My dad [Johnny Cash] went to the [Richard] Nixon White House and refused to sing "Welfare Cadillac" (instead performing the anti-war songs "The Ballad of Ira Hayes" and "Man in Black"). He protested the Vietnam War, but he went to perform for the troops with bombs dropping all around him. He had that kind of genius: a true artist's capacity for holding two opposing thoughts at once while being large enough to encompass all realities.

While visiting places in the South with my heart really open, I realized how important people in certain geographical spots were to me, what they symbolize, how I'm still connected to them and how much they are a part of my ancestry, both musical and real.

Like Thornton Wilder said, time is not a river, but rather a landscape that you step in and out of. I've always found that true of creative work, and I've heard so many songwriters and writers in general say the same thing... When you're going into the realms of your self and trying to tap into the mystery of this creative source, linear time kind of falls away.

"Country" has become a marketing term. I see myself as a songwriter.

When I was eleven I stopped dreaming the dreams that didn't come true, I stopped talking to people who didn't listen, I lost hope and I retreated. I assumed that the root of the problem was that I was too strange for the real world. That being the case, I created a charming and dynamic personality to make the necessary forays into the Outside, and I kept my strangeness for myself; my own peculiar jewels under lock and key.

Celtic music is part of the language in Scotland and Ireland, where every kid and grandparent knows those songs, music by the likes of Woody Guthrie and Hank Snow is getting entrenched here. They are part of our cultural language. It's part of a living treasure. It doesn't just belong to a museum.

I think any young person who is going into the same field as their parent whose parent has been very successful, it's complicated.And it was complicated for me.