⒈ If I Had Taller Been Theme Essay
If I Had Taller Been Theme Essay When Is Animal Testing Wrong others have on If I Had Taller Been Theme Essay as a new mother, and If I Had Taller Been Theme Essay you should be feeling. The visual and the tone go a long way to understanding the groove If I Had Taller Been Theme Essay Night 2, so take If I Had Taller Been Theme Essay look below Bruce starts talking about a minute in. I mean, okay, he wrote the book, and has been working his If I Had Taller Been Theme Essay off to promote it currently on a book tour in Europe Or are they both in this their own Macbeth And Absolute Power Corrupts Absolutely Analysis Long ago the Gladiators, When the call to combat came, Marching past the massed spectators, Hailed the If I Had Taller Been Theme Essay with acclaim!
Ray Bradbury Reads 'If Only We Had Taller Been\
Then you're not alone! If you struggle to understand and stay on topic, learn how to answer the prompt every time with this quick free how-to guide. Just when you thought you had finally become accustomed to the complicated art of essay writing, VCE decides to throw you a curveball in the form of a reading and comparing essay that addresses not just one, but two texts. Being introduced to a comparative essay for the first time, it is not surprising that many students encounter difficulties in structuring their writing. An accurate representation of the common VCE English student attempting to write a comparative essay.
Luckily, there are quite a few tips and tricks out there that will help you on the journey to a well-structured essay! This area of study relates to comparing and contrasting two texts in order to unearth the common themes, ideas, motifs and issues explored. By drawing upon similarities and differences, we are enabled to gain a more profound comprehension of both texts.
However, aside from merely comparing what is presented on the surface of a text, symbols, characters, motifs, themes etc it is also imperative that you delve a little deeper. Some questions you might want to ask yourself as you are planning a comparative essay are:. Once you have thoughtfully considered these questions, you are one step closer to piecing together your essay! As with all exceptional VCE essays, I would stress that you DO NOT disregard the significance of beginning your essay with an introduction that neatly and briefly outlines your arguments in relation to the essay topic.
You SHOULD also have a conclusion to close your essay, which functions as a summary to the ideas you have conveyed in your body paragraphs. Although there are a few ways in which to structure a comparative essay, with students generally opting for whichever approach works best for them, I will focus upon two different methods, which I find to be the easiest and most concise. As you can see from the structure above, you would need to refer in your first two paragraphs to a common theme or idea prevalent in both texts, comparing how the texts explore such ideas and drawing upon any similarities or differences, before repeating this pattern in the next two paragraphs.
In this structure, it is easiest to solely focus upon text A in body paragraph one and then in body paragraph two to put most of the attention on text B, whilst also comparing it to the elements of text A examined in paragraph 1. This approach is a bit more complicated than the first and will definitely take practice, patience and perseverance to master. In the body paragraphs of this structure, the writer will constantly alternate between the texts and a good essay of this form will make it clear which text is being referred to, even if the discussion constantly changes from text A to text B.
Within each paragraph, the writer will consistently use comparative language to contrast both texts. Typically, each paragraph will place emphasis on a different theme or idea. A key component of structure is not just the layout, but also your choice of vocabulary. Assessors will be looking for key words that prove you are not merely discussing the texts separately in relation to the prompt, but that you are actually able to compare the texts. Some useful terms and expressions include:. Finally, you have completed that tedious reading and comparing response and I strongly believe that that deserves a sweet treat and a pat on the back. Although it may have been super challenging, I can assure you that as with everything, the more you practice, the easier it becomes!
Consistency is key! This foreshadows her return to her pre-baby life - that things will not be the same. Her entire world is now Daniel, whereas everything in the office is as it used to be. Whichever is unclear and left up to interpretation. Perhaps both ring true. She struggles to switch between her identity as a mother, and her previous identity as a colleague in the workplace. The expectations others have on you as a new mother, and how you should be feeling. In this sense, we can to feel that Liz is very much alone in her anxiety and despair and, not the other way around with Daniel.
The societal expectation that Liz is happy to be back at work even extends to her husband, and heightens how Liz is very much alone in her experience. Like a House on Fire. Like a House on Fire Essay Planning. Summary 2. What Is Magical Realism? Themes 4. Symbols and Analysis 5. Quotes 6. Sample Essay Topics 7. Essay Topic Breakdown. Flames is a bit of an out-there story right from the beginning: Levi is attempting to build a coffin for his sister Charlotte because the women in their family come back to life after dying. Neither of them is that close to dying - both are young adults.
Some of these perspectives are surprising and unexpected, ranging from a hardcore private investigator to a river god in the form of a water rat, but each of them earns their place in the story. Our job when studying this text is to follow these shifts in perspectives and make sense of how they contribute to the overall text. Before we get stuck into the text itself, it might be useful to first discuss its genre.
The most important element of magical realism is that it blends the real world with fantastical elements. Less obvious examples of fantastical elements include the wombat farm at Melaleuca fortunately nobody actually skins wombats as well as the Oneblood tuna and unfortunately! The fact that these examples are narrated as perfectly normal is another element of magical realism: the author usually operates as if the fantastical elements are perfectly real. We, as readers, enter a world where the existence of these magical things is taken for granted by the characters.
All we know is that in many respects, it looks like our own. Within this familiar setting, Arnott lets his own imagination run wild and leaves the reader to figure out the rest. This helps to create a sense of wonder , as if these elements could be real and as magical as described. These elements also contribute to the story in other ways: in particular, they open up new possibilities for commentary. A prominent Australian example is Carpentaria by Alexis Wright.
Between the three of them, there are three very different expressions of grief. But Edith McAllister is not the only death of significance in the novel. Arnott is thus exploring many processes of grieving, from solitude and callousness to physical and emotional labour. Outside of these moments of grieving, Arnott explores the background relationships between family members as well. Again, Levi and Charlotte are central to this.
Consider what difference it makes when Arnott writes in first person from within these relationships as he does with Charlotte versus when he writes in third person , observing from outside. We also see interesting relationships between Karl and his daughter Nicola. Nicola crops up again under this theme, as she begins to navigate a relationship with Charlotte. In a book review for The Guardian , Sam Jordison argues that this is a bit trite, but we can think of it as one perspective on how relationships begin : organically and sincerely, and out of a desire to protect someone else. With these various beginnings and endings, Arnott shows how it can be natural - or supernatural - to fall in and out of love.
Finally, this novel touches on the impacts of colonisation. Arnott also explores colonisation through the eyes of Jack, who experiences racism when taking on the human form of an Aboriginal person. As immortal outside observers, their perspectives are the only ones in the novel that can really trace this history. Although nature is already alive, these figures help it feel even more so. The one natural element worth discussing as its own symbol is water. There are many bodies of water identified in the novel, from rivers and lakes to the ocean , and they each have their own significance. For example, rivers connect parts of the natural landscape while lakes particularly Crater Lake represent a getaway, solace, solitude and peace.
Arnott canvasses all of these different relationships to nature through the different manifestations of water. The question here is about how magical realism enriches or contributes to the story, so it might be worth breaking down the elements of magical realism and thinking through each of them one-by-one. One magical realism element Arnott adopts is the gods, who play a few roles symbolically in the novel, but there are other elements too: the seals, the flames, the cormorants and so on. Do these elements add as much as the gods, and if so, what are they adding? Consider also not just the elements as they appear, but also how Arnott is treating them. The fact that a lot of them are taken for granted as perfectly normal is in itself another genre element.
Instead of talking about the elements too disparately or separately, I think a lot of them revolve around this central question of how humans relate to the earth and to one another. This will help connect my ideas to one another. Paragraph 1 : Elements of magical realism show how humans adversely impact nature. Paragraph 2 : At the same time, not all humans contribute equally to this pollution, and magical elements also facilitate commentary on this perspective. Stories We Tell is a different beast to anything many of you will have encountered previously in your English studies.
