Award. In 2004, Rolling Stone Magazine ranked Cash^[83] No.31 on their list of the 100 Greatest Artists of All Time.^[84]

In a tribute to Cash after his death, country music singer Gary Allan included the song "Nickajack Cave (Johnny Cash's Redemption)" on his 2005 album entitled Tough All Over. The song chronicles Cash hitting rock bottom and subsequently resurrecting his life and career.

The main street in Hendersonville, Tennessee, Highway 31E, is known as "Johnny Cash Parkway"; the Johnny Cash Museum is located in the town.

On November 2–4, 2007, the Johnny Cash Flower Pickin' Festival was held in Starkville, Mississippi. Starkville, where Cash was arrested over 40 years earlier and held overnight at the city jail on May 11, 1965, inspired Cash to write the song "Starkville City Jail". The festival, where he was offered a symbolic posthumous pardon, honored Cash's life and music, and was expected to become an annual event.^[85]

JC Unit One, Johnny Cash's private tour bus from 1980 until 2003, was put on exhibit at the Rock and Roll Hall of Fame + Museum in 2007. The Cleveland, Ohio museum offers public tours of the bus on a seasonal basis (it is stored during the winter months and not exhibited during those times).

WWE Superstar The Undertaker used Cash's song "Aint No Grave" (from American VI: Ain't No Grave) to announce his return following an absence in February, 2011, and as his entrance music for Wrestlemania XXVII. Independent circuit wrestlers Tyson Dux and Brodie Lee also use "God's Gonna Cut You Down" (from American V: A Hundred Highways) as entrance music. Other professional wrestlers who have used Cash's songs as entrance music include Austin Aries, who used his cover of the Depeche Mode's song "Personal Jesus" (from American IV: The Man Comes Around), and Necro Butcher, who used both "The Man Comes Around" and "Hurt". WWE also used "Hurt" in a special video package that was aired on Monday Night RAW in November 2005 as a tribute to Eddie Guerrero, a popular WWE Superstar who had died of heart failure while he was still contracted with the company. It is also noted that current WWE Superstar Ted DiBiase, Jr. is a huge fan of Cash, as is former WWE Diva and current TNA Knockout Mickie James.

The television show "The Deadliest Catch" is using the song "Ain't No Grave" as the theme song in many of their commercials.

One of Cash's greatest hits, "Hurt", was also used to advertise Prototype 2 in the trailer called "The Power Of Revenge".

Portrayals[link]

The Canada Trust company used his name and images for their Johnny Cash automatic bank machines during the late 80s and early 90s.

In 1998, country singer Mark Collie was the first to portray Cash, in the short film, I Still Miss Someone.

In November of 2005, Walk the Line, an Academy Award-winning biopic about Cash's life starring Joaquin Phoenix as Johnny (for which he was nominated for the 2005 Best Actor Oscar) and Reese Witherspoon as June (for which she won the 2005 Best Actress Oscar), was released in the United States on to considerable commercial success and critical acclaim. Both Phoenix and Witherspoon have won various other awards for their roles, including the Golden Globe for Best Actor in a Musical or Comedy and Best Actress in a Musical or Comedy, respectively. They both performed their own vocals in the film, and Phoenix learned to play guitar for his role as Cash. Phoenix received the Grammy Award for his contributions to the soundtrack. John Carter Cash, the first child of Johnny and June, served as an executive producer on the film.

On March 12, 2006 Ring of Fire, a jukebox musical of the Cash oeuvre, debuted on Broadway at the Ethel Barrymore Theatre, but closed due to harsh reviews and disappointing sales on April 30, 2006.

On April 11, 2010, Million Dollar Quartet, a musical portraying the early Sun recording sessions involving Cash, Elvis Presley, Jerry Lee Lewis, and Carl Perkins, debuted on Broadway. Actor Lance Guest portrayed Cash. The musical was nominated for three awards at the 2010 Tony Awards, and won one.

Discography[link]

See Johnny Cash discography, and Johnny Cash Sun Records discography.

Awards and honors[link]

For detailed lists of music awards, see List of Johnny Cash awards.

Cash received multiple Country Music Association Awards, Grammys, and other awards, in categories ranging from vocal and spoken performances to album notes and videos.

In a career that spanned almost five decades during which he rose to recording industry icon status, Cash was the personification of country music to many people around the world. Cash was a musician who was not tied to a single genre. He recorded songs that could be considered rock and roll, blues, rockabilly, folk, and gospel, and exerted an influence on each of those genres. Moreover, he had the unique distinction among country artists of having "crossed over" late in his career to become popular with an unexpected audience, young indie and alternative rock fans. His diversity was evidenced by his presence in three major music halls of fame: the Nashville Songwriters Hall of Fame (1977), the Country Music Hall of Fame (1980), and the Rock and Roll Hall of Fame (1992). Only thirteen performers are in both of the last two, and only Hank Williams Sr., Jimmie Rodgers, Bob Wills, and Bill Monroe share the honor with Cash of being in all three. However, only Cash was inducted into the Rock and Roll Hall of Fame in the regular manner, unlike the other country members, who were inducted as "early influences." His pioneering contribution to the genre has also been recognized by the Rockabilly Hall of Fame.^[86] He received the Kennedy Center Honors in 1996. Cash stated that his induction into the Country Music Hall of Fame, in 1980, was his greatest professional achievement. In 2001, he was awarded the National Medal of Arts.^[87] He was nominated for an MTV Video Music Award for best cinematography for "Hurt" and was supposed to appear, but died during the night.

In 2007, Cash was inducted into the Hit Parade Hall of Fame.^[88]

Further reading[link]

• Graeme Thomson The Resurrection of Johnny Cash: Hurt, Redemption, and American Recordings Jawbone Press ISBN 978-1-906002-36-7

Sources[link]

Notes[link]