DOCSLIB.ORG

Springsteen Exhibition Overview

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Springsteen Exhibition Overview CONTACTS: Ashley Berke Lauren Saul Director of Public Relations Public Relations Manager 215.409.6693 215.409.6895 [email protected] [email protected] FROM ASBURY PARK TO THE PROMISED LAND: THE LIFE AND MUSIC OF BRUCE SPRINGSTEEN EXHIBITION OVERVIEW “Rock and roll, it changed my life. It was like the Voice of America, the real America coming into your home. It was the liberating thing, the out.” For almost four decades, Bruce Springsteen has thrilled fans by giving voice to the restlessness, hopes, and dreams of ordinary Americans. Millions of listeners have found their experience of the American dream reflected in his songs about the lonely, the lost, the unemployed, immigrants and military veterans. Springsteen’s words and music challenge a listener’s ideas, exploring in the truest sense the right to free expression. In From Asbury Park to the Promised Land: The Life and Music of Bruce Springsteen , visitors will travel with Springsteen from the boardwalks of small-town New Jersey to packed stadiums around the world. Throughout the exhibition, listening and viewing stations feature interviews with Springsteen, previously unreleased songs from some of his early musical groups, and footage of some of the most famous performances of his career. Personal artifacts, including family photographs and notebooks filled with song lyrics, help paint a complete portrait of the famous singer/songwriter. Introduction A highlight of From Asbury Park to the Promised Land , Bruce Springsteen’s 1960 Chevrolet Corvette will be on display in the National Constitution Center’s lobby. Springsteen purchased the Corvette in 1975 after the success of the album Born to Run . Photos of the car have appeared on various album and single sleeves, and the car was prominently featured in Songs , a Springsteen songbook, journal, and photo album. The Center’s lobby also will feature large reproductions of famous photographs of Springsteen and the E Street Band taken by New Jersey photographers Frank Stefanko and Danny Clinch, including a photo of Springsteen with the Corvette taken in Haddonfield, New Jersey. Stefanko famously shot the cover art for Darkness on the Edge of Town and The River ; the cover of The Seeger Sessions was taken by Clinch. From Small Things (Big Things One Day Come) “Before rock 'n' roll, I didn't have any purpose. I tried to play football and baseball and all those things and I just didn't fit. I was running through a maze. It was never a hobby. It was a reason to live. It was the only one I had.” Bruce Frederick Springsteen was born on September 23, 1949 in Freehold, New Jersey to Adele and Douglas Springsteen. Springsteen was 14 when he joined the Castiles, a group of Freehold teenagers who, like him, took rock ‘n’ roll seriously. From a first show at Freehold’s West Haven Swim Club in 1965, the Castiles advanced to playing in neighboring towns along the Jersey Shore and at the Café Wha? in New York’s Greenwich Village in 1967. Their repertoire consisted of a broad selection of British Invasion rock, including songs by the Animals, the Dave Clark Five, the Who, and the Rolling Stones. The group broke up in 1968, the same year Springsteen graduated from high school. In this section of the exhibition, visitors can view photos of Springsteen’s family and Asbury Park. Also on display are scrapbooks containing newspaper clippings, photos, handbills, and other documents related to his early music endeavors, as well as other memorabilia from the Castiles, including a set list, business card, concert poster, and a bar of Castile Soap (where the group got their name). At a listening station, guests can hear songs by the Castiles. The never-released “That’s What You Get” and “Baby I” were written by Springsteen and George Theiss and were recorded in the spring of 1966. Additional songs were recorded live at a Castiles show at the Left Foot in Freehold, New Jersey on September 16, 1967. The songs are covers, including Jimi Hendrix’s “Purple Haze,” the Beatles’ “Eleanor Rigby,” and the Yardbirds’ “Jeff’s Boogie.” Growin’ Up "I learnt when I was very young how to build a band that would excite you, impress you, that we're putting on a show for people, … that it's a circus, it's a political rally, it's a dance party, but that also the band is a group of witnesses, witnesses to our times, that our job is to make you laugh, make you cry, and to testify as seriously as we can … about the things we've seen." An indifferent college student who briefly attended Ocean County College, Springsteen began to frequent the Upstage, an Asbury Park club where musicians gathered to jam after-hours. With Danny Federici on the organ, Vinnie Roslin on bass, and