#scialfa springsteen feels

[tenthsfreezeout]

— Bruce Springsteen and Patti Scialfa, From My Home To Yours, Vol. 9: “Rumble Doll”. 29 July 2020.

[majicmarker]

tagged by: @redbelles (evil)

five songs on repeat this week:

hands off you -> stereos

addicted to romance -> bruce springsteen, patti scialfa

do you love me -> the contours

see you later -> the band camino

teenage dirtbag -> wheatus

last movie i watched: do revenge, 10/10. i’m on a teen movie kick to set the mood for my next book, and this was a super addition to that brand.

currently watching: going through the aforementioned teen movies. also home economics bc i always knew topher grace was the only bitch we could trust

currently reading: doing a reread of jenny trout’s 50 shades of grey recaps

(highly recommend, but please note that all formatting issues and unavailable images/videos just, is what it is, casualties of her years-ago move from her old blog to the current one. i also recommend the other recaps, though, as you’ll see, a few have been discontinued.)

tagged: girl whoever wants to, i’ve been harassing ppl with tags lately so like, just go for it if u feel like it

[briamichellewrites]

4

Bruce was a storyteller. He had stories about growing up with his sister in New Jersey, his almost fifty-year career, and his kids: Brie, Jessica, Evan, and Sam. The band listened to him talk about dodging the Vietnam draft as a teenager. He hated the war and wasn’t going to go. They could listen to him for hours because he was so fascinating. He was also a proud father. Sam wanted to be a firefighter, Jess wanted to be a showjumper and Evan was interested in music.

Brie? What was she up to? She had an audition for a modeling agency. How did that go? It went well, even though she didn’t know what the hell she was doing. They laughed. She was waiting to hear back from them. Patti asked if she wanted to do modeling. She shrugged. Not really but a job was a job. It was also something to do during the day.

“What are you going to do after you get your inheritance?”

“I have no idea. Maybe go somewhere nice. I’ll take Mike with me. We can go to Jamaica or something.”

Inheritance? Yeah, she was going to inherit a million and a half dollars from her parents when she turned twenty-five. The stipulations were that she didn’t become a spoiled brat, and didn’t get pregnant while in high school – she had no idea where the hell that came from. They laughed. She also had to graduate high school, which she did. Bruce told her to get a job. If her parents cut her off, she should let him know so he could deal with them.

Dinner was delicious! She made a honey glazed ham with a French potato salad, a lemon parmesan salad, and beer or soda. Both Rob and Brad confirmed that both salads were vegan-friendly before she put them out. Since they and Chester didn’t drink alcohol, she bought a twelve-pack of soda while Patti bought the beer, since she was underage. The guys were satisfied and full!

Joe complimented her. They should make her the band’s chef. That could be her job. They laughed. Was anything French? Yes, the potato salad was French. Did she make a lot of French dishes? Not if it was just her. If she had people over, then she tried to make at least one thing that was French. She thought of making a Parisian chicken salad, but she thought that would be too much meat for the vegans. Rob thanked her for thinking of them.

After dinner, they got a tour of her apartment. They then sat down in the living room with their drinks. She had a great view of downtown Los Angeles! Her bookshelf had different CDs. The guys were interested in seeing what artists and bands she was listening to. She had Bruce Springsteen, the Spice Girls, Britney Spears, Rita Wilson, the Backstreet Boys, Taylor Swift, Bon Jovi, Patti Scialfa, and Linkin Park.

It was quite the collection. Patti remembered when she and Jessica used to dance around to the Spice Girls when they were younger. Joe noticed she had their first four albums. He pointed that out. Oh, yeah. She did. Hybrid Theory, Meteora, Reanimation, and Minutes to Midnight. Phoenix told her she should get the new album. She was going to do that, especially since Taylor Swift just came out with a new album that she wanted to get.

“I see where your priorities lie”, Rob joked.

They laughed. Patti and Bruce could see how well they treated their little girl. She had six guys with six unique personalities looking out for her as if she were their little sister. Mike also seemed like a respectable guy. He was a lot older than her, which they didn’t know if they liked. But they could have a private conversation about that later. At least he didn’t have tattoos.

