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About the Book
In "Grace for Grace," Watchman Nee explores the concept of grace in the Christian faith, emphasizing the importance of living a life of humility and dependence on God's grace. He emphasizes the need for believers to receive God's abundant grace in order to overcome sin and live a life of victory. Through examples from biblical characters and personal anecdotes, Nee offers practical insights on how believers can grow in their understanding and experience of God's grace.
Johnny Cash
Johnny Cash, the Man in Black, was a singer, guitarist and songwriter whose music innovatively mixed country, rock, blues and gospel influences.
Who Was Johnny Cash?
Johnny Cash grew up in a poor farming community and joined the Air Force in 1950. He co-founded a band following his discharge, and within a few years Johnny Cash and the Tennessee Two had scored hits with songs like "Walk the Line." Cash's career was nearly derailed in the 1960s by a serious substance-abuse problem, but his marriage to June Carter and acclaimed album Johnny Cash at Folsom Prison (1968) put him back on track. In later years, Cash joined the country supergroup the Highwaymen and released a series of recordings with producer Rick Rubin.
Early Life
Cash was born on February 26, 1932, in Kingsland, Arkansas. The son of poor Southern Baptist sharecroppers, Cash, one of seven children born to Ray and Carrie Rivers Cash, moved with his family at the age of 3 to Dyess, Arkansas, so that his father could take advantage of the New Deal farming programs instituted by President Franklin Roosevelt. There, the Cash clan lived in a five-room house and farmed 20 acres of cotton and other seasonal crops.
Cash spent much of the next 15 years out in the fields, working alongside his parents and siblings to help pay off their debts. It wasn't an easy life, and music was one of the ways the Cash family found escape from some of the hardships. Songs surrounded the young Cash, be it his mother's folk and hymn ballads, or the working music people sang out in the fields.
From an early age Cash, who began writing songs at age 12, showed a love for the music that enveloped his life. Sensing her boy's gift for song, Carrie scraped together enough money so that he could take singing lessons. However, after just three lessons his teacher, enthralled with Cash's already unique singing style, told him to stop taking lessons and to never deviate from his natural voice.
Religion, too, had a strong impact on Cash's childhood. His mother was a devout member of the Pentecostal Church of God, and his older brother Jack seemed committed to joining the priesthood until his tragic death in 1944 in an electric-saw accident. The experiences of his early farming life and religion became recurring themes in Cash's career.
Military Service and Musical Aspirations
In 1950, Cash graduated high school and left Dyess to seek employment, venturing to Pontiac, Michigan, for a brief stint at an auto body plant. That summer he enlisted in the U.S. Air Force as "John R. Cash"—military regulations required a full first name—and he was sent for training at Lackland Air Force Base in San Antonio, Texas, where he met future wife Vivian Liberto. For the bulk of his four years in the Air Force, Cash was stationed in Landsberg, West Germany, where he worked as a radio intercept officer, eavesdropping on Soviet radio traffic.
It was also in Germany that Cash began to turn more of his attention toward music. With a few of his Air Force buddies, he formed the Landsberg Barbarians, giving Cash a chance to play live shows, teach himself more of the guitar and take a shot at songwriting. "We were terrible," he said later, "but that Lowenbrau beer will make you feel like you're great. We'd take our instruments to these honky-tonks and play until they threw us out or a fight started."
After his discharge in July 1954, Cash married Vivian and settled with her in Memphis, Tennessee, where he worked, as best he could, as an appliance salesman. Pursuing music on the side, Cash teamed up with a couple of mechanics, Marshall Grant and Luther Perkins, who worked with Cash's older brother Roy. The young musicians soon formed a tight bond, with the crew and their wives often heading over to one of their houses to play music, much of it gospel.
Cash, who banged away on an old $5 guitar he'd purchased in Germany, became the frontman for the group, and they honed their unique synthesis of blues and country-and-western music through live performances. "He was a decent singer, not a great one," wrote Marshall Grant, in his 2006 autobiography, I Was There When it Happened: My Life with Johnny Cash. "But there was power and presence in his voice."