Vini Lopez on drums, he formed Child, renamed Steel Mill after they discovered another band using the same name. Steel Mill had a large following along the Jersey Shore and in Richmond, VA, where they often attracted as many as 5,000 fans at shows. When Steel Mill broke up in 1971, Springsteen formed the light-hearted Dr. Zoom and the Sonic Boom while organizing an ambitious 10-piece band. The “Growin’ Up” section of the exhibition features artifacts from Springsteen’s time with Steel Mill, Dr. Zoom and the Sonic Boom, and the Bruce Springsteen Band, which was formed after Dr. Zoom and the Sonic Boom’s breakup. Highlights include an electric guitar that Springsteen played from 1968-1971 before trading it in because it weighed too much, a Steel Mill concert poster, and lyrics to songs Springsteen wrote for Steel Mill. Other artifacts from Springsteen’s young adult life include a surfboard and a Selective Service card (Springsteen avoided being drafted because of a brain concussion and leg injury he sustained in a motorcycle accident). The Bruce Springsteen Band featured keyboardists Danny Federici and David Sancious, drummer Vini Lopez, bassist Garry Tallent, and guitarist Steve Van Zandt, all of whom would go on to play in the E Street Band. Memorabilia in this section also includes a Bruce Springsteen Band concert handbill and poster from the Main Point in Bryn Mawr, PA, one of the small clubs where Springsteen built his audience. Out in the Streets “I couldn’t believe it. I reacted with a force I’ve felt maybe three times in my life. I knew at once that he would last a generation.” – John Hammond on Springsteen’s audition for Columbia Records When Springsteen auditioned with legendary A&R man John Hammond of Columbia Records in May 1972, he was playing on his own. The large band he had been trying to form had dissolved; there were too few gigs and too many performers to make money. But after Columbia signed Springsteen with a $40,000 recording budget, he quickly called his former band mates. This stunned Columbia, which had thought of Springsteen as a solo artist like the hugely successful Bob Dylan. Springsteen refused to budge. With a smaller version of his band reassembled, Springsteen began work on what would become Greetings from Asbury Park, N.J. Although critically lauded, the album was not a commercial hit. Visitors can listen to excerpts of Bruce Springsteen’s audition for John Hammond in this section of the exhibition. Other tracks available at the listening station include a 1974 Harvard Square Theatre performance when Springsteen and the E Street Band opened for Bonnie Raitt and a performance at the Agora in Cleveland in 1978, celebrating the 10 th anniversary of WMMS, the Cleveland radio station that played a major role in Springsteen’s mainstream breakthrough. Rare archival footage of performances from the 1970s is displayed on a television screen in this section. “Lost in the Flood” was filmed at Max’s Kansas City in New York City in 1973; “Sandy” was filmed at Nassau Community College in Garden City, New York in 1973; “Kitty’s Back” was filmed at the Carlton Theater in Red Bank, New Jersey in 1975; and “Rosalita” was filmed at the Houston Coliseum in 1978. This section also features a personal scrapbook kept by Springsteen featuring numerous stories and reviews related to Greetings from Asbury Park, N.J. and reproductions of articles from Record World and Rolling Stone Magazine . The E Street Shuffle “I had no success, so I had no real concerns about where I was going. I was going up, I hoped, or at least out. With a record contract and a touring band, I was better off than most of my friends.” The Wild, the Innocent & the E Street Shuffle came out on November 5, 1973, just 10 months after Greetings from Asbury Park, N.J. Like its predecessor, the album did not fare well nationally, but it was a success in Philadelphia. More than half of the album’s sales in its first year were in Philadelphia, and audiences flocked to see Springsteen and the E Street Band at local venues such as the Tower Theatre and the Main Point. This section of the exhibition includes memorabilia from the Stone Pony, the legendary Asbury Park rock club, and a shirt worn by Springsteen when he appeared on stage at the Stone Pony. Also featured are album notes from The Wild, the Innocent & the E Street Shuffle , which include Springsteen’s handwritten credits for his second album; a track listing for the album; and notes about potential album titles and the lyrics for songs such as “New York City Serenade,” “Wild Billy’s Circus Story,” “4th of July, Asbury Park (Sandy),” and “The E Street Shuffle.” Other artifacts pay homage to late members of the E Street Band and lifelong Springsteen friends, keyboard player Danny Federici and saxophone player Clarence Clemons.