This blog is a continuation of the above Stories We Tell YouTube video so make sure you watch it first! With interviews, archival footage, extradiegetic film and sound elements alongside recreated scenes, the documentary can seem very overbearing and convoluted upon first viewing. However, once you have a holistic understanding of the text a plethora of opportunity for high-level analysis and discussion presents itself.
Stories We Tell centres around director Sarah Polley attempting to piece together her family history. While she endeavours to understand who her mother Diane was and finally learn the identity of her biological father, Director Polley also poses a number of questions to viewers surrounding the nature of the truth and the importance of stories in our lives. The idea of the truth, and what comprises it is a constant question being answered through the documentary.
One definition characterises it as the burden of confirming with fact or reality, and with this in mind it becomes easier to appreciate and analyse the intricacies of Stories We Tell. Polley creates a distinction between universal truths - which are accepted by all as fact, and subjective truths which can vary on individual interpretations. By presenting contrasting accounts of the same event, Polley reveals her stance on the idea of truth - being that it is entirely subjective and open to interpretation, centred around the perceptions of each individual at any moment in time.
While Polley undoubtedly utilises Stories We Tell to express her views on truth and storytelling, fundamentally it remains a story of the Polley family, and what holds it together. In spite of this, however, their care the family shows for one another is clearly demonstrated through their interviews with Polley, highlighting to the audience that by staying close, families can better cope with the trauma of losing a loved one and in time, be able to honour their memory by sharing their stories.
While analysing the themes in isolation can provide a good foundation for success studying Stories We Tell , looking at how they interact and interrelate enables students to demonstrate their higher-order skills. As a result of this, the importance of storytelling is highlighted as a means to provide some understanding of our past - and how it affects us in the present and shapes who we are. Following on from the video, the content below is an expansion upon Stories We Tell. Throughout Stories We Tell , Polley continually emphasises the impossibility of knowing a truth with absolute certainty.
Continuing the theme of ambiguity within her synthetic documentary, Sarah Polley demonstrates that individuals can develop their own interpretations of the truth, in spite of her stance on the validity of singular truths. Building on her depiction of the truth as fallible, Polley thus emphasises our need to tell stories, illustrating how they allow one to better understand themselves, their families and the world around them. Throughout the documentary, Polley demonstrates, both explicitly and implicitly, a number of her inherent values. Drawing upon these, referring to them in your essays and most importantly! I found this to be a coherent and structured way of including this deeper level of thinking in the publication of my own essays! Such a line of thinking directly correlates to the postmodernism literary theory - notable for being hostile to absolutes such as truth, and not creating a text in isolation.
Polley continually blurs the line between fact and fiction within Stories We Tell - an ode to the postmodernist school of thought she is following. Another feature of postmodernism in literature is the relationship between one text to another. In her creation of Stories We Tell , Sarah Polley exacerbates this relationship, including a number of extradiegetic elements such as newspaper clippings, emails, songs and segments from other productions in order to add greater meaning to the documentary. A philosophical and, at-times political commentary on the way stories are told and the nature of truth. Upon first glance this point may seem rather convoluted, and several viewings of the text are necessary to fully engage with this line of thinking.
Essentially, this centres around the idea that the different forms, mediums and extradiegetic elements present in the documentary can significantly influence how we as an audience react to the story that is being told. The best way to explain this is to acknowledge the level of credibility and the associations attached to each individual medium used to tell the story. For example, what impact does the newspaper clipping detailing her custody battle and fight for equality in a restrictive society have on our sympathy for Diane? Does the sense of credibility and validity drawn from an upstanding publication such as a newspaper elicit a greater sense of trust and acceptance of fact from viewers - therefore making us as an audience more inclined to view her in a positive light?
Feel free to apply this line of thinking to other aspects of the text - such a deeper engagement with the philosophical ideas of the text are far more likely to score highly, as opposed to shallow pieces that merely discuss the storytellers in isolation - and not what they represent. The notion of truth seems to be just as much of a theme through this blog as it is in the documentary! Polley implies this by giving him a greater voice in the documentary through his role as the narrator. Writing a film analysis can be daunting in comparison to analysing a written text.
As the blinds roll up to reveal the apartment complex, a medium shot of the wide-open windows of each apartment immediately convey to the audience an environment of an uncomfortable openness. However, despite this, the separation of each apartment by brick walls as a separate entity on its own serves as a symbol of the widespread suspicion characteristic of the McCarthyian era. Within the frame of the main window, the windows of each apartment act as mini frames within the big frame, multiplying the sense of voyeurism present in the shot.
Although seemingly insignificant, the brown tabby cat that runs across the steps of Greenwich Village represents freedom and individual autonomy, later comparable to the character of Lisa in the film. The compounding sense of surveillance during the s add more meaning to the freedom symbolised by the cat, which can then be contrasted to the suppressed independence of the protagonist, who is seen invalid in a wheelchair in the next shot:. By this extreme close-up shot of Jeff sleeping in his wheelchair during the opening sequence, Hitchcock immediately places the viewer in an uncomfortable position as the original and ultimate voyeur, surpassing the intimate boundaries of the protagonist.
The stifling temperature of the season foreshadows imminent tension about to unfold in the film, as does the following close-up shot:. This close shot of a destroyed, seemingly irreparable camera, literally reflects the cyclic nature of broken dreams characteristic of Greenwich Village, and also signifies that Jeff too has been hurt literally by radical pursuits in his progression. Despite varying in size and setting, they all share a single point of similarity; they all focus on sights of destruction, such as the race car crash or the remains of a volcanic eruption. The last photograph the camera focuses on in the opening sequence is the picture taken by Jeff of an elegant woman, who bears a striking resemblance to Lisa.
Want to save this for later? Download a PDF version of this blog here. Not gonna lie, this novel is a bit of a tricky one to introduce. World War II, arguably one of the darkest events of human history, has been the basis of so much writing across so many genres; authors, academics, novelists have all devoted themselves to understanding the tragedies, and make sense of how we managed to do this to one another. Many reflect on the experiences of children and families whose lives were torn apart by the war. In some ways, Doerr is another author who has attempted this.
His novel alludes to the merciless anonymity of death in war, juxtaposes individualism with collective national mindlessness, and seeks out innocence amidst the brutality of war. What makes this novel difficult to introduce is the way in which Doerr has done this; through the eyes of two children on opposite sides of the war, he explores how both of them struggle with identity, morality and hope, each in their own way.
Their storylines converge in the bombing of Saint-Malo, demonstrating that war can be indiscriminate in its victims—that is, it does not care if its victims are children or adults, innocent or guilty, French or German. However, their interaction also speaks to the humanity that lies in all of us, no matter how deeply buried. Disclaimer: this is a very, very broad overview of the novel and it is absolutely not a substitute for actually reading it please actually read it. Chronologically, we start in , five years before the war. As she starts to go blind, Daniel teaches her Braille, and makes her wooden models of their neighbourhood to help her navigate.
Meanwhile, she befriends Etienne, who suffers from agoraphobia as a result of the trauma from the First World War. He is charming and very knowledgeable about science, having made a series of scientific radio broadcasts with his brother Henri who died in WWI. She also befriends his cook, Madame Manec, who participates in the resistance movement right up until she falls ill and dies. Her father is also arrested and would ultimately die in prison , and the loss of their loved ones prompts both Etienne and Marie-Laure to begin fighting back. Marie-Laure is also given a key to a grotto by the seaside which is full of molluscs, her favourite kind of animal.
On the other side of the war, Werner is, in , an 8 year-old German boy growing up in an orphanage with his sister Jutta in the small mining town of Zollverein. One day, he repairs the radio of a Nazi official, who recruits him to the Hitler Youth on account of his ingenuity and his very blonde hair and very blue eyes, considered to be desirable traits by the regime. Jutta grows increasingly distant from Werner during this time, as she questions the morality of the Nazis.