Johnny Cash and the Tennessee Two
In July 1954, another Memphis musician, Elvis Presley, cut his first record, sparking a wave of Elvis-mania as well as an interest in the local producer, Sun Records owner Sam Phillips, who had issued the record. Later that year Cash, Grant and Perkins made an unannounced visit to Sun to ask Phillips for an audition. The Sun Records owner gave in and Cash and the boys soon returned to show off their skills. Phillips liked their sound but not their gospel-driven song choices, which he felt would have a limited market, and asked them to return with an original song.
The trio did just that, beginning work on the Cash-written "Hey Porter," shortly that first Sun session. Phillips liked that song, as well as the group's follow-up effort, "Cry, Cry, Cry," and signed the newly branded Johnny Cash and the Tennessee Two. "Hey Porter" was released in May 1955 and later that year "Cry, Cry, Cry" peaked at No. 14 on the Billboard charts.
Other hits followed, including the Top 10 tracks "So Doggone Lonesome" and "Folsom Prison Blues." But true fame arrived in 1956 when Cash wrote and released "I Walk The Line," which catapulted to No. 1 on the country music charts and sold 2 million copies. He released his debut album, Johnny Cash with His Hot & Blue Guitar in 1957, and cemented his fame with chart-toppers like "Ballad of a Teenage Queen" and "Don't Take Your Guns to Town."
Drugs and Divorce
By the early 1960s, Cash, who had relocated his family to California and left Sun for Columbia Records, was a musical superstar. On the road for 300 nights a year with the group now known as the Tennessee Three, he was often accompanied by June Carter, who co-wrote what became one of the Man in Black's signature songs, "Ring of Fire" (1963). Cash also sought to establish himself as an actor, starring in the movie Five Minutes to Live (1961) and a few Western-themed TV programs.
But the schedule and the pressures that faced him took a toll on his personal life. Drugs and alcohol were frequent tour companions while Vivian, left home to take care of their family, which now included daughters Rosanne (b. 1955), Kathy (b. 1956), Cindy (b. 1959) and Tara (b. 1961) grew increasingly frustrated with her husband's absence. In 1966, she finally filed for divorce.
Cash's personal life continued to spiral out of control. The following year, after a serious drug binge, Cash was discovered in a near-death state by a policeman in a small village in Georgia. There were other incidents, too, including an arrest for smuggling amphetamines into the United States across the Mexican border, and for starting a forest fire in a California park. "I took all the drugs there are to take, and I drank," Cash recalled. "Everybody said that Johnny Cash was through 'cause I was walkin' around town 150 pounds. I looked like walking death."
Remarriage and Revival
Cash got the lifeline he needed from his old touring companion, June Carter, who helped him refocus on his Christian faith and get the drug addiction treatment he needed. The two were married on March 1, 1968.
With his new wife, Cash embarked on a remarkable turnaround. In 1969, he began hosting The Johnny Cash Show, a TV variety series that showcased contemporary musicians ranging from Bob Dylan to Louis Armstrong. It also provided a forum for Cash to explore a number of social issues, tackling discussions that ranged from the war in Vietnam to prison reform to the rights of Native Americans.
The same year his show debuted, Cash also took home two Grammy Awards for the live album Johnny Cash at Folsom Prison (1968). A critical and commercial success, the album was credited with helping to revive the artist's popularity. In early 1970, Cash and Carter experienced more joy with the birth of their first and only child, John Carter Cash.
The ensuing decade offered up more success for the artist, as Cash's music career flourished with the release of hit singles like "A Thing Called Love" (1972) and "One Piece at a Time" (1976). He also co-starred with Kirk Douglas in A Gunfight (1970), wrote music for the feature Little Fauss and Big Halsy (1970) and published a best-selling autobiography, Man in Black (1975). In 1980, he became the youngest living person to be elected to the Country Music Hall of Fame.