After the other guys left, they sat down with Brie. No, they weren’t officially dating. They had gone on a couple of dates but he wasn’t officially her boyfriend. They were headed towards that. Has he been married? No. Does he have any kids? No. How old was he? He was thirty-three years old. Did she understand why they didn’t feel comfortable with their age difference? Yeah, but she didn’t see a problem with it.

Patti pointed out that there was an age difference between her and Bruce, five years but it was different because they were both adults. They wanted her to find a guy who was closer to her age, or at least in his twenties.

The next afternoon, she found Mike at the studio. He asked her what was wrong. It was Bruce and Patti. He guessed that they liked him but they thought he was too old for her. Yeah. What did she think? She didn’t care because she liked him. He treated her well every time they were together. The band was also like her family and she didn’t want to lose that.

He liked her, too. After some discussion, they decided not to go through with a relationship. When she got home, she started crying to herself because she thought he would be the one. He was heartbroken as well. Why did he do it? He didn’t know. It was probably because he was scared of Bruce. He was intimidating, just like a father waiting on the front porch for his daughter to return home from a date with a loaded shotgun next to him.

She respected him as a father. He and Patti were the only parents she had. Mike had to tell the boys the news that next morning. They were devastated for them. Why didn’t Bruce like him? He and his wife thought he was too old and it was inappropriate. Phoenix expressed sympathy. Thanks. He didn’t want to talk about it anymore. Okay.

Bruce had Brie record a demo because he and Patti knew she could sing. They went to a recording studio where they met with a producer. She introduced herself. He went through what was going to happen. Did she have a song she had written or picked out? Yeah, it was Landslide by Fleetwood Mac. He had her go to the piano. Once everything was set up, he pointed at her to start. Bruce sat quietly, though he watched with pride as she sang.

Well, I've been afraid of changing

'Cause I've built my life around you

But time makes you bolder, even children get older

And I'm getting older too

The producer played it back. He then turned around and looked at Bruce. Are you kidding me! He nodded. Yeah, she could sing! She just needed to believe that herself. Before they left, they got a copy of the song. He wished her luck. Thank you.

They took the demo to the band, where they were taking a much needed snack break. What’s going on? She had a surprise for them. Could she use the laptop? Brad told her to go for it. They were curious about what she was doing as she took out a CD and popped it in to the CD tray. They gathered around and then listened to the song and the person singing it.

“First off, what’s the song”, Brad asked after it was over.

“Landslide by Fleetwood Mac”, she answered.

“Second, that’s you singing? Who’s playing the piano?”

“That’s me. I’m playing and singing.”

“It was all her”, Bruce said proudly.

She had a great voice! Was she looking for a recording label? She was thinking about going into county music. Maybe county rock, like Lynyrd Skynyrd. What was the song she just did? That was folk rock. It was similar to country rock. She liked country and rock music, so she wanted to mix them together.

Brad was the A&R guy, so he offered her a contract. The guys told her to do it! Okay. They laughed. They would need to have an attorney go over the contract with her, so he would call her to set up a date to do that. That would be great! How was she doing? She was going to go home and take a ten hour nap. Maybe she would stop by and get another bottle of sparkling grape juice and try not to drink it while driving home. They laughed.

@zoeykaytesmom @feelingsofaithless @alina-dixon @fiickle-nia @boricuacherry-blog

[newsper]

Patti Scialfa, the talented wife of legendary musician Bruce Springsteen, has recently shared some personal news. She announced her diagnosis of follicular lymphoma, a type of non-Hodgkin lymphoma. This announcement was made through Springsteen’s official website, where she expressed her feelings and gratitude. Scialfa thanked her medical team for their support during this challenging time. […]

[theresanotherdance]

bruce and patti

Letter to You official trailer (x)

[fuckyeahmelissaetheridge]

Bette Midler, Bonnie Raitt, Melissa Etheridge and Patti Scialfa after singing background for Bruce Springsteen at the Rock and Roll Hall Of Fame 1999 - The girls had to beg Bette to come up and join them. She did towards the end. She didn't feel like she belonged up there with there rockers and musicians.