Werner is trained to be a soldier along with a cohort of other boys, and additionally learns to use radio to locate enemy soldiers. He befriends Frederick, an innocent kid who was only there because his parents were rich—Frederick would eventually fall victim to the brutality of the instructors, and Werner tries to quit out of solidarity. Unfortunately, he is sent into the army to apply his training to actual warfare. He fights with Frank Volkheimer, a slightly ambiguous character who a tough and cruel soldier, but also displays a capacity to be kind and gentle including a fondness for classical music. The war eventually takes them to Saint-Malo. Also around or so, a Nazi sergeant, Reinhold von Rumpel, begins to track down the Sea of Flames.
He would have been successful ultimately had it not been for Werner, who stops him in order to save Marie Laure. As America begins to turn the war around, Werner is arrested and dies after stepping on a German landmine; Marie-Laure and Etienne move back to Paris. Marie-Laure eventually becomes a scientist specialising in the study of molluscs and has an extensive family of her own by What kind of questions does Doerr raise through this plot? To some degree, the single central question of the novel is one of humanity, and this manifests in a few different ways.
Firstly, to what extent are we in control of our own choices? Do we truly have free will to behave morally? The Nazi regime throws a spanner in the works here, as it makes incredibly inhumane demands on its people. Perhaps they fear punishment and have no choice—Werner, for instance, does go along with everything. At the same time, his own sister manages to demonstrate critical thinking and moral reasoning well beyond her years, and it makes you wonder if there was potential for Werner to be better in this regard. That being said, Werner is far from the only character who struggles with this—consider the perfumer, Claude Levitte, who becomes a Nazi informer, or even ordinary French citizens who simply accept the German takeover.
Do they actually have free will to resist, or is it even moral for them to do so? This is what allowed people to do evil things without actually feeling or even being inherently evil—they were just taking orders, after all. Consider the role of free will in this context. Etienne and Madame Manec, for instance, even disagree on the morality of resistance, which can frequently involve murder. At the same time, the climactic event of the novel is an allied bombing of Saint-Malo, a French town, just because it had become a German outpost. On a more optimistic note, a human quality that Doerr explores is our natural curiosity towards science.
This is abundant in the childhoods of both protagonists, as Werner demonstrates dexterity with the radio at a very young age, and Marie-Laure a keen interest in marine biology. In particular, her blindness pushes her into avenues of science which she can experience without literal sight, such as the tactile sensations of mollusc shells. The title may hint at this—for all the light she cannot see, she seeks enlightenment through knowledge, which in turn gives her hope, optimism and purpose.
This alludes to the banality of evil again; by focusing on his very technical role and his unique understanding of the science behind radios, he is able to blind himself to the bigger picture of the evils he is abetting. Science is something that is so innately human, yet can also be used inhumanely as well. One major symbol is the radio , with its potential for good as well as for evil. On one hand, it is undoubtedly used for evil purposes, but it also acts as a source of hope, purpose, conviction and connection in the worst of times.
It is what ultimately drives Werner to save Marie-Laure. Along the same vein, whelks are also a major symbol, particularly for Marie-Laure. While an object of her fascination, they also represent strength for her, as they remain fixed onto rocks and withstand the beaks of birds who try to attack them. As Saint-Malo is destroyed and the Sea of Flames discarded, it is the seaside ecosystem that manages to live on, undisturbed.
In this sense, the diamond can be seen as a manifestation of human greed, harmless once removed from human society. They represent his immense love for her, and more broadly the importance of family, but the models also attempt to shrink entire cities into a predictable, easily navigable system. The models are an oversimplification of life, and an illusion of certainty, in a time when life was complicated and not at all certain for anyone.
Identity, morality and hope—these things pretty much shape what it means to be human. Throughout All the Light We Cannot See though, characters sometimes struggle with all three of them at the same time. And yet they always manage to find something within themselves, some source of strength, some sense of right and wrong, some humanity in trying times. In this novel, Anthony Doerr tells the World War 2 story through a unique lens, or rather a unique combination of lenses, as he sets a year-old French girl and a year-old German boy on an unlikely path of convergence. Darkness in this sense could be any number of things. Now, how should we plan for this topic? For our first paragraph, a good starting point might be analysing the literal forms of darkness in the novel, and seeing what other interpretations we can get from those.
The title could be seen as an allusion to her character and by extension, the hopelessness that blindness might cause in the midst of a war. But, across these two layers of meaning, could there perhaps be some room to challenge these interpretations? This is something we should look at for our final paragraph. These manifestations of light also require you to think about the different symbolic layers of the novel.
Consider how, just as darkness has levels of interpretation and symbolism in this book, so does light and hope and joy, rather than just evil and cruelty. Always delving deeper for meaning helps you to really make use of the symbols, imagery and motifs in a text, and I hope this novel in particular illustrates that idea. Ah yes! So how does one find that motivation to plough through lists of work, practice SACs and exam papers, and write yet another language analysis without going insane?
It baffled me for so long that they appeared SO motivated to do all this work! How do they keep pushing themselves? How do they not lose confidence along the way? How do they stay focused for the entire Year 12? Just find the motivation technique that empowers and energises YOU! Motivation is SUCH a personal matter. Plenty of students start off Year 12 with such a great mind frame for the first few weeks or months, and then struggle to keep up the good work. You need to keep your goal as close to mind as possible. Where will your dreams take you? Hold on to those images in your mind. They are pure gold. For some, you might be trekking off overseas for 4 months or even spending a few days at Schoolies!
What will you be doing, where will you be relaxing, who will you be socialising with, how far will you be travelling? If you give your final year all you got, that break will feel even more rewarding. I respected them not only for their expertise, but for their faith and constant encouragement they showed for their students. A healthy dose of nerves and stress is okay, as it can spur you on even more to work harder, persevere and impress. Year 12 is not a sprint, it is truly a marathon. But if you keep your eyes on the prize and let your friends, family and teachers hand you those water bottles and towels, you can take each part as it comes.
Burn out. My exam study plan was rather ridiculous and unattainable. My target was to do at least one essay per day from the start of Term 4. In fact, in my September holidays I did not just one essay a day, but often two or three! No wonder I burnt out. I found that over the next few weeks, I started to repeat a lot of similar essay prompts, I would write the same phrases or quotes over and over again, and I personally think that this hindered my development because I was starting to regurgitate everything I had done so far, rather than pushing forward and writing with new ideas and thoughts. I was lucky or was it perhaps unluckiness in disguise? And when I say all, I mean I had exams dating back from I made it a mission to do one exam everyday for these subjects and boy did that take its toll on me.
And if you have developed an intense exam study plan just like this but are doing just fine, then I applaud you. I really do! I felt like I had to complete all my resources but in the end, it was simply counterproductive for me. I ended up hardly touching English during the final 2 weeks before exams because I simply had enough. I had basically hit this point or should I say, flat period? If you started playing tennis every day, you would probably improve quite quickly in the first few weeks. But if you continued to play every day without adapting your training, your rate of improvement would slow to the point where you are no longer improving with practice.
The same is true of many skills. You can drive a car every day without becoming a better driver, you can go to the gym every day without becoming stronger and you can write every day without becoming a better writer. The relationship between practice and skill is not linear. You may experience a rapid improvement early, but this improvement slows and your skill level reaches a plateau. This is known as the learning curve. To read more click here. As you can see, studying more or studying harder does not equal more success or a better ATAR score. When you organise a study plan, be smart about it. This is so not the way to go. However many sell, I'm going to sign. This is just a finite [deal]," lasting up until the book's release date on September Get em now.
Never again after Sep 28! Pre-order Unrequited Infatuations now to guarantee yours with the "Miami Steve"-signed bookplate, a limited-time Backstreets exclusive! Thanks to None But the Brave for the preview clip. Hal and Flynn finished up their second season in June with a two-parter, "Hiding on the Backstreets," featuring all four of the Backstreets editors who have helmed This Thing of Ours going all the way back to We thoroughly enjoyed the conversation S02 episodes 18 and 19 and hope you'll listen if you haven't aready.
