DOCSLIB.ORG

2010 Ends on a Carousel Ride BACKSTREETS MAGAZINE WINTER 2011 ALL INTERIOR PHOTOS by DANNY CLINCH EXTERIOR PHOTOGRAPH by MARK KRAJNAK

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2010 Ends on a Carousel Ride BACKSTREETS MAGAZINE WINTER 2011 ALL INTERIOR PHOTOS by DANNY CLINCH EXTERIOR PHOTOGRAPH by MARK KRAJNAK Live at the Carousel In December 2010, Bruce Springsteen gathered E Streeters in Asbury Park to perform and film songs from his new release ‘The Promise’ — plus an irresistable “Blue Christmas” for the season — where the merry-go-round used to be. Thom Zimny’s ‘Songs From The Promise’ streamed online as a 2010 holiday treat, but only briefly. Now, to close the decade, the songs are back. Our coverage from writers Caryn Rose and Glenn Radecki took readers inside, for a look at all 11 songs and a unique performance in Springsteen history. FROM 2010 Ends on a Carousel Ride BACKSTREETS MAGAZINE WINTER 2011 ALL INTERIOR PHOTOS BY DANNY CLINCH EXTERIOR PHOTOGRAPH BY MARK KRAJNAK WINTER 2011/2012 BACKSTREETS PAGE 13 PAGE 14 BACKSTREETS WINTER 2011/2012 December 7, 2010 given the fact that the entire E or Jon Landau, telling you to turn watching the video monitor were Songs From The Street Band (plus David Lindley it inside out or put on a loaned able to see Bruce and Steve enact and a five-man horn section, but (black) shirt instead; where acci- a classic James Brown routine, Promise minus Nils and Patti) as well as dentally stepping in the wrong with Bruce on his knees and Carousel House band crew and a large camera place or thrusting your arms in Steve exhorting him to get up at Asbury Park, NJ crew were all assembled in a the air a little too hard might the end of “Talk to Me.” With the Darkness-era E Street space that used to house a mer- accidentally cut off vital elec- Around 4:00, the waiting Band, plus Charlie Giordano, ry-go-round. The audience was tronic connections. No joke: the crowd was led into the carou- David Lindley, and horns comprised of guests and fam- drum tech lost connectivity with sel house in small groups and ily members (including Adele Max because of a kicked-out cord, positioned in various locations The first and only perfor- Springsteen, prominently placed and Eddie Manion’s sax mic got around the stage. Or the area mance by the E Street Band in in front of Steve Van Zandt), pulled out during an enthusiastic serving as the stage—except 2010 improbably materialized together with the lucky winners fist-pump by an adjacent fan. for risers for Max, Roy, and the on a bone-chilling and blustery of a Backstreets-run contest. Starting in the late morning on horns, the band was on the black- Tuesday afternoon in Asbury The configuration inside the December 7, the band had been canvas-covered floor in the cen- Park, at an equally improbable carousel house was reminiscent rehearsing behind closed doors ter of the space, on the same level location: the former carousel of early Unplugged stage con- (but audible to the fans standing as the audience. Once the crowd house adjacent to the old Casino figurations, with the audience outside in the cold along Asbury was positioned to the satisfac- on the boardwalk. Almost a year literally feet away from, and at Avenue) for several hours. Shortly tion of the crew, the film shoot after Bruce assembled the 1978- the same level as, Bruce and the before 3:00 that afternoon, the began with the ‘78 version of era E Street Band members and E Street Band. Instead of being contest winners were escorted “Racing in the Street.” Over the Charlie Giordano for the Darkness seated—or standing—in front of inside to a staging area adjacent course of the next four hours, the live recording at the Paramount a stage, the audience was posi- to the carousel house (the for- band would perform ten songs Theater on the other end of the tioned practically around the mer arcade that was part of the from The Promise, each of which boardwalk, he brought the same band, both behind and in front Casino), where the rehearsal was performed in its entirety at group together to record the first of them. This created an atmo- was clearly audible. The band least twice. In addition, Bruce live performances of material sphere where you could clearly wasn’t ready for an audience yet, frequently directed the band to from The Promise. read the charts Max had written so tour manager George Travis reprise sections of songs in order Unlike the Paramount perfor- up for “Racing in the Street”; arranged for a small video moni- to get endings, solos, transi- mance, this time the band would where the wrong choice of T- tor to be brought out so that the tions, and even lighting to the perform in front of an audience, shirt would prompt a personal waiting fans could see as well as satisfaction of himself, Zimny, albeit an extremely small one, visit from director Thom Zimny hear. Among other things, fans Landau, or a combination of the DANNY CLINCH PHOTOS DANNY WINTER 