- ‘Luckenbach, Texas’ At 40: How Waylon Jennings Created An Outlaw Fantasy
- 'Luckenbach, Texas' at How Waylon Jennings Created an Outlaw Fantasy - Article Photos
- 'Luckenbach, Texas' at 40: How Waylon Jennings Created an Outlaw Fantasy - Article Photos
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‘Luckenbach, Texas’ At 40: How Waylon Jennings Created An Outlaw Fantasy
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The scene then dissolves to outside their house, where Ordell Robbie Samuel Jackson is waiting and smoking. Ordell puts on gloves to avoid prints—and then turns off the music. Until Ordell switches off the player, there is every reason to believe the Johnny Cash song, with all its dry menace, is background music chosen by Tarantino.
The revelation that it's Ordell who picked the song is a multi-level joke. More than the minor push against stereotype of a black city dweller listening to country music, though, Ordell's choice is funny because it suggests he's psyching himself up. He is playing mean, evil music to get into a mean, evil mood.
'Luckenbach, Texas' at How Waylon Jennings Created an Outlaw Fantasy - Article Photos
And if Tarantino fails in the transformation, so does Ordell. After he turns off that music, he goes into Jackie Brown's house to kill her.
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Instead, she shoves a pistol into his balls before he can get up the nerve to strangle her. Rather than becoming the manly Johnny Cash, Ordell is completely unmanned. He is not Johnny Cash, bad man; he's just a doofus wannabe gangsta.
'Luckenbach, Texas' at 40: How Waylon Jennings Created an Outlaw Fantasy - Article Photos
He was reading Quentin Tarantino's liner notes when he should have read Johnny Cash's: "These songs are just for listening and singing. Don't go out and do it. Cash, in his inimitable way, is telling Ordell, and Tarantino, and anyone who will listen, not to take the persona for the person.
Don't be so enamored of the bad man image that you take your guns to town and get shot. Tarantino's fantasized bad man Johnny Cash is not the real Johnny Cash.
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