Load more

Recommended publications
  • Never-Before-Seen Extended Version of Clarence Clemons Documentary at the National Constitution Center
    FOR IMMEDIATE RELEASE CONTACTS: Ashley Berke Lauren Saul Director of Public Relations Public Relations Manager 215.409.6693 215.409.6895 [email protected] [email protected] NEVER-BEFORE-SEEN EXTENDED VERSION OF CLARENCE CLEMONS DOCUMENTARY AT THE NATIONAL CONSTITUTION CENTER Event will include audience Q&A with the film’s director Nick Mead Philadelphia, PA (May 2, 2012) – A legendary musician and dramatic stage performer in his own right, Clarence Clemons was an integral and beloved member of the E Street Band. In connection with the must-see exhibition From Asbury Park to the Promised Land: The Life and Music of Bruce Springsteen, the National Constitution Center will pay tribute to the late Clemons during a special screening of Who Do I Think I Am? A Portrait of a Journey, featuring 15 minutes of never-before-seen footage. The event takes place on Wednesday, May 23, 2012, just a few weeks shy of the anniversary of Clemons’ passing. The film’s director, Nick Mead, will participate in a Q&A session moderated by Shawn Poole of Backstreets.com. Guests are encouraged to arrive at 5:00 p.m. to tour the Springsteen exhibition prior to the film screening at 6:00 p.m. Admission is $20 for non-members and $15 for members, and includes access to From Asbury Park to the Promised Land: The Life and Music of Bruce Springsteen. Reservations are required and can be made by calling 215.409.6700 or by visiting www.constitutioncenter.org. A cash bar and movie snacks also will be available.
    [Show full text]
  • Greetings 1 Greetings from Freehold: How Bruce Springsteen's
    Greetings 1 Greetings from Freehold: How Bruce Springsteen’s Hometown Shaped His Life and Work David Wilson Chairman, Communication Council Monmouth University Glory Days: A Bruce Springsteen Symposium Presented Sept. 26, 2009 Greetings 2 ABSTRACT Bruce Springsteen came back to Freehold, New Jersey, the town where he was raised, to attend the Monmouth County Fair in July 1982. He played with Sonny Kenn and the Wild Ideas, a band whose leader was already a Jersey Shore-area legend. About a year later, he recorded the song "County Fair" with the E Street Band. As this anecdote shows, Freehold never really left Bruce even after he made a name for himself in Asbury Park and went on to worldwide stardom. His experiences there were reflected not only in "County Fair" but also in "My Hometown," the unreleased "In Freehold" and several other songs. He visited a number of times in the decades after his family left for California. Freehold’s relative isolation enabled Bruce to develop his own musical style, derived largely from what he heard on the radio and on records. More generally, the town’s location, history, demographics and economy shaped his life and work. “County Fair,” the first of three sections of this paper, will recount the July 1982 episode and its aftermath. “Growin’ Up,” the second, will review Bruce’s years in Freehold and examine the ways in which the town influenced him. “Goin’ Home,” the third, will highlight instances when he returned in person, in spirit and in song. Greetings 3 COUNTY FAIR Bruce Springsteen couldn’t be sitting there.
    [Show full text]
  • Frank Stefanko Bio
    FRANK STEFANKO BIO Frank Stefanko is a fine art photographer whose work graces the album covers of Bruce Springsteen’s Darkness on the Edge of Town and The River . His photographs also appear in Bruce Springsteen & the E Street Band’s Live 75-85 album, Springsteen’s Greatest Hits , Tracks , and the Essential Bruce Springsteen albums. Other album cover work includes Southside Johnny’s Hearts of Stone album cover and Patti Smith’s The Arista Years 1975/2000 box set cover. Stefanko is the author of the book Days of Hope and Dreams: An Intimate Portrait of Bruce Springsteen , which recently has been released in the second edition, and Patti Smith: American Artist . His work Springsteen – Troubadour of the Highway , broke attendance records at the Frederick Weisman Museum in Minneapolis, the Cranbrook Museum in Michigan, the Experience Music Project in Seattle, and the Newark Museum in New Jersey. In 2012, his show The Sound and Vision: Monumental Rock Photography will tour the Columbus Museum in Georgia, the Hunter Museum of American Art in Tennessee, the Gibbes Museum of Art in South Carolina, the Huntsville Museum of Art in Alabama, and the Lauren Rogers Museum of Art in Mississippi. In addition, Stefanko is working on compiling his collection of vintage photographs. Taken in the seventies, these photos feature individuals, locations, and scenes from a unique era that nurtured art, music, and poetry. Residing in New Jersey, Stefanko has been making photographs for over fifty years. Self- taught as a boy and inspired by film noir movies and the old masters such as Edward Steichen, Alfred Steiglitz, and Diane Arbus, he excelled in art and photography both in high school and college.