Cash continued to maintain a busy schedule, and he increasingly teamed up with other musicians. In 1986, he banded with old Sun Records colleagues Carl Perkins, Jerry Lee Lewis and Roy Orbison to record the widely popular compilation The Class Of '55. Meanwhile, he joined forces with fellow country stalwarts Kris Kristofferson, Willie Nelson and Waylon Jennings to form the Highwaymen, which released three studio albums between 1985 and 1995. In the early 1990s, Cash stepped into the studio with U2 to record The Wanderer, a track that would appear on the group's 1993 release, Zooropa.
Throughout this time, though, Cash's health problems and his continued battles with addiction were nearby. After undergoing abdominal surgery in 1983, he checked himself into the Betty Ford Clinic. In 1988, Cash again went under the knife, this time for double-bypass heart surgery.
But, like always, Cash pushed on. He was inducted into the Rock and Roll Hall of Fame in 1992, and in 1994 he teamed with music producer Rick Rubin to release American Recordings. A 13-track acoustic album that mixed traditional ballads with modern compositions, American Recordings earned Cash a new audience and a 1995 Grammy Award for Best Contemporary Folk Album. He followed with another Rubin-produced album, Unchained (1996), and in 1997 he published his second memoir, Cash: The Autobiography.
Final Years, Death and Legacy
Cash's physical health became more of an issue in the late 1990s. He was diagnosed with the neurodegenerative disease Shy-Drager syndrome—a misdiagnosis that was later corrected to autonomic neuropathy—and was hospitalized for pneumonia in 1998.
Still, the artist continued making music. In 2002, he released American IV: The Man Comes Around, a mix of originals and covers, including songs from the Beatles to Trent Reznor of Nine Inch Nails. The album, recorded at the Cash Cabin Studio in Hendersonville, Tennessee, was the fourth Cash-Rubin compilation.
Over the next year, Cash's health continued to decline. He was devastated when his longtime love, June Carter, died in May 2003, but he continued to work. With Rubin at his side, the singer recorded what would become American V: A Hundred Highways. Just a week before his death on September 12, 2003, from complications associated with diabetes, Cash wrapped up his final track.
"Once June passed, he had the will to live long enough to record, but that was pretty much all," Rubin later recalled. "A day after June passed, he said, 'I need to have something to do every day. Otherwise, there's no reason for me to be here.'"
That November, Cash was posthumously honored at the CMA annual awards, winning best album for American IV, best single and best video. In 2005, the story of his life and career through the late 1960s was made into a feature film, Walk the Line, starring Joaquin Phoenix as Cash and Reese Witherspoon as Carter.
In 2006, fans were treated to new music from the late artist. May brought Personal File, a two-CD set of unreleased material recorded decades earlier. In July, American V: A Hundred Highways was unveiled. Starkly arranged and sometimes mournful, the songs highlighted Cash's older and rougher sounding voice, which seared with a raw honesty.
Not surprisingly, Cash's influence continued to resonate. In 2007, the community of Starkville, Mississippi, paid honor to the performer and his arrest there in 1965 for public intoxication with the Johnny Cash Flower Pickin' Festival. The following year, the late artist won another Grammy, for Best Short Form Music Video for God's Gonna Cut You Down.
"I think he'll be remembered for the way he grew as a person and an artist," wrote Kris Kristofferson in 2010, upon Cash's selection by Rolling Stone magazine as the 31st greatest artist of all time. "He went from being this guy who was as wild as Hank Williams to being almost as respected as one of the fathers of our country. He was friends with presidents and with Billy Graham. You felt like he should've had his face on Mount Rushmore."
In 2010, additional material from recording sessions with Rubin were released as American VI: Ain't No Grave. In December 2013, it was revealed that another album from Cash had been unearthed. Out Among the Stars, which had been recorded in the early 1980s but never released by Columbia Records, was discovered by John Carter Cash in his father's archives. Underscoring the singer's sustained popularity, the album became a chart-topper following its release in March 2014.
