{"id":6033,"date":"2025-04-29T09:32:38","date_gmt":"2025-04-29T07:32:38","guid":{"rendered":"https:\/\/riffsandbeats.com\/2025\/04\/29\/at-san-quentin-johnny-cash\/"},"modified":"2025-05-29T09:43:12","modified_gmt":"2025-05-29T07:43:12","slug":"at-san-quentin-johnny-cash","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/at-san-quentin-johnny-cash\/","title":{"rendered":"At San Quentin &#8211; Johnny Cash"},"content":{"rendered":"<section class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text]<br \/>\nUn hombre, un micr\u00f3fono, una prisi\u00f3n.<br \/>\n[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">El 24 de febrero de 1969, cuando Johnny Cash entr\u00f3 en la prisi\u00f3n de San Quentin, no fue por espect\u00e1culo. Tampoco fue una salvaci\u00f3n. Fue un conflicto. Cash estaba bien consciente del poder de una audiencia cautiva ya que hab\u00eda actuado en Folsom el a\u00f1o anterior. Pero San Quentin era algo completamente diferente con su imagen m\u00e1s oscura y su borde m\u00e1s duro. No hab\u00eda pretensiones. Solo Cash, su banda, un grupo de tipos que entend\u00edan lo que significaba ser olvidado, y el sonido de pies sobre el concreto. Esto era menos un concierto y m\u00e1s un enfrentamiento; Cash estaba en su elemento.<\/p>\n<p><\/p>\n<p style=\"text-align: justify;\">El \u00e1lbum comienza con un aire ya tenso. \u00abSan Quentin\u00bb, la canci\u00f3n escrita especialmente para el show, se grita como un desaf\u00edo. En la segunda estrofa, los presos gritan como si alguien por fin hubiera expresado en voz alta lo que hab\u00edan estado pensando durante a\u00f1os. Cash no tiene audiencia. Juega con ellos, r\u00ede con ellos; hace pausas cuando gritan. El escenario y el bloque de celdas se fusionan. Es en esa confusi\u00f3n donde ocurre algo el\u00e9ctrico.<\/p>\n<p><\/p>\n<p style=\"text-align: justify;\">Con la participaci\u00f3n de June Carter, Carl Perkins y los Statler Brothers y respaldado por los Tennessee Three, el espect\u00e1culo es a la vez \u00e1spero y afilado como una navaja. La lista de canciones cambia del gospel y de los est\u00e1ndares crudos del country a baladas de asesinato y lamentos de prisi\u00f3n. Por primera vez aqu\u00ed, canciones como \u00abA Boy Named Sue\u00bb fueron grabadas casi por casualidad y se convirtieron en \u00e9xitos. Las imperfecciones permanec\u00edan. A mitad de canci\u00f3n, se pueden o\u00edr amplificadores zumbando, se\u00f1ales perdidas, incluso a Cash reprendiendo a un equipo de filmaci\u00f3n de la BBC. Nada de eso suaviza el golpe. Si acaso, lo intensifica.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719644035{padding-top: 30px !important;padding-bottom: 30px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n<p data-start=\"0\" data-end=\"93\">San Quentin, te odio con cada cent\u00edmetro de ti. Me has cortado y me has marcado por completo.<\/p>\n<p><\/p>\n<p style=\"text-align: right;\" data-start=\"95\" data-end=\"114\" data-is-last-node=\"\" data-is-only-node=\"\"><em>(Johnny Cash, 1969)<\/em><\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">Cash no estaba elogiando a los criminales. Tampoco sent\u00eda l\u00e1stima por ellos. El reconocimiento era lo que daba. Una voz externa que conoce el camino en el interior. Sus encuentros personales con el poder y la dependencia fueron eventos hist\u00f3ricos, no un personaje. Y estaba interactuando con ese p\u00fablico m\u00e1s de lo que actuaba para ellos. Eso le daba al disco la sensaci\u00f3n de una escucha telef\u00f3nica desde un lugar real. Un elemento genuino, sin filtro, demasiado vivo para ser pulido.<\/p>\n<p><\/p>\n<p style=\"text-align: justify;\">San Quentin no era simplemente un \u00e1lbum en vivo. Era una divisi\u00f3n social. Se vendieron millones de copias, convirtiendo a Cash nuevamente en un nombre familiar en todas partes y marcando una de esas raras ocasiones en que el country, el rock y la protesta respiraban al mismo tiempo. Aqu\u00ed hab\u00eda un tipo vestido de negro cantando para los invisibles y los condenados en una \u00e9poca desgarrada por Vietnam, los derechos civiles y el cambio generacional. Y de alguna manera ilumin\u00f3 la sala al hacer esto.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>El 24 de febrero de 1969, cuando Johnny Cash entr\u00f3 en la prisi\u00f3n de San Quentin, no fue por espect\u00e1culo. Tampoco fue por salvaci\u00f3n. Fue un conflicto.<\/p>\n","protected":false},"author":1,"featured_media":6027,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"video","meta":{"give_campaign_id":0,"footnotes":""},"categories":[302,299],"tags":[415,518],"class_list":["post-6033","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-conciertos","category-criticas","tag-country-folk-es","tag-johnny-cash-es","post_format-post-format-video"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>At San Quentin - Johnny Cash - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/es\/criticas\/at-san-quentin-johnny-cash\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"At San Quentin - Johnny Cash - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"El 24 de febrero de 1969, cuando Johnny Cash entr\u00f3 en la prisi\u00f3n de San Quentin, no fue por espect\u00e1culo. 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