    [Show full text]
  • John Lee Hooker: King of the Boogie Opens March 29 at the Grammy Museum® L.A
    JOHN LEE HOOKER: KING OF THE BOOGIE OPENS MARCH 29 AT THE GRAMMY MUSEUM® L.A. LIVE CONTINUING THE 100TH ANNIVERSARY OF THE BIRTH OF LEGENDARY GRAMMY®-WINNING BLUESMAN JOHN LEE HOOKER, TRAVELING EXHIBIT WILL FEATURE RARE RECORDINGS AND UNIQUE ITEMS FROM THE HOOKER ESTATE; HOOKER'S DAUGHTERS, DIANE HOOKER-ROAN AND ZAKIYA HOOKER, TO APPEAR AT MUSEUM FOR SPECIAL OPENING NIGHT PROGRAM LOS ANGELES, CALIF. (MARCH 6, 2018) —To continue commemorating what would have been legendary GRAMMY®-winning blues artist John Lee Hooker’s 100th birthday, the GRAMMY Museum® will open John Lee Hooker: King Of The Boogie in the Special Exhibits Gallery on the second floor on Thursday, March 29, 2018. On the night of the opening, Diane Hooker-Roan and Zakiya Hooker, daughters of the late bluesman, will appear at the GRAMMY Museum for a special program. Presented in conjunction with the John Lee Hooker Estate and Craft Recordings, the exhibit originally opened at GRAMMY Museum Mississippi—Hooker's home state—in 2017, the year of Hooker's centennial. On display for a limited time only through June 2018, the exhibit will include, among other items: • A rare 1961 Epiphone Zephyr—one of only 13 made that year—identical to the '61 Zephyr played by John Lee Hooker. Plus, a prototype of Epiphone's soon-to-be-released Limited Edition 100th Anniversary John Lee Hooker Zephyr signature guitar • Instruments such as the Gibson ES-335, Hohner HJ5 Jazz, and custom Washburn HB35, all of which were played by Hooker • The Best Traditional Blues Recording GRAMMY Hooker won, with Bonnie Raitt, for "I'm In The Mood" at the 32nd Annual GRAMMY Awards in 1990 • Hooker's Best Traditional Blues Album GRAMMY for Don't Look Back, which was co-produced by Van Morrison and Mike Kappus and won at the 40th Annual GRAMMY Awards in 1998 • A letter to Hooker from former President Bill Clinton • The program from Hooker's memorial service, which took place on June 27, 2001, in Oakland, Calif.
    [Show full text]
  • RRFF-Gracenewsrelease2020 RRFF VERS 3
    FOR IMMEDIATE RELEASE INTRODUCING GRACE’S ROCKIN’ ROLL ADVENTURE FEATURING ROCK AND ROLL HALL OF FAMER LITTLE STEVEN VAN ZANDT A NEW BOOK THAT USES MUSIC TO EMPOWER TEACHERS AND INSPIRE YOUNG STUDENTS IN READING, SCIENCE, AND MATH --Book and accompanying “STEAM” Lesson Plan Launched as Part of Rock and Roll Forever Foundation’s K-12 TeachRock Initiative --- New York, NY (October XX) – Grace’s Rockin’ Roll Adventure, a new children’s book featuring the characters from The Musical Adventures of Grace series accompanied by rock star and actor Steven Van Zandt, connects music and early elementary reading, science, and math. Developed as a partnership between TeachRock.org, the main initiative of Van Zandt’s Rock and Roll Forever Foundation, and author Ken Korber’s Center for Functional Learning, the book also features an accompanying lesson plan that engages the youngest learners in a fun, music-filled “STEAM” (Science, Technology, Engineering, Arts, and Math) project. Grace’s Rockin’ Roll Adventure is currently being piloted in TeachRock Partner Schools and select school systems in New York, New Jersey, California, and Illinois. In the book, the 9th in the Musical Adventures of Grace Series, Grace and her classmates win a contest to attend a Little Steven and the Disciples of Soul concert—a realistic plot considering that during his 2018 Teacher Solidarity Tour, Van Zandt gifted tickets to nearly 10,000 students and teachers nationwide. Invigorated by the music, Grace approaches Van Zandt, who bequeaths an instrument, setting the young musician on a rock and roll adventure with her classmates. In the accompanying workbook, real-life students learn about the various shapes in guitar designs, and ultimately combine music, math, art, and geometry to create a two- dimensional instrument of their own.