2011/2012 BACKSTREETS PAGE 15 DANNY CLINCH PHOTOS DANNY three. This was, after all, a work- “Racing in the Street (’78)” and Here, one of the reasons the ing a good time, he talked about ing film shoot first and a perfor- “Come On (Let’s Go Tonight),” ending was taped multiple times his mother and the Rock and mance second. as well as adding texture to “The was because Bruce gave very spe- Roll Hall of Fame exhibit, and For the guests lucky enough Promise” and a solo on the show’s cific direction that he wanted the he explicitly told one fan (who to be admitted to the taping, it finale, “Blue Christmas.” Bruce lighting behind him to fade out suggested that Bruce to take an often felt like standing just off- also brought a five-piece horn while still keeping him in a spot- entire horn section on tour with camera in Barry Rebo’s footage section to the show, with Curt light, and the lighting crew was him) that “there ain’t gonna be from the Darkness box set: the Ramm and Barry Danielian on having difficulty with it (after a tour.” band worked out cues, chords trumpet, Clark Gayton on trom- one take, admitting over the PA As Springsteen’s comfort level and arrangements on the fly and bone, Manion and Stan Harrison that they just forgot). with the fans increased, he began in the open, whether it was Bruce on saxophone; the horns joined The process of filming this experimenting with incorpo- clarifying Max’s drum part at the in on “Gotta Get That Feeling,” song (which regrettably, in the rating the fans directly into the beginning of “Save My Love” “The Brokenhearted, “Talk to end, did not make the cut for the performance. Everyone present or Steve coaching and conduct- Me” and “Blue Christmas.” webcast) was the most intense was on their best behavior— ing the horns at the end of “The The performances of “The example of having the opportu- there was no shouting, scream- Brokenhearted.” It was clear, Brokenhearted” were easily nity to observe Springsteen at ing or Brooocing at inappropriate watching the performance, what among one of the most memo- work, as opposed to Springsteen moments—and as a result, Bruce a perfectionist Bruce can be, and rable moments of the evening. on stage in front of 20,000 peo- increased the level of direct audi- how the smallest details—the Two takes were completed, ple. As a fan, you’ve heard stories ence interaction as the shoot volume on a particular note, the and then Bruce redid the end- about his dedication, his perfec- went on. He began by asking speed of a transition in and out ing three more times. He kept tionism, and his need to get even the fans to come onto the stage of a guitar or saxophone solo, coming over and speaking with the smallest details to his satis- and surround him as he stood on the pace that lights were brought the horn section, discussing how faction; it’s another thing entirely Max’s drum riser on his cue at down for dramatic effect—were best to achieve the effect he was to watch it unfold right in front the end of “Save My Love.” considered and corrected as hoping to get—he wanted them of you. After a short break, during appropriate. to fade out more obviously than As the event progressed, Bruce which the audience was repo- The show included seven live they were able to in a live set- began to directly interact with sitioned (fans at the back came performance debuts from The ting. Steve came over to offer his the members of the audience to the front, and vice versa) and Promise, with renditions of each advice, and in each of the three between songs, chatting and the band socialized and chatted song mostly faithful to the ver- retakes of the ending, he turned shaking hands during filming amongst themselves, the shoot sions released on the box set. to direct them in the darkness breaks, as well as cracking the began again with “Ain’t Good David Lindley made a guest while Springsteen sang the end- occasional joke. He asked where Enough For You.” Bruce started appearance to reprise his contri- ing at center stage, lit in a spot- people were from, he asked if to walk along the edge of the butions by joining in on violin for light. people were doing okay and hav- “stage,” but there were no fans to PAGE 16 BACKSTREETS WINTER 2011/2012 12-7-10 Live from the Carousel Racing in the Street ‘78 (x2) H 0 Gotta Get that Feeling (x2) H 0 Outside Looking In (x2) One Way Street (x2) Come On (Let’s Go Tonight) (x2) Save My Love (x3) The Brokenhearted (x2) Ain’t Good Enough For You (x2) H The Promise (x2) H Talk To Me (x2) Blue Christmas (x2) H H Video released on Songs From ‘The Promise’ webcast and DVD 0 Audio available on 2011 Record Store Day 10-inch, Live From the Carousel interact with, as there was a track that it seemed a very long time wall of the carousel house, rather Christmas,” slightly different and for the main camera between the to be “situated up there.” In the than at Bruce’s feet) switched not quite as faithful to the origi- fans and the band.