The Soundtrack of Heaven
The book of Revelation confuses many Christians. Filled with beasts, angels, living creatures, wars, lightning, thunder, prophecies, and visions, its story can be a bit overwhelming for any of us. Something like a Marvel movie on steroids. Not surprisingly, scholars differ widely on what it all means. Some try to tie it to actual people and events in history. Others assign most of Revelation to the future. Still others believe God is giving us repeated descriptions of what is taking place now in the church age. Wherever we land on the bigger picture, Revelation gives us a series of windows into reality that are both hard to miss and easier to understand: its songs. Woven into the fabric of the book are around a dozen choruses, both spoken and sung. That shouldn’t surprise us given how often in Scripture drawing near to God is expressed and encouraged through singing. But these songs of heaven are unique. They’re written by God himself, and they show us what singing in God’s presence will really be like. And we may be singing some form of these particular choruses forever. Even now, though, they have much to teach us. Songs of Exuberance Let’s admit it. The descriptions of the singing of heaven put the sound of any rock concert or sports stadium to shame, not to mention most churches. Myriads of myriads and thousands of thousands, saying with a loud voice . . . (Revelation 5:11–12) And I heard every creature in heaven and on earth and under the earth and in the sea . . . (Revelation 5:13) And all the angels . . . fell on their faces before the throne. (Revelation 7:11) Then I heard what seemed to be the voice of a great multitude, like the roar of many waters and like the sound of mighty peals of thunder . . . (Revelation 19:6) “The example of heaven challenges the assumption that congregational worship should be reserved and subdued.” Both audibly and visually, we’re confronted with the fact that those who truly grasp God’s nature and what he’s accomplished will be moved to sing. As Dennis Johnson writes, Revelation shows us that “those who dwell with God in heaven constantly break forth in song, overwhelmed with joy and adoration by his perfections in himself and by his awesome achievements in creation and redemption” (Triumph of the Lamb, 330). The example of heaven challenges the assumption that congregational worship should be reserved and subdued. While we cite proof texts, claim to honor tradition, and avoid looking too fanatical, might it be that we’re actually just failing to see how great God’s glory in Christ really is? Songs of Explanation Heaven’s songs give us insight into the character of God, the works of his hands, and why he does what he does. We don’t hear any of the simple, repetitious 7-11 songs (7 words repeated 11 times — or more!) that are so popular today. Rather, the lyrics shed real light on what’s happening in the world and in the heavenly throne room. ILLUMINATING HOLINESS For instance, at the beginning of Revelation 4, John is shown an open door in heaven. He paints a moving picture of what he sees and hears. A throne. An emerald-like rainbow. Flashes of lightning. Peals of thunder. But what does it all mean? Revelation 4:8 tells us: Holy, holy, holy, is the Lord God Almighty, who was and is and is to come! God is thrice holy — righteous, omnipotent, eternal, set apart. The song of verse 11 further explains that God created all things and sustains all things for his pleasure: Worthy are you, our Lord and God, to receive glory and honor and power, for you created all things, and by your will they existed and were created. (Revelation 4:11) UNFOLDING REDEMPTION At the beginning of chapter 5, John hears a new song, sung to the Lamb: Worthy are you to take the scroll and to open its seals, for you were slain, and by your blood you ransomed people for God from every tribe and language and people and nation, and you have made them a kingdom and priests to our God, and they shall reign on the earth. (Revelation 5:9–10) The Lamb could open the scroll because he was slain, a reference to his substitutionary death on the cross. His death ransomed people for God from every tribe, language, people, and nation, a reference to the international scope of the gospel invitation. The ransomed will be a kingdom and priests to God who will reign forever on earth, a statement showing that God’s promise to make Israel “a kingdom of priests and a holy nation” (Exodus 19:6) was fulfilled in the church, made up of both Jews and Gentiles. In short, despite the turmoil and tests of the present age, God will surely have a diverse people for his glory with whom he will live forever. After an outpouring of praise for the Lamb’s attributes (Revelation 5:12), we hear another song, declaring Jesus’s divinity as clearly