    [Show full text]
  • Download Ebook ^ Danny Clinch: Still Moving: Still Moving (Hardback
    NUCV5NZOQOEH \\ Doc « Danny Clinch: Still Moving: Still Moving (Hardback) Danny Clinch: Still Moving: Still Moving (Hardback) Filesize: 7.24 MB Reviews Extensive manual for book fans. It really is simplified but surprises inside the fifty percent of your pdf. I realized this pdf from my dad and i advised this pdf to discover. (Geoffrey Wiza) DISCLAIMER | DMCA N9T5RHWDOZTM > PDF > Danny Clinch: Still Moving: Still Moving (Hardback) DANNY CLINCH: STILL MOVING: STILL MOVING (HARDBACK) To save Danny Clinch: Still Moving: Still Moving (Hardback) eBook, you should refer to the button under and save the file or gain access to other information that are relevant to DANNY CLINCH: STILL MOVING: STILL MOVING (HARDBACK) ebook. Abrams, United States, 2014. Hardback. Condition: New. Language: English . Brand New Book. Danny Clinch has established himself as one of the premiere photographers of the popular music scene. He has photographed a wide range of artists from Johnny Cash and Tupac Shakur to Bjork and Bruce Springsteen. His photos have appeared on hundreds of album covers as well as in publications such as Vanity Fair, Spin, Rolling Stone, GQ, Esquire and the New York Times Magazine. Famous for his ad campaigns for John Varvatos, which feature a wide variety of rock stars, Clinch has also received two Grammy Award nominations for Bruce Springsteen s Devils and Dust and for John Mayer s Where the Light Is. He has also directed music videos and concert films for Willie Nelson, Tom Waits, Pearl Jam, John Legend, Melissa Etheridge, Foo Fighters, Dave Matthews and the Bonnaroo music festival. This lavish monograph chronicles Danny Clinch s illustrious career with over 200 photographs of the most important musicians of all time, along with his personal memorabilia, anecdotes and four celebrity essays.
    [Show full text]
  • “Born to Run”—Bruce Springsteen (1975) Added to the National Registry: 2003 Essay by Cary O’Dell
    “Born to Run”—Bruce Springsteen (1975) Added to the National Registry: 2003 Essay by Cary O’Dell Original album Original label Bruce Springsteen “Born to Run” was Bruce Springsteen’s third album. The man who is “The Boss” has admitted that the creation of it was his blatant attempt for a true rock and roll record as well as commercial success after the tepid commercial reception of his earlier two albums, “Greetings from Asbury Park, N.J.” (1973) and “The Wild, the Innocent & the E Street Shuttle” (1973). On both counts, he got his wish. Upon its release, “Born to Run” would rise to number three on the charts. Besides gaining massive audience attention (by the end of the year Springsteen would be featured on the covers of both “Time” and “Newsweek”), “Born to Run” also saw the accomplishment of two other major factors in Springsteen’s artistic development. First, it saw the solidification of the line-up of Springsteen’s legendary back-up musicians, the E-Street Band. Second, it fully delivered on Springsteen’s early promise which saw him labeled as both a “modern day Dylan” and as “rock ‘n’ roll’s future.” Along with “Born to Run” being named to the National Registry in 2003, it has been ranked number eight on a list of rock’s all-time greatest albums by “Rolling Stone” magazine and was place at 18th on VH1’s list of the 500 greatest rock albums ever. Eight songs make up the tracks of “Born to Run”: “Thunder Road,” “Tenth Avenue Freeze- Out,” “Night,” “Backstreets,” “Born to Run,” “She’s the One,” “Meeting Across the River,” and “Jungleland.” In writing and developing the album, Springsteen has said he was hoping to recreate Phil Spector’s legendary “wall of sound” producing approach.