Load more

Recommended publications
  • 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]
  • 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]
  • 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]
  • Pearl Jam to Release Live Italian Concert Film Immagine in Cornice (Picture in a Frame) on September 25
    For Immediate Release: July 31, 2007 PEARL JAM TO RELEASE LIVE ITALIAN CONCERT FILM IMMAGINE IN CORNICE (PICTURE IN A FRAME) ON SEPTEMBER 25 FILM IS DIRECTED BY DANNY CLINCH AND INCLUDES OVER AN HOUR AND A HALF OF LIVE PERFORMANCES AND RARE, BEHIND-THE-SCENES FOOTAGE FROM THE BAND'S 2006 ITALIAN CONCERT DATES SEATTLE, WA- Pearl Jam announces the release of Immagine in Cornice "Picture in a Frame" (Monkeywrench Records), a live concert film chronicling the band's performances with behind-the-scenes footage from the five Italian concerts that took place as part of the band’s 2006 European tour. Featured cities and venues include: Pala Malaguti in Bologna, the Arena di Verona, the Forum in Milan, Palaisozaki in Torino and Duomo Square in Pistoia, Italy. A limited edition commemorative t-shirt will be available for a special price when purchased with Immagine in Cornice at www.pearljam.com during a special pre-sale beginning August 22. Immagine in Cornice will be released at retail stores on Tuesday, September 25. Immagine in Cornice was directed by renowned photographer, filmmaker and long-time friend of the band Danny Clinch (Bruce Springsteen Devils and Dust, Live from Bonnaroo 2004) and was shot in High Definition, Super-8 and a number of formats in between. ''Picture in a Frame'' is a film I've really wanted to make," says director Danny Clinch. "The band invited me to Italy and gave me the access I needed to show a side seldom seen by their fans. It has become a collaboration, as well - the band even offered me some music that has never been heard and Mike (McCready) went into the studio to create some more music for the soundscapes.
    [Show full text]
  • Bruce Springsteen. Further up the Road
    BRUCE SPRINGSTEEN. FURTHER UP THE ROAD Photographs by FRANK STEFANKO Introduction by Bruce Springsteen Text by Frank Stefanko Forewords by Danny Clinch, Eric Meola The Signed Limited Edition Book Published November 2017 by Wall of Sound Editions "Frank’s photographs were stark. His talent was he managed to strip away your celebrity, your artifice, and get to the raw you. His photos had a purity and a street poetry to them. They were lovely and true, but they weren’t slick. Frank looked for your true grit and he naturally intuited the conflicts I was coming to terms with. His pictures captured the people I was writing about in my songs and showed me the part of me that was still one of them. We had other cover options but they didn’t have the hungriness of Frank’s pictures.” – Bruce Springsteen (Reprinted by permission from "Born To Run", Simon & Schuster, 2016) Wall of Sound Editions will publish a phenomenal new limited edition book of photographs of Bruce Springsteen made by Frank Stefanko. BRUCE SPRINGSTEEN. FURTHER UP THE ROAD will be published in November 2017 and is an astounding anthology of over 40 years of largely unseen images of Springsteen, all shot by Stefanko throughout Springsteen’s epic career. Frank Stefanko has spent over four decades working closely with Bruce Springsteen. He shot the iconic covers for Darkness on the Edge of Town and The River albums as well as the cover shot for Springsteen's best-selling Born To Run autobiography and accompanying album Chapter And Verse. The new hardback collectors edition features a personal introduction text by Bruce Springsteen himself and is packed full of unseen photos and features, with image captions and text by Stefanko and forewords by fellow Springsteen photographers Eric Meola, who shot the Born To Run and The Promise album covers, and Danny Clinch, who shot the Devils & Dust, The Rising, The Seeger Sessions, and Working on a Dream album covers.