as any passage in Scripture: “To him who sits on the throne and to the Lamb be blessing and honor and glory and might forever and ever!” (Revelation 5:13). In a similar way, our songs should be filled with the character, nature, purposes, actions, and heart of God. Words don’t get in the way of worship. They give substance and meaning to it. Songs of Encouragement When God gave John the prophecy of Revelation, Christians were already facing varying degrees of persecution, and it was expected to increase. Pressures to conform to a pagan culture, and even to participate in the idolatry of emperor worship, came at Christians from every direction. What would give John’s readers faith to endure and courage to stand against opposition? What would strengthen their resolve as they saw friends and family members taken from their homes and martyred for their allegiance to King Jesus? The knowledge that God’s throne is immovable, sovereign, and eternal. The saints needed to be reminded that, in the heavenly realms, God’s authority and rule are not only affirmed, but celebrated: The kingdom of the world has become the kingdom of our Lord and of his Christ. (Revelation 11:15) We give thanks to you, Lord God Almighty, who is and who was, for you have taken your great power and begun to reign. (Revelation 11:17) Hallelujah! Salvation and glory and power belong to our God, for his judgments are true and just; for he has judged the great prostitute who corrupted the earth with her immorality, and has avenged on her the blood of his servants. (Revelation 19:1–2) How often do our songs both detail the forces of evil arrayed against us and point us clearly to the God who has triumphed over them in Christ? David Peterson asks, Do our hymns and acclamations . . . challenge us to take a firm stand against every manifestation of Satan’s power and to bear faithful witness to the truth of the gospel in our society? It is not good enough to sing certain items merely because they make the congregation feel good! (Engaging with God, 278) “Words don’t get in the way of worship. They give substance and meaning to it.” When we sing together, our strength comes not from aiming to feel and emote, but to see and hear. We want to see God reigning on his throne with absolute justice, wisdom, and power over every terrorist, virus, dictator, and manifestation of evil in our day. And we want to hear and join in the cries of jubilation that are already ascending to the God who can do all things and whose purposes cannot be thwarted (Job 42:2). Songs of Expectation Endurance is one thing. Expectation is another. It’s possible to sing through dark seasons, discouraging outcomes, heart-wrenching losses, relentless opposition, and dwindling resources with grit, resolve, and stoicism. But that doesn’t describe the songs of heaven. Not even close. They’re marked by joy. And that joy stems from a confident expectation that God will accomplish everything he has promised. The final songs of Revelation describe God overcoming all evil, the nations bowing down in worship, and the bride of Christ finally beholding her groom, King Jesus, at a never-ending royal celebration of grace. All nations will come and worship you, for your righteous acts have been revealed. (Revelation 15:4) Hallelujah! For the Lord our God the Almighty reigns. Let us rejoice and exult and give him the glory, for the marriage of the Lamb has come, and his Bride has made herself ready; it was granted her to clothe herself with fine linen, bright and pure. (Revelation 19:6–8) Do our songs help people clearly understand that what’s yet to come is not only certain but worth celebrating now? Do we fill them with anticipation for our glorious future in Christ, when “all the waiting will be over, every sorrow will be healed, all the dreams it seemed could never be will all be real”? Our songs help bring into sharper focus the things hoped for and unseen that God has promised to us. Transformed Through Singing Will our earthly songs look and sound exactly like the songs of heaven? No. But can the songs of heaven motivate us to sing with greater passion, understanding, confidence, and anticipation now? Absolutely. G.K. Beale writes, Is it possible . . . that, as we declared the same truths about God as the heavenly beings do, the same Holy Spirit who is pictured as being before the throne would deepen and transform our understanding of God and his glory in a way that touches our whole being, in its spiritual, intellectual, emotional, and even physical components? (Revelation: A Shorter Commentary, 108) It’s not only possible. It’s God’s intention. So, may we joyfully model our singing after the songs of heaven until, by the grace of God, they are no longer just a worthy goal, but the sound of present reality. Article by Bob Kauflin