There have been three inter-season "bonus episodes" since, shorter listens to keep up with recent activity Live Archive releases and Springsteen on Broadway , but their new season officially starts on September 23, with the first of their two-part Little Steven interview. Suiting up in blac for the occasion, Springsteen performed not a song from The Rising as some might have expected, but a fitting one from his latest — which also closed each of the Springsteen on Broadway performances — "I'll See You in My Dreams. To begin the series, the first item the Archives have chosen to highlight is a handwritten lyric sheet dating back to the late s, when Springsteen was an unsigned artist.
The song was never recorded, though it was performed live by Steel Mill. Springsteen was filmed speaking about the new Artifact of the Month, calling the lyrics "very, very old, in the sense that they may be the oldest written lyrics going back into my songwriting that we have — I don't think that we have anything before this. Ken Rosen bookends his Opening Night review, with photos by Adam Jaffe The closing show of a rock 'n' roll tour can be a spectacle to behold, often a wild and loose, anything-can-happen night full of guest stars, rarities, and one-last-time celebrations.
Broadway is a different animal, though. On Broadway, closing night means a chance to see the show at its most polished, the culmination of every lesson learned from every audience reaction throughout the run. So for my return to Springsteen on Broadway for its closing weekend, September 3 and 4, I was eager to see if and how much the show had changed since I last saw it on June 26, Opening Night. As it turns out, it changed a lot — and it didn't take long to realize that. Let's start with the most obvious difference: both artist and audience entered and exited wearing a mask, and only Bruce got to take his off in between.
On Night 1, Bruce welcomed us with a satisfied remark about how wonderful it was to see a full house of full faces; on Night 31, he thanked us for keeping our masks on to protect each other. The script had grown, too: Bruce provided more color, more detail, more humor, and more intimate information If you find yourself unable to sleep through the night without getting up five times to pee, you apparently have Springsteen solidarity. But the script additions did not come with a run-time extension, which meant that Bruce talked fast. I mean, really fast. Disconcertingly fast. And even impressively fast — I was amazed he never once tripped over his own tongue.
It was a far cry from the relaxed exhale that was Opening Night. In my original review from Night 1, I noted that the seams between the original run and the edition were obvious: the '18 engagement featured Bruce in stage actor mode, playing the role and speaking in the voice and style of his autobiography's narrator, performing before but not interacting with his audience. In contrast, the first show of the run was more conversational and colloquial —for the new elements, at least. I found Bruce's switch in voices throughout the show to be a little jarring, and I noted at the time it might have been more aptly titled, Bruce Springsteen Performs Selections from Springsteen on Broadway.
The good news is that those seams were invisible by closing night. At some point during the run, Bruce must have considered and corrected the incongruity, because his final two shows were a full return to his original Broadway form and voice. I have to confess being a little disappointed by that, because reverting the show back to a full theater piece meant jettisoning the audience interaction. I found myself missing his gruff "Shut the fuck up! Several songs in the show's first half "My Father's House" and "The Promised Land," for example now featured half-spoken vocals and a subdued, inconsistent, and at times almost idle guitar accompaniment, as if Bruce were lost in thought rather than performing.
This was more pronounced on Friday night; on Saturday, "My Father's House" had moved to some kind of middle ground. I can imagine why Bruce made those decisions, though, as the style allowed him to inflect and intone with more clarity and emphasis — there was no way a casual listener could miss the meaning in some of his most important songs. Of course, it also never would have charted. Such is the dilemma of a serious songwriter. But on songs like "The Promised Land" and "Thunder Road," where I longed to sing along even if in my head, or "My Father's House," on my mind since my father passed away a few weeks ago, I sorely missed Bruce's consistent, warm, and healing vocals from opening night.
The change that made my heart sink was the one he made uptown. On opening night, Bruce played "Tenth Avenue Freeze-out" in such a powerful piano and vocal performance that it might as well have been the full band up there — that's how much power it packed. It was a full-on, celebratory release that, for just a moment, transported us from the St. James to San Siro, and it was one of the highlights of the night for me. This weekend, though, Bruce performed the story of his band in a quieter, nostalgic, and tender arrangement, his piano accompaniment as subdued as his guitar had been. Again, it may have been the right artistic choice to fit the night's reflective theme, but oh, how I was hoping for a repeat of "The Tenth" as I'd known it.
Patti's entrance meant that we were soon to hear the first of the new songs Bruce had added for the revival, and I was curious to see how they'd evolved over the course of the run. What I didn't expect was the degree to which Bruce and Patti's always palpable chemistry had elevated their segment — their duets had risen to an entirely new level.
But this time they performed it in unbreakable communion. For those of us close enough to see their raised eyebrows, half-grins, and every other facial expression that accompanied their locked eyes… I'm telling you, that song was emotionally subtitled. And then: "Fire. I had a feeling this one was going to be stronger. The duet debuted on opening night was a revelation for me, completely changing the meaning and power dynamic of the song.
But their performance also seemed just a bit tentative that first night, like a work still in progress. Turns out it was. The song now featured a new spoken introduction revealing that not only had Bruce written "Fire" for Elvis Presley, he'd been inspired by The King's movies and — revisionist history or not — imagined it performed as a duet with Ann-Margret. That set the stage for a more confident, sexier version of "Fire" than the one debuted in June, and while still a duet, Patti quickly assumed the driver's seat — at one point even playfully hushing her husband with a finger on his lips.
This "Fire" had heat. His tender reading conveyed more nuance and emotion than I've ever heard him accomplish — every bit as effective as his earlier half-spoken songs but without compromising his soaring vocals, which may have been at their peak in this moment across both nights. Bruce carried that momentum into the home stretch. I will argue until my dying day that, even more than the opening drum roll and riff of "Born to Run," there is nothing across Bruce's entire catalog as galvanizing and thrilling as the opening bars of "Land of Hope and Dreams. I would have paid those crazy Broadway ticket prices just for that one song each night.
After Bruce acknowledged the applause and returned to the microphone, I found myself holding my breath. On opening night, he wept throughout his epilogue, overcome with emotion after an evening of visitation with his departed ghosts. His voice quavered and broke, and tears streamed continuously. It remains — and likely always will — the most powerful moment of theater I have ever witnessed.
Last night, though, Bruce seemed at peace. Although it was clear in his speech and on his face just how much these 31 nights of visitations with family and friends vanished and gone had meant to him, they seem to have given him solace and comfort. There were no closing-night regrets written on his face, and not a single visible tear on either night. He seemed content with the imminent conclusion of his summer job. Bending forward on one knee at the song's pivotal line, he underscored "For death is not the end! And with that pledge, Bruce bid farewell to his ghosts and — at least for now — to us. The conclusion of Springsteen on Broadway closes the book on a remarkably intimate and brave chapter of Bruce's career, the story of an immortal legend coming to terms with his human mortality by deconstructing himself and his life in full public view.
I don't believe we've ever seen anything like it, and I'm not sure we ever will again. I've long ago given up trying to predict what Bruce Springsteen will do next — I was never any good at it, anyway. But if history is any guide, whatever the future brings either his way or ours, our faithful traveling companion will help us make sense of it. Thanks for welcoming us back into your life and ours, Bruce. The road is long and seeming without end. We'll see you up it. Like the Main Point before it and the Spectrum afterward, the Tower served as Bruce's base of operations for a time, in the mids, while he and the E Street Band were in the midst of building one of their most loyal fanbases.