    [Show full text]
  • Everybody's Got a Hungry Heart
    Everybody’s Got a hungry heart The Duality in Bruce Springsteen by Andy Paine Two hearts This zine is the result of years of trying to explain to various people my love of Bruce Springsteen and the E Street Band. For many, especially those like me who were born after Bruce’s commercial peak with Born In The USA, Bruce Springsteen is like peak hour traffic or the internet or something – so ubiquitous in our subconscious that you never really think about it. On classic hits radio, in karaoke bars, as a trope to be imitated and parodied; his epic songs of cadillacs and highways and American dreams can be seen as just another kitschy relic of another time, or just one more attack in the never-ending onslaught of US pop culture imperialism. I think that’s why some people are surprised to discover my great love of Bruce Springsteen. But love him I do, and my feelings have only grown stronger the older I have gotten. Partial as I am to a good classic rock song or sax solo; it’s Springsteen the lyricist that I love. So many of his songs are little short stories, and these vignettes avoid tales of rockstar excess or high-concept artistic statement. They are stories of ordinary working class people, written in the classic language of ordinary working class people – rock’n’roll. In this way there is certainly a simplicity to Bruce Springsteen. And I’m sure for many listeners, “The Boss” represents a nostalgic ideal of a simpler, rose-tinted Americana.
    [Show full text]
  • "The Culture of the 1970S Reflected Through Bruce Springsteen's Music"
    "The Culture of the 1970s Reflected Through Bruce Springsteen's Music" Senior Honors Thesis Presented To The Honors College Written By Melody S. Jackson Spring, 1983 Advised By Dr. Anthony Edmonds .;,- () -- "The Culture of the 1970s Reflected Through Bruce Springsteen's Music" I have seen the future of rock and roll and it is Bruce Springsteen. Jon Landau the advent of Bruce Springsteen, who made rock and roll a matter of life and death again, seemed nothing short of a miracle to me . Bruce Springsteen is the last of rock's great innocents. Dave Marsh Whether these respected critics see Springsteen as the future of great rock or the end of it, they do regard him with respect for his ability to convey the basic feeling of rock. And they are not alone in this opinion. From the start of his career, Springsteen has received a great deal of critical acclaim. This acclaim, in part because of his performing ability, seems quite fitting since his shows usually last for two and a half hours and often continue for four or even five hours. Relentlessly, he gives of himself to the thousands of fans -- his cult following -- who have come to see their own Rock Messiah. Upon analysis of the lyrics of Springsteen's songs, lyrics which he has written, one sees that he has a unique talent f()r reflecting the situation of the lower-middle class which he grew up in. In fact, in all of the albums he has released up to this time, he has written about the culture of the lower-middle class.
    [Show full text]
  • 2011 Starwood Hotels & Resorts Worldwide, Inc. All
    W SOUTH BEACH DANNY CLINCH ART COLLECTION ©2011 Starwood Hotels & Resorts Worldwide, inc. All rights reserved. Confidential & proprietary – may not be reproduced or distributed without written permission of Starwood Hotels & Resorts Worldwide, Inc. DANNY CLINCH ©2011 Starwood Hotels & Resorts Worldwide, inc. All rights reserved. Confidential & proprietary – may not be reproduced or distributed without written permission of Starwood Hotels & Resorts Worldwide, Inc. WHO IS DANNY CLINCH? DANNY CLINCH is an award winning photographer and filmmaker who has established himself as one of the premiere photographers of the popular music scene. Born in Toms River, New Jersey, Clinch attended Ocean County College and earned his degree at New England School of Photography in Boston, Massachusetts. Clinch began his career as an intern for Annie Leibovitz and assisted Steven Meisel, Timothy White and Mary Ellen Mark. He went on to photograph the likes of Johnny Cash, Bruce Springsteen, Tupac Shakur, Neil Young, Dave Matthews Band, Phish, Radiohead and Björk. His unobtrusive style is one of the features that Clinch's photographic subjects enjoy. Danny has shot many highly regarded advertising campaigns for clients such as John Varvatos, Absolut, Dewar’s, Ray-Ban, Jeep, NASCAR, to name a few. His work has also appeared in publications such as Vanity Fair, Rolling Stone, GQ, Esquire, The New Yorker, and The New York Times Magazine. His photographs have also graced the covers of hundreds of albums. Clinch has presented his work in numerous galleries around the world and published two books: Discovery Inn (1998) and When the Iron Bird Flies (2000). As a director, Clinch has received 2 Grammy Award nominations: in 2005 for Bruce Springsteen’s “Devils and Dust” and in 2009 for John Mayer’s “Where The Light Is.” He has also directed music videos for Willie Nelson, Tom Waits, Pearl Jam, John Legend, Mellissa Etheridge, Foo Fighters and Dave Matthews, among others.