    [Show full text]
  • The White Animals
    The 5outh 'r Greatert Party Band Playr Again: Narhville 'r Legendary White AniMalr Reunite to 5old-0ut Crowdr By Elaine McArdle t's 10 p.m. on a sweltering summer n. ight in Nashville and standing room only at the renowned Exit/In bar, where the crowd - a bizarre mix of mid­ Idle-aged frat rats and former punk rockers - is in a frenzy. Some drove a day or more to get here, from Florida or Arizona or North Carolina. Others flew in from New York or California, even the Virgin Islands. One group of fans chartered a jet from Mobile, Ala. With scores of people turned away at the door, the 500 people crushed into the club begin shouting song titles before the music even starts. "The White Animals are baaaaaaack!" bellows one wild-eyed thirty­ something, who appears mainstream in his khaki shorts and docksiders - until you notice he reeks of patchouli oil and is dripping in silver-and-purple mardi gras beads, the ornament of choice for White Animals fans. Next to him, a mortgage banker named Scott Brown says he saw the White Animals play at least 20 times when he was an undergrad at the University of Tennessee. He wouldn't have missed this long-overdue reunion - he saw both the Friday and Saturday shows - for a residential closing on Mar-A-Lago. Lead singer Kevin Gray, a one-time medical student who dropped his stud­ ies in 1978 to work in the band fulltime, steps onto the stage and peers out into the audience, recognizing faces he hasn't seen in more than a decade.
    [Show full text]
  • A Guiding Force
    Arcadia University ScholarWorks@Arcadia Faculty Curated Undergraduate Works Undergraduate Research Winter 12-10-2020 A Guiding Force Jessica Palmer Follow this and additional works at: https://scholarworks.arcadia.edu/undergrad_works Part of the American Popular Culture Commons, Music Performance Commons, Other American Studies Commons, and the Other Music Commons Jessica T Palmer Dr. Buckley Bruce Springsteen and The American Dream 12/10/2020 Cover Page for My Research Paper A Guiding Force Abstract In this paper, I will be addressing the main factors which influenced Bruce Springsteen’s career and songwriting, specifically regarding interpersonal relationships the singer has had and how that is evident in his work thus far. I will be relating that concept to his latest album release, “Letter to You” by analyzing track by track and attempting to find that common thread of connection that seems to speak so well to him and his audience. Why? I chose this topic and album because throughout this course I have really enjoyed dissecting Springsteen’s work and relating it to a bigger picture. As I have progressed throughout this course, I have been able to elevate my writing and approach song analysis in a new, more refined way. I also felt as though choosing “Letter to You” would allow for me to make the most accurate interpretation of what Springsteen is trying to say in the current moment since it just got released a few months ago. Overall, I wanted to write about this because it allows for some creative freedom, a stream of consciousness and a continuation of the work I have been trying to perfect over the semester in this class.
    [Show full text]
  • Bruce Springsteen the River Mp3, Flac, Wma
    Bruce Springsteen The River mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: The River Country: US Released: 1980 Style: Folk Rock, Pop Rock, Classic Rock MP3 version RAR size: 1209 mb FLAC version RAR size: 1733 mb WMA version RAR size: 1546 mb Rating: 4.2 Votes: 687 Other Formats: AIFF FLAC AIFF FLAC AC3 XM DTS Tracklist Hide Credits The Ties That Bind A1 3:33 Recorded By – Bob Clearmountain A2 Sherry Darling 4:02 A3 Jackson Cage 3:04 A4 Two Hearts 2:42 A5 Independence Day 4:46 Hungry Heart B1 3:19 Backing Vocals – Howard Kaylan, Mark VolmanMixed By – Bob Clearmountain B2 Out In The Street 4:17 Crush On You B3 3:10 Guitar [Lead] – Steve Van Zandt B4 You Can Look (But You Better Not Touch) 2:36 B5 I Wanna Marry You 3:26 B6 The River 4:59 C1 Point Blank 6:05 C2 Cadillac Ranch 3:02 I'm A Rocker C3 3:34 Organ – Roy Bittan C4 Fade Away 4:40 C5 Stolen Car 3:53 D1 Ramrod 4:04 D2 The Price You Pay 5:27 Drive All Night D3 8:26 Organ – Roy BittanPiano – Bruce SpringsteenRecorded By – Jimmy Iovine D4 Wreck On The Highway 