Until now, the sole Tower Theater show from the Archive series — also among its earliest releases — was December 31, , Upper Darby, PA , the final performance by Bruce and the E Street Band at the Tower before they graduated to larger Philadelphia-area venues. Springsteen didn't return for 20 years, almost to the date, when a pair of December solo performances on the Tom Joad tour were professionally recorded and aired in part on The Columbia Records Radio Hour hint, hint, Nugs. Ticket image thanks to springsteenlyrics. For example, at this point the set regularly began with the pump-organ version of "My Beautiful Reward," and "Land of Hope and Dreams" was still an encore staple.
And "Dream Baby Dream" — Springsteen's powerful, enthralling cover of the Suicide song — was still a new jaw-dropping set-closer, having been first performed onstage only three shows before. Whenever Bruce Springsteen's in town, good things happen in Philadelphia. Having this one-off in professional quality is quite special indeed. Springsteen segued directly from "Iceman" into another beautiful moment: the piano performance of "Incident on 57th Street.
It was no secret how much Ed loved "Incident," and to hear Bruce perform it alone at the piano in the Philly area — at the Tower Theater, no less — for the first time since Ed's untimely death meant quite a lot, and still does. Other rarities — both new to the Archive series for — include the Human Touch gem "Real World" on piano, of course and The River' s closing track "Wreck on the Highway," which Springsteen had brought back just days before in Fairfax, Virginia. Though the song had been absent from his sets since a lone nod on the Born in the U. Just one more reason to be glad that this gem of a show is now available in the Live Archive series. Also read: Erik Flannigan's latest nugs. That interview originally appeared in Max's acclaimed but out-of-print book The Big Beat: Conversations with Rock's Great Drummers; all thanks to the Mighty One for allowing us to reprint it here.
My friends at Backstreets have asked me to write a little something about my hero and friend, Charlie Watts, who died last week at the age of My heart is heavy with the loss yet full because of the talent, grace, humility, charm, wit, strength, and kindness CW spread throughout his life to his family, his fans, his friends, and his band. I am humbled and uplifted for the fact that I knew him. He was not only a hero to me for his art, he was a real mensch! I've talked a lot this past week about Charlie. I recalled that when I was a kid drummer in the '60s, a teen trying to find my way into the mysterious world of rock 'n' roll with a band — we didn't call them "garage bands," they were simply "bands" — we strivers would find ads for bands seeking musicians.
The Rolling Stones back then were perfect for us somewhat-inept-but-hungry emulators. Beatles music was too hard; no one even attempted to play anything other than The Beatles' cover tunes. But, the Rolling Stones — blues-based — their songs you could pound out on the drums, and your excitement with the beat would cover up any of your insufficiencies. My friend and I took the 77 bus down South Orange Avenue practically to the theater for the first show.
We somehow paid three dollars for two second-row seats. When they were introduced, the girls' screams from the audience were loud —not as loud, perhaps, as The Beatles, but loud enough to send your heart into overdrive. They opened with Solomon Burke's "Everybody Needs Somebody to Love," and a half-hour later Charlie Watts became indelibly etched in my heart and soul as the coolest cat I'd ever seen.
Nonchalant, seeming to throw it all away, Charlie held the drum chair with the aplomb of a hip jazz drummer who happened to find himself a founding member of what would become the self-proclaimed "World's Greatest Rock and Roll Band. Why were they great? And still are? Of course, the songs, but even more than that, through the ups-and-downs, the angst, the absolute unique setup of a "democratic" rock 'n' roll band… they stayed together.
In many ways Charlie was not only the bedrock drummer of the Stones, as the New York Times put it last week, Charlie was the soul of the band. Proud to be there but somehow detached, as if looking in from the outside—in the way he referred to them as "them" — Charlie kept them grounded when the rock 'n' roll demons might have reached up through the quicksand and pulled them down. Backstreets has pulled the Charlie chapter from The Big Beat as a way to look back at a snapshot from some 39 years ago, when Bob Santelli well known to readers of Backstreets and I set out to ask the question why, not how, you play the drums. We met, and that conversation was the genesis of the idea of setting down their stories.
As I said, Dave said I should do it. Now, you've got to know something about me — I was the guy who'd stay up all night to write the essay due in the morning. But with a lot of encouragement from Dave, and the helpful writing tutorials from Bob, I set out to write a book. I have to admit, it was a daunting proposition to sit across from the drummers I had so long admired, to be prepared to ask pointed, in-depth questions about their histories, and not come off as Chris Farley on SNL when he asked Paul McCartney, "…remember when you were in the Beatles?
Fanboy that I was, I think back to sitting with Charlie, in the lovely tea room of his town house by the Thames River in London, as we talked drums and drummer history, mostly. It was my first one-on-one with him, and he couldn't have been more gracious and accommodating. Throughout my life and career I've had so many of my childhood dreams and fantasies become real. One of those was getting to meet Charlie Watts. To become a casual friend, being invited to a Stones show when he was in town, seeing his Orchestra or Quintet or — how do you say it in -et? Small jazz club. You could tell he was having the time of his life playing the music, in his imitable style, that he loved so much. We were sitting stageside, and when the set was over, Charlie swept down from the drums, handed his sticks to me which I still have , and fingered the lapels of my suit.
Oh, yeah, I always dressed up to see Charlie play. For me, it was like going to temple. As he inspected the material, he appraised, "Nice — worsted wool. Charlie Watts was royalty. Not in the monarchy sense, of course, but in the sublime manner with which he strolled through life, dapper as a dandy, with enough artistic talent — both on the drums and in visual arts — to not only become a genre unto himself but to truly earn the sobriquet of icon. As I seem to have mentioned many times this past week, a New Jersey songwriter of some repute has on occasion observed, "There have been pretenders, there have been contenders, but there is only one you fill in the blank. You might not gather that from the first four songs, a quartet from a seemingly simpler time in which a love song was just a love song.
In which the idea of marriage sparked celebration even if the old folks roll their eyes rather than contemplation, indecision, or worse. Pretty much — at least in these first few favorites from the late '50s and early '60s. The next three formed a "Gonna Get Married" trifecta. It came with some fun biographical details of Major Lance he of "Monkey Time," another Springsteen favorite , including the fact that Lance went to high school "along with Curtis Mayfield and Jerry Butler — what a class! One of the most classic wedding songs of all time: "Chapel of Love. But turned into a hit that spent three weeks at Number 1 by the Dixie Cups in — knocking The Beatles out of the top chart spot, and that wasn't easy to do.
It's with Bruce's own "I Wanna Marry You" — "live, from the River Tour" — that the episode turns, suggesting that these songs so far are "imagining love" rather than talking about "the real thing. I wrote this song as a daydream — you know, you're standing on the corner, watching someone you'll never meet walk by, and you're imagining an entire life with this person! What it would be like, what are your kids are gonna look like, where you're gonna live… happiness, happiness, happiness! Of course, the life you're imagining is the one without consequences. You know that one — it doesn't exist!
But hey, this is a song of beauty! Of imagining love, in all of it's glory. The excitement, and its tentativeness. It's not the real thing… but I had to start someplace. In the live performance, Bruce laughed as he wagged a finger at the band for screwing up — before realizing it was he himself who forgot a part. King-via-Manfred Mann's Paul Jones vocal style, borrowing a little soul, mixing it with a little doo-wop, and sequenced on the album just before "The River. One a utopian dream, and one, social realism. They create a tension and a conflict that was at the center of The River album — really the first album where I wrote about relationships between men and women. From here, we get songs with a more adult, realistic, and even heartbreaking view of love and marriage — ones with consequences.
For the social realism angle, look no further than The Roches' "The Married Men," which Bruce calls "a great, great song, one of my favorites. There is no other song dealing with the ins and outs, complications of marriage, anything like that one. The Beach Boys have it also, of course; the Everly Brothers had it also, of course; it's just a unique feature of genetics, the way those voices blend. While Vol. Bruce touches on that genre distinction as he talks about "On the Other Hand," from Travis's mid-'80s multi-platnium Storms of Life. Randy Travis… singer of 16 Number 1 singles on the Billboard Country charts. He was born in Marshville, North Carolina, had a bit of a troubled youth — and adulthood — but generally mended his ways and dedicated himself to his music.