    [Show full text]
  • Bruce Springsteen & the E St Band 2008 Tour Program
    I want a thousand guitars I want pounding drums Radio Nowhere I want a million different I was tryin’ to find my way home voices speaking in tongues But all I heard was a drone Bouncing off a satellite This is radio nowhere, Crushin’ the last lone American night is there anybody alive out there? This is radio nowhere, This is radio nowhere, is there anybody alive out there? is there anybody alive out there? This is radio nowhere, Is there anybody alive out there? is there anybody alive out there? I was driving through the misty rain I was spinnin’ ’round a dead dial Searchin’ for a mystery train Just another lost number in a file Boppin’ through the wild blue Dancin’ down a dark hole Tryin’ to make a connection with you Just searchin’ for a world with some soul This is radio nowhere, is there anybody alive out there? This is radio nowhere, This is radio nowhere, is there anybody alive out there? is there anybody alive out there? This is radio nowhere, Is there anybody alive out there? is there anybody alive out there? Is there anybody alive out there? I just want to feel some rhythm I just want to feel some rhythm I just want to hear some rhythm I just want to feel your rhythm I just want to hear some rhythm I just want to feel your rhythm I just want to hear some rhythm I just want to feel your rhythm I just want to hear some rhythm I just want to feel your rhythm I just want to feel your rhythm I just want to feel your rhythm You’ll Be Comin’ Down White roses and misty blue eyes Red mornings, then nothin’ but gray skies A cup of coffee,
    [Show full text]
  • Meanings and Measures Taken in Concert Observation of Bruce Springsteen, September 28, 1992, Los Angeles
    UNLV Retrospective Theses & Dissertations 1-1-1996 Meanings and measures taken in concert observation of Bruce Springsteen, September 28, 1992, Los Angeles Thomas J Rodak University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Rodak, Thomas J, "Meanings and measures taken in concert observation of Bruce Springsteen, September 28, 1992, Los Angeles" (1996). UNLV Retrospective Theses & Dissertations. 3215. http://dx.doi.org/10.25669/bgs9-fpv1 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality' illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction.
    [Show full text]
  • Public Programs
    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] NATIONAL CONSTITUTION CENTER HOSTS SPECIAL PROGRAMS AND EVENTS CELEBRATING BRUCE SPRINGSTEEN AND THE FIRST AMENDMENT Philadelphia, PA – In connection with the must-see exhibition From Asbury Park to the Promised Land: The Life and Music of Bruce Springsteen , visitors of all ages can celebrate freedom of expression during interactive programs and special events at the National Constitution Center. Special Events Greetings from Asbury Park: Opening Celebration Wednesday, February 15, 2012, 5:30 p.m. – 9:30 p.m. Please note: Tickets to this event are now SOLD OUT In homage to the city where Springsteen got his start, this festive opening party features boardwalk-themed décor and festivities; nostalgic summertime treats including hot dogs, boardwalk fries, popcorn, and salt water taffy; live musical performances; and the exclusive chance to tour From Asbury Park to the Promised Land before it opens to the public. Guests also can enjoy a special presentation of framed, large-scale original works by New Jersey-based photographers Frank Stefanko and Danny Clinch from “Darkness to a Dream,” an exhibition at New York’s Morrison Hotel Gallery. Stefanko is famous for shooting the cover art for Darkness on the Edge of Town and The River , while the covers of The Seeger Sessions , The Rising, and Working on a Dream were taken by Clinch. Original, signed prints by both photographers will be available for purchase in the museum gift shop throughout the run of the exhibition.
    [Show full text]