3:53 Credits Acoustic Guitar, Electric Guitar – Steve Van Zandt Artwork By [Art Direction & Design], Photography [Other] – Jimmy Wachtel Backing Vocals – Clarence Clemons, Roy Bittan, Steve Van Zandt Bass – Garry Tallent Drums – Max Weinberg Engineer [Assistant] – Dana Bisbee, Garry Rindfuss, James Farber, Jeff Hendrickson, Raymond Willhard* Lyrics By, Music By – Bruce Springsteen Mixed By – Chuck Plotkin (tracks: A1 to A5, B2 to D4), Toby Scott (tracks: A1 to A5, B2 to D4) Organ – Danny Federici Photography [Cover, Other] – Frank Stefanko Photography [Other] – Amanda Flick, Barry Goldenberg, David Gahr, Joel Bernstein Piano – Roy Bittan Producer – Bruce Springsteen, Jon Landau, Steve Van Zandt Recorded By – Neil Dorfsman (tracks: A2 to D2, D4) Saxophone, Percussion – Clarence Clemons Technician [Digital Operator] – Jim Bauerlein Vocals, Electric Guitar [6 & 12 String], Harmonica – Bruce Springsteen Notes Echo en el Peru.
    [Show full text]
  • Persona, Autobiography and the Magic of Retrospection in Bruce Springsteen's Late Career
    Persona Studies 2019, vol. 5, no. 1 BRILLIANT DISGUISES: PERSONA, AUTOBIOGRAPHY AND THE MAGIC OF RETROSPECTION IN BRUCE SPRINGSTEEN’S LATE CAREER RICHARD ELLIOTT ABSTRACT Popular musicians with long careers provide rich source material for the study of persona, authenticity, endurance and the maintenance (and reinvention) of significant bodies of work. The songs of successful artists create a soundtrack not only to their own lives, but also to those of their audiences, and to the times in which they were created and to which they bore witness. The work of singers who continue to perform after several decades can be heard in terms of their ‘late voice’ (Elliott 2015a), a concept that has potentially useful insights for the study of musical persona. This article exploits this potential by considering how musical persona is de- and re-constructed in performance. I base my articulation of the relationship between persona, life-writing and retrospective narrativity on a close reading of two late texts by Bruce Springsteen: Born to Run, the autobiography he published in 2016, and Springsteen on Broadway, the audiovisual record of a show that ran from October 2017 to December 2018. In these texts, Springsteen uses the metaphor of the ‘magic trick’ as a framing device to shuttle between the roles of autobiographical myth-breaker and lyrical protagonist. He repeatedly highlights his songs as fictions that bear little relation to his actual life, while also showing awareness that, as often happens with popular song, he has been mapped onto his characters in ways that prove vital for their sense of authenticity.
    [Show full text]
  • Finding Grace in the Concert Hall: Community and Meaning Among Springsteen Fans
    FINDING GRACE IN THE CONCERT HALL: COMMUNITY AND MEANING AMONG SPRINGSTEEN FANS By LINDA RANDALL A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY On Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Department of Religion December 2008 Winston Salem, North Carolina Approved By: Lynn Neal, PhD. Advisor _____________________________ Examining Committee: Jeanne Simonelli, Ph.D. Chair _____________________________ LeRhonda S. Manigault, Ph.D _____________________________ ii Acknowledgements First and foremost, my thanks go out to Drs. Neal and Simonelli for encouraging me to follow my passion and my heart. Dr. Neal helped me realize a framework within which I could explore my interests, and Dr. Simonelli kept my spirits alive so I could nurse the project along. My concert-going partner in crime, cruisin’tobruce, also deserves my gratitude, sharing expenses and experiences with me all over the eastern seaboard as well as some mid-America excursions. She tolerated me well, right up until the last time I forgot the tickets. I also must recognize the persistent assistance I received from my pal and companion Zero, my Maine Coon cat, who spent hours hanging over my keyboard as I typed. I attribute all typos and errors to his help, and thank him for the opportunity to lay the blame at his paws. And lastly, my thanks and gratitude goes out to Mr. Bruce Frederick Springsteen, a man of heart and of conscience who constantly keeps me honest and aware that “it ain’t no sin to be glad you’re alive (Badlands).”
    [Show full text]