And it's just one of the loveliest voices of a certain party of Country that was somewhat post-traditional and yet certainly pre- the modern Country that we hear today. And men — stand by your woman. And literally, every time, they brought me to tears — and certainly with this song. They were one of the most powerful, incredible duos of all time. And when I saw them at the Fast Lane, it was heartbreaking, because it was a relatively small crowd there, and they simply sang their hearts out. And I can tell you: I stood in the back of the room and wept at seeing this great, great, great talent — later in the day of their performing together — bringing in, really, quite a small audience.
It was so undeserved. And they were so epic, and so profound, that it touched me incredibly deeply. But an hour of songs about marriage with nothing from Tunnel of Love itself? A song like "Brilliant Disguise" would give The Roches a run for their money, no matter what Bruce says. Today's benediction: "I want you to stay hard, stay hungry, stay alive A quarter century since the October Assault?? Last summer, some five months into the pandemic, she told Rolling Stone how "ready" she was to get out there and play her own music: "Oh, God, I so want to do that. I went, 'What a great way to get going! Then it was just done. Fast forward a year and circumstances were promising, with the return of Sea. Now planned for September and Scialfa back on the bill We hope to have her back in future years.
We look forward to seeing everyone in a few short weeks. New music schedule released as well. All fingers crossed that Patti gets another chance soon — she has a lot of fans as ready to come see her play as an artist in her own right as she is to do so— and we're crossing our fingers for our friends at Sea. Now, too, that they can still manage to go forward with a safe, successful festival despite the ongoing challenges. In the meantime, with just one exception so far on the Springsteen on Broadway run August 20 , Patti has been joining her husband nightly on the St. James Theatre stage for two duets. Her latest Instagram post states that the Saturday night performance was captured on film. Tonight, Bruce returns to the St. James stage for his last week of Springsteen on Broadway performances, just five shows left — the run closes this Saturday, September 4.
August 25, - photograph by PJay Plutzer. A particularly special moment last week came on Saturday night, as Springsteen reflected on friends sent off to a foreign land — Bart Haynes and Walter Cichon, who both died in Vietnam. This time, Cichon's two sons were in attendance, on a significant day for their family. Bryan Cichon wrote about the performance on Facebook , describing the moment when Springsteen quietly "told the crowd that today would have been [Walter Cichon]'s 75th birthday.
More gasps. And that his two sons, David and Bryan, are here in the theater tonight. The reaction from the crowd at that was chilling. A whole theater with just a collective gasp, a sigh, a groan expressed their condolences at the loss that they now felt, that Bruce and our family has felt for 53 years. It never gets easier, but to have our Dad live on through Bruce is a sort of redemption, a sort of 'F you! As Bruce said last night, 'I just wish I could be standing there to see him perform just one more time. For more Springsteen on Broadway show notes , see our Setlists page.
Check it out above, as Stevie Van Zandt resurrects a long-retired E Street persona and signature just for us. Signing 3, Just for Backstreets. It was a "highly emotional" performance from Springsteen, says photographer Michael Zorn, who attended the show and shares a few shots with us here. Of course, moments of levity balanced it all out — especially when Bruce talked about getting busted for a shot in the park. Bruce Springsteen. You have the whole United States pissed at you, thinking, 'Oh, yeah, this fucker did something bad. And it's not just National Parks — some words of advice for anyone visiting his hometown: "Freehold police will bust anyone.
Don't fuck around, because they don't fuck around — take my word for it. Max Weinberg published his book The Big Beat that summer, a collection of his "Converstions with Rock's Great Drummers" — a cream-of-the-crop selection of 14 players "representative of a certain era of rock history," Max wrote in his introduction. All of us who drum carry a part of their beat and are descended from the tradition they inspired.
We'll have more with Max Weinberg about the life and legacy of Charlie Watts in the coming days. For now, a take from Bruce Springsteen, from the succinct Foreword he wrote for The Big Beat' s second edition, published in Today's New York Times obituary smartly quotes from this piece of writing, but missing is the sense that Charlie Watts dominated Bruce's thoughts there, despite the other 13 major talents represented in the book. So for us, an extended excerpt is in order:. He's a great example of the kind of power a great drummer can bring to his band, deepening not only the physical force of the music, but also the depth of emotion and heart the songwriter gets out of his characters.
When Mick sings, 'It's only rock 'n' roll but I like it,' Charlie's in back showing you why! Oh no! This is terribly shocking. He singlehandedly brought the Rock world some real class. Rock and Roll will miss him profoundly. We are significantly less without him. A monumentally sad day learning my personal hero Charlie Watts has died. Charlie Watts Rest In Peace my friend. Approximately 90 minutes into the event, in the middle of Barry Manilow's set , the concert was halted on account of nearby lightning strikes.
The crowd was asked to head for shelter with hopes of restarting the concert later. While Mayor Bill de Blasio announced intentions of restarting the concert around 10pm without an audience, the remainder of the show would eventually be called off altogether. Springsteen wisely stayed away from the chaos on CNN, as entertaining as it may have been. No word as of yet if the event will be rescheduled for another date. That night, Springsteen raised money, awareness, and the roof at the Sports Arena. The show served as a gateway to his own style of activism, and it also led to a vital series of songs about veterans coming home. Muller traced its roots, challenges, and Bruce's role in aiding the VVA mission.
Our year retrospective in Backstreets 72 featured crucial photography from Neal Preston. Like the opening image above, which at first glance may not seem like the most notable concert shot… until you notice the crutches in the air. Springsteen talked to the crowd before the show about the purpose of the benefit, and he asked Muller to address the audience, too. From his wheelchair, Muller delivered his own moving speech about "ending the silence" about the Vietnam war, with this night as "the first step.
Muller credits Springsteen with saving the organization from going under and allowing a more coherent movement to gain momentum; he went on to share a Nobel Peace Prize for his commitment to banning landmines. Later, we characterized the August 20 date as "a history lesson, an act of decency, and a demonstration of credibility. Most of all, it was a coming out party, and Springsteen was there to play. We'd be remiss if we didn't mention the music, which was simply next-level stuff that night. Already working with a somewhat retooled show after his European tour, the song set stands today, as it has since he took his bows with the E Street Band that night, as his most passionate. It's even that magnificent performance from Leeds , complete with horns — love seeing Springsteen dip into his own Live Archive series.
The DJ could have filled the entire hour with his own music "Freehold," "My City of Ruins," you name it , but as usual we got a mix of genres and artists, all with home and small towns on their minds. So during this show we're going to listen to a variety of outstanding artists and their take on where they come from. He began with Neko Case's ode to her own hometown.
Why that title? Leading with this one feels like it could be Bruce's own olive branch to the city, after his illness there on tour in was blamed on the "Tacoma Aroma. And what a voice she has! There is something in the very directness of that voice that makes her stand out from her contemporaries, and she is one of my favorite singers. And from there, straight to Hell! We get a few more geographical specifics, in terms of hometown roots: Detroit, courtesy of Bob Seger, with "that great voice"; and Salford, Lancashire, in the Pogues' "Dirty Old Town" not Dublin , as one might think , led by the "the immortal Shane MacGowan.
Whether its pride of place or a darker view Daniel Johnston's got vampires living in his! After all, Bruce's own life has illustrated that old saw, you can take the boy out of New Jersey but you can't take New Jersey out of the boy. Even if he'd rather not have a rest stop there with his name on it. Springsteen shows a surprising fondness for contemporary country singers in Volume 26, sifting some gold from not only Chief "Springsteen" singer Eric Church, but also Morgan Wallen, Kane Brown, and Dierks Bentley. Bentley's track, "Home," takes an even wider scope, as one of those "measuring the distance between the American Dream and American reality" songs Springsteen is fond of.
