When Born to Run was released I was in my mid-twenties, a dreamer
who moved from my childhood home in Bergen County, New Jersey to Manhattan with
the expectation that I’d become a wildly successful independent filmmaker. Subsisting on meager wages and living in a
400 sq. ft apartment on West 80th St. my expectations were ebbing
and spirit was fading. Although it’s
never been an easy place to live, New York City was particularly ugly and unforgiving
back in those days—Gomorrah seeking redemption.
My 400 sq. ft. cell was flanked by heroin addicts, hookers,
and other dreamers who were dancing on the edge. It was an oppressively hot summer day, my
air-conditioner, the same air conditioner that was eventually stolen from its
mount, strained to keep up with the heat.
Disillusioned and depressed I tuned to WNEW-FM, which had become my
lifeline to the outside world. The DJ
introduced Jungleland, a rock poem punctuated by guitar riffs and stirring
instrumentals from Born to Run. Before the opening violin and piano arrangement
concluded I sank to the floor, closed my eyes and absorbed every note and every
word of a remarkable composition.
For the next nine minutes I was transported into a story
about aimless suburban kids acting out their lives in the dark shadows of a
merciless city. Jungleland was the
soundtrack of my journey from suburbia to a place where dreams easily die.
At its core, Bruce’s music is about ordinary people reaching
for the brass ring; sometimes they’re successful, sometimes they’re not, but
the characters that populate his lyrics forge ahead even in the face of long
odds.
Springsteen’s politics are rooted deep in the souls of the
people he writes about. His music has
always been a reflection of the times we’re living in and that is no more evident
than it is on Wrecking Ball, a work that captures the groundswell of anger
rippling through a populace on the brink.
Despite his enormous wealth and status as rock royalty, Springsteen
has never strayed far from his working class roots. When the cause is just, he’s always been
generous with his time and money. It’s
been his long-standing tradition to make a monetary donation to the food banks
of the cities that host his concerts.
As long as he’s been coming to Denver, he’s encouraged his
fans to support the Food Bank of the Rockies.
Never in the history of his career have the resources of food banks across
the country been stretched as thin as they are today.
E Street Nation was built largely around Bruce’s live
performances. In a 1999 interview with
Bob Costas, Springsteen described his shows as, “…a revival meeting, a circus,
a dance hall, a political rally; all those things rolled into what you present
in an evening, and that was rock and roll for me.”
Sadly, in the last four years two long-time members of the E
Street Band have passed, organist Danny Federici and saxophonist--and Bruce’s
onstage foil--Clarence “Big Man’’ Clemons who died of a stroke last year. In his eulogy at Clemons’ memorial service
Bruce said, “Clarence doesn’t leave the E Street Band when he dies, he leaves when we
die.”
At 62, Springsteen is an elder in the rock community. As the years add up and the stage gets smaller,
his songs are an affirmation of life. On
March 9th at an invitation only concert at the Apollo Theater in NYC, he
acknowledged the absence of his musical soul mates by saying, “If you’re here
and we’re here--they’re here.”