Eddie and the Cruisers may have been from a small Jersey town, but in real life John Cafferty and the Beaver Brown Band hail from a shore town a few states away. Cafferty performed with Springsteen a dozen times between and , after which his Top 10 hit "On the Dark Side" became the greatest Boss pastiche there's ever been apologies to Bruce Springstone. If you ever wondered whether Springsteen hears it as a rip-off or an homage, kind words in Volume 26 should tip you off:. They are out of Narragansett, Rhode Island, I believe. John's career began in the s; he had some major success with the soundtrack for the Eddie and the Cruisers pictures — that album went triple platinum.
So congratulations on that, Johnny, and thank you for that beautiful song. I wrote this next song after driving by the J. Newberry's on Main Street in Freehold and seeing my own self-portrait — bandana included — painted in black velvet. With Bruce Lee to my left and a German Shepherd to my right, in their own individual paintings. And I had to go in and buy one! So I did. And I came home, and I hung it up in my hall, waiting for folks to come in and get the joke, and… nobody did. And so it goes. God forgive me, because this is the life I have chosen. And that was the E Street Band live in Leeds, with our auxiliary E Streeters front and center: our great horn section, and our great singers.
After one from "my friend and neighbor, Johnny Bon Jovi, with Jennifer Nettles of Sugarland," Bruce gave some additional background on "My Hometown," and — given that he's been talking in recent months about "vault" releases — perhaps a glimpse of our future:. This was shortly atfer my roadtrip west with my road buddy Matt Delia. I spent a good portion of that winter in a Hollywood cottage up towards Laurel Canyon — the previous home of Sidney Toler, star of the Charlie Chan films — and I wrote quite a bit up there, a lot of still-unreleased music, someday to see the light of day, I'm sure.
And before the "Glory Days" finale, a fitting benediction and some hometown pride of his own:. I wanna say, God bless you and your hometown. A special shout-out to my great friend and one of the kings of show jumping, Nick Skelton, for his guidance and inspiration. May all of your days forever be glorious. James Theatre the show will close on September 4. With new Covid precautionary measures requiring all in the building to wear a mask, Bruce Springsteen wore a black one himself as he took the stage, removing it shortly thereafter to begin the performance.
Before "My Hometown," he thanked the audience for remaining masked up. Despite apparently having a mild case of the sniffles, Springsteen sounded terrific. Unsurprisingly, though he peppered in a few new jokes, there were no significant changes to the show — the model setlist has remained the same since opening night on June He did, however, choose one recent news item to react to — a certain lyrical debate that peaked just as Springsteen on Broadway went on break.
After singing the first line of "Thunder Road" — "The screen door slams, Mary's dress sways" — Bruce took a dramatic pause before repeating that last word, speaking it loudly and clearly: "Sways. Just as many unswayed "waves" proponents will carry on trusting the art rather than the artist on this particular subject. Presumably because of the heightened Covid precautions, Springsteen remained socially distanced from the front row rather than shaking hands as he typically has, but he had more kisses than usual to blow to the audience. And, of course, some waves. Here's what's on the docket in the coming days:.
Tonight, Springsteen and Scialfa are back on the boards at the St. James Theatre and with the U. Equestrian Team winning silver in the Team Jumping event, they return as proud parents of an Olympic medalist to begin the second and final stretch of performances in this Broadway run. Proof of vaccination had been required since the show's opening; now, with COVID concerns rising again due to the Delta variant, attendees will need to mask up: "Masks are required to be worn properly at all times except while actively eating or drinking when seated. Including tonight's return, fourteen shows remain — as producer Jon Landau told us in June, "nobody's thinking" about an extension — with closing night on Saturday, September 4. Volume 26 will air at 10am and 6pm ET tomorrow on E Street Radio, with additional broadcasts on Thursday at noon, Friday at 6am and 4pm, Saturday at 2pm, Sun at 10pm, Monday at 7am, and Tuesday at 12am.
It's such an important occasion that we dedicated an entire issue of Backstreets to it 20 years ago, including an extensive interview with VVAF president Bob Muller who Springsteen brought out on stage that night. Muller told Backstreets of the August 20 concert, "That was the turnaround event, realy, in our history of putting together a coherent Vietnam veterans' movement We had no money, we had no support… we were going down.
It was our darkest moment, and I say that very honestly. It literally turned us around. For more on the historic concert — the full Bob Muller interview, concert and backstage photos, speech transcriptions, performance highlights, and more — we encourage you to check out Backstreets A tweet from Springsteen has made it clear that his participation will be "for one song only," but Bruce will be making a special appearance during the We Love NYC concert in Central Park , joining Patti Smith to perform their co-written "Because the Night. For those who can't make it to Central Park on Saturday or don't want to brave the crowds , the live event will be broadcast globally on CNN.
In a memoir, Howling at the Moon , Yetnikoff recounted adventures, triumphs, and professional relationships with everyone from Marvin Gaye to Mick Jagger to Springsteen. Though they'd met by , their work began in earnest around When Springsteen was in Los Angeles mixing The River , they sat down to discuss what would be Bruce's fifth album — Yetnikoff could not recall the single-record version, which Springsteen had handed in the year before — and he learned that it would be a two-record set.
So you're going to have to figure out the rest, like how you sell two records, how you price it and promote it. You're spending a fortune! You know something? It's your money. We lay it out, but it's an advance against royalties. Another galvanizing moment came when Springsteen presented Columbia with Nebraska , which Yetnikoff liked immediately, listening twice in succession at Jon Landau's office in mid-' He didn't know how I was going to react," Yetnikoff said. But we are going to sell a respectable amount. Yetnikoff put his own capital behind Nebraska : some colleagues at CBS expected an E Street Band record and were dubious of this one's commercial viability.
People weren't going to argue with me because I was too crazy," he told us. But I wanted to do a good job. Though he had the heart and mind to help guide record sales while remaining sensitive to Springsteen's creative needs, Yetnikoff claimed he never had much of an ear — save for Bruce's vocal, always pleading after hearing a mix, "Could I hear some more voice, please? By , of course, Yetnikoff got his wish, as Born in the U. The pair had a good working relationship, but Yetnikoff knew that Springsteen didn't use drugs, which is one reason they didn't hang out, save for the occasional social visit.
In his later years, Yetnikoff was forthcoming about his addiction, treatment, and his undoing after Sony absorbed the label. Even before he left Sony in , Yetnikoff had stepped back from the relationship, in part, he said, because Springsteen, who'd dismissed the E Street Band and sought a new creative direction, no longer required day-to-day attention. But Yetnikoff wasn't pleased when Springsteen joined with Amnesty International for the Conspiracy of Hope tour, believing the organization was biased against Israel.
Part of that had to do with my own arrogance, my own ego," Yetnikoff said. But by , he regretted judging Springsteen, as he told Backstreets: "He was doing things I don't like, but hey, his politics are his politics. He has the right to do that. At the time, if I had called Bruce and said, 'Hey let's sit down and work this out,' I'm sure he would've said yes. I owe him an apology. After leaving Sony in , Yetnikoff founded his own record label and had a hand in film production. In his later years, Yetnikoff remained devoted to helping people discover paths to sobriety. It's developed. Greatness is a decision you make.
You make that decision every single day with everything you do, no matter how small. Whatever it is. Certain shows loom large on many Best of Tour lists. Hartford Louis Paris And now that concert — the second night of two at Fenway Park on the Wrecking Ball tour — has its rightful place in Bruce Springsteen's Live Archive series. Now, every city in Not-New-Jersey thinks it is Bruce's secret favorite place to play looking at you, Philadelphia. But most of us know the answer is actually Boston. In fact, we'd be happy with monthly releases of just classic Boston shows for the rest of the year. You can now rest easy, Archive Series planners. Hard part's done.
August 15, - photograph by Michael Zorn. My obvious Beantown pride aside, expectations tend to be high when Bruce hits Boston. On the Wrecking Ball tour, however, the first of the two-show Fenway stand was… not great. I've seen quite a few Springsteen shows, and there is only a handful when I've left thinking, "Okay, maybe it's time to take a break. I think Bruce may have felt the same. Because he casually strolled out on the second night with a completely different vibe. The visual and the tone go a long way to understanding the groove of Night 2, so take a look below Bruce starts talking about a minute in. And we open with Bruce and Roy on a stripped-down "Thunder Road" — which you could say was completely out of left field, had we not been standing in that general area.
Then: "Let's start with the hits! Let's start with the summertime hits right now! Where was this coming from? August 15, - photograph by A. One of my favorite insights from Bruce's Super Bowl journal was his fear of not being "in the moment" from the very start of the minute halftime show. During a three-hour concert he can call an audible if he feels himself wandering, in order to shake things — and himself — up. No such luxury in seconds of a carefully white-boarded Springsteen Experience. That feeling of aliveness and being in the moment is what the entire second night in Fenway felt like. A minute-to-minute openness on Bruce's part to the show being something different.
Okay, so we've got a Great Opening Set. We've got the Vibe. It's August , so we're comfortably in the sign-request era. Over time, some selections hit me better than others. You soon realize that the best Bruce covers are not songs by the Stones or Van Morrison. If your neighborhood's Dads band would play it at the community pool on a Friday night, it's not going to be a transcendent Springsteen cover. Rather, it's the more obscure frat rock, novelty, and soul songs that tend to lead to E Street magic. I vividly remember "Hang On Sloopy" from Greensboro in tearing the roof off the place. If Fenway had a roof, it would have been the same for me for this night's "Knock on Wood.
Such great fun, with enough rough edges that it still had the heady tension of an impromptu one-off. With those last three requests, themes of summer merged with their natural companion: nostalgia. Which is not Bruce's typical go-to move. The audience may want to relive the '78 intro to "Prove It All Night" yes, this is foreshadowing , but it's his nature to play a new song instead. He would say — has said — that that's his job, right?
But first "Frankie" got a mid-song rap about writing the song in the s and watching the fireflies on the front porch. And, one-by-one, cellphones lit up Fenway. That was a moment. Next up, "Prove It All Night. This was a sign request as well. My memory is hazy, and I can't get a good YouTube visual, but I believe the '78 intro was mentioned on the sign. And the feeling of wondering if the intro was going to happen, and then it starting to happen, and we were back to the Darkness tour, not just a brief nod but going on for a full three minutes… that feeling is what's hard to capture when just listening to an Archive release a decade later.
The folks who understandably listen to St. Louis and wonder what the big deal was — I get it. It's tough to get the feel of the room, and it's easy to lose some wonder and anticipation as you're holding the setlist in your hand. But listen with fresh, attentive ears if you can. Imagine a few songs later as "Backstreets" crescendos and then quiets. And you've still got the '78 "Prove It" intro ringing in your ears. Bruce croons "Together until the end" and takes a moment. And a thought breaks across your brain — wait, he's not going to do the "Sad Eyes" interlude, is he?
That would be crazy. It's been more than three decades since he did that. And the seconds tick by. And you think there's no way. But we're in the moment. We are alive. And then nostalgia merges with the modern… and with no precedent, 's "Dream Baby Dream" mantra comes instead. You could see the moment when the inspiration hit Bruce to include it. And no one else outside of the people visiting Backstreets. But I'll consider this a safe space with my fellow travelers: It was amazing. We got "Detroit Medley" and "Quarter to Three. Is there more to say? About the rain, the Ken Casey appearance? Well, sure — my brother was standing next to me that night, and you can read his rave from the time right here especially if you want more baseball puns.
But maybe you save that for after you've given the show a listen or two. First, go download this magical show. And then I drop a shredding guitar solo. Thank you and good night. Rock in peace, Dusty. I mean, it'll never be said that the man doesn't have high regard for rock 'n' roll history and rock 'n' roll fandom — not to mention a legit sense of humor. But still, how the hell did we talk him into this? Unrequited Infatuations is earning raves in advance of its September 28 publication, including some fever-dream rhapsodizing from Bob Dylan himself, which you can read in full on our catalog page. Bruce Springsteen describes the story of Unrequited Infatuations as "an inimitable rock 'n' roll life told as boldly as it was lived. Van Zandt's hand-signed "Miami Steve" signature will go on superbly designed, custom bookplates featuring Miami-era SVZ in all his flowered shirt splendor -- also a Backstreets exclusive.
What a standup guy. Jump on it before he changes his mind. Guarantee yours by pre-ordering now, only from Backstreet Records! Last week, the long-running debate over the correct opening lyrics to Bruce Springsteen's classic "Thunder Road" appeared to be settled at last. The contentious discourse gripped Twitter earlier this month, when, on July 3, New York Times reporter Maggie Haberman shared a photo of the stage at Springsteen on Broadway with the words "A screen door slams, Mary's dress sways. While I was as emotionally invested in this scuffle as anyone Team Waves, btw , a more serious Springsteen-related lyrical matter came to dominate my brain share.
At the same time that Waves vs. Sways concluded, former Staind frontman-turned-country singer Aaron Lewis's song "Am I the Only One" entered the Billboard Hot Country Songs charts at 1 only the ninth song ever to do so , and the Top Singles at 14, without any support from mainstream country radio. As a woman married to a retired career Army officer who has done multiple combat tours, I have thoughts about this. Am I the only one who quits singin' along Every time they play a Springsteen song?
Shortly before the song took off like a right-wing rocket, several random knuckleheads tweeted that Americans shouldn't play Springsteen's "Born in the U. Seems a lot of good old boys have a beef with Bruce. As a veteran's wife, I've got some thoughts about that, too. With a foreword by Lauren Onkey and year-by-year commentary on Springsteen by Peter Chakerian, Live in the Heartland is fascinating as the vision of a singular photographer covering almost the entirety of Springsteen's touring with the E Street Band, from their debut in Cleveland as an opening act through the River Tour.
Speaking with Bob Zimmerman for Backstreets , Macoska describes how she discovered photography and rock 'n' roll , kept pushing til it was understood, and, still a teenager, shot her first assignment for her school paper in Wishbone Ash, with opening act Bruce Springsteen and the E Street Band. I liked Wishbone Ash. I had heard their music on the radio. But then this guy comes on stage. He's just a scruffy, little beatnik guy. But he sounds cool. And he's charismatic, and he's got the Big Man with him, and he ended up taking up six or seven of the photos I took on that roll of Over the ensuing five decades as a professional, Macoska would photograph Springsteen again and again in Ohio — ten tours are covered in the new book — and she takes Zimmerman through her history.
Sidetrips include connecting with fellow teen rock journalist Cameron Crowe in '74, shooting The Clash and other punk acts in their prime, being asked by Steve Popovitch to capture Springsteen and Ronnie Spector backstage, and witnessing the famous '78 Agora show without camera in hand. It was the closest thing New Jersey had to its own version of Beatlemania. The Born in the U. There would be seven when it was all over. And how about those B-sides? But the demand was worldwide, and Bruce couldn't just play in one place for several months. Okay, he could have, and he eventually would, but in no one contemplated Springsteen on Broadway. So the Born in the U.The descendants If I Had Taller Been Theme Essay Filipinos and Europeans are today known as mestizos If I Had Taller Been Theme Essay, Ankylos Spondylitis Research Paper the term Sister Sass-Perry Speeches in other If I Had Taller Been Theme Essay Spanish colonies. With terrors round, can Reason hold her Analysis Essay On Of Mice And Men Friendship, Despise the Ditto Reflection, nor tremble at the unknown? When arrests If I Had Taller Been Theme Essay burglaries increased 10 percent, the number of burglaries fell 2.