[rjzimmerman]

A couple of weeks ago, I posted this trailer for Bruce Springsteen’s movie, “Western Stars.” I’m posting it again, because today (October 25) is its release date. The movie is essentially a long video for his latest album with the same name, which was released this summer. Parts of the movie were filmed in Joshua Tree National Park and in the desert areas around Joshua Tree. You know Joshua Tree is one of my hanging spots, so I’m excited about seeing the movie. (I also see a blooming saguaro in the trailer, so part was filmed in Arizona.) The parts of the movie that look like they were filmed in a saloon, where he was singing some of his songs to a small crowd, were filmed in Springsteen’s barn in New Jersey.

Here’s the review from Rolling Stone:

Bruce Springsteen eases into a damn fine feature-film directing debut, aided and abetted by his longtime collaborator Thom Zimny, with Western Stars, a transporting musical ode to the American West — old, new, and all those hypnotic and haunting shades in between. It’s true that the movie, in which Springsteen sings all 13 original songs from his latest album (his first studio collection in five years), could pass for a filmed concert. But his narration about the origins of the songs, accompanied by gorgeous Western footage, some of it shot at California’s Joshua Tree National Park, adds up to a once-in-a-lifetime experience.

With no tour planned to promote the album, Western Stars becomes a permanent record of this modern Springsteen classic. Filmed in front of a small audience of friends under the cathedral ceiling of a 100-year-old barn on the Springsteen estate in Colts Neck, New Jersey, this performance film finds Springsteen venturing into fresh territory. Onstage with Patti Scialfa, his bandmate and wife of 27 years, he delivers those songs live with a rare and indelible intimacy. Yes, there’s a 30-piece orchestra behind them (oh, those strings), but the singer and his collaborators feel as close as a whisper.

The songs on this album allow the singer to take on the identities of other characters and find aspects of himself in all of them, including a stunt man, a rookie rider who tries to heal his heartbreak by breaking horses, and a has-been cowboy star who once acted in a film where he was “shot by John Wayne,” a story he gets to tell for years.

The film, bathed in gorgeous shadow and light by cinematographer Joe DeSalvo, gets more personal as it moves along. You can feel the romantic ache when Springsteen and Scialfa duet on “Stones.” And on “Moonlight Motel,” the film flashes back to home movies of the couple on their honeymoon in Yosemite. But no one is selling sentiment here. There is a tenderness in the music that never disguises the fact that love leaves bruises. Pure joy is saved for the encore number, in which Springsteen and his crew get down to Glen Campbell’s “Rhinestone Cowboy,” an exuberant anthem about making it despite the odds.

That 1975 hit might seem eons apart from the poetic yearning of this new collection of songs. Yet Springsteen uses riveting urgency of his growl to bridge the gap between a “star-spangled rodeo” and the figure of a lonely cowboy set against a mythic American landscape. In both cases, he feels the human need to “ride down easy” after the body blows of life. Springsteen believes completely in the power of storytelling through the medium of music. And thanks to his consummate artistry, we believe it too.

[clacclo]

HUMAN TOUCH

You and me we were the pretenders

We let it all slip away

In the end what you don't surrender

Well the world just strips away

Girl, ain't no kindness in the face of strangers

Ain't gonna find no miracles here

Well you can wait on your blesses my darlin'

But I got a deal for you right here

I ain't lookin' for praise or pity

I ain't comin' 'round searchin' for a crutch

I just want someone to talk to

And a little of that Human Touch

Just a little of that Human Touch

Ain't no mercy on the streets of this town

Ain't no bread from heavenly skies

Ain't nobody drawin' wine from this blood

It's just you and me tonight

Tell me, in a world without pity

Do you think what I'm askin's too much

I just want something to hold on to

And a little of that Human Touch

Just a little of that Human Touch

Oh girl that feeling of safety you prize

Well it comes at a hard hard price

You can't shut off the risk and the pain

Without losin' the love that remains

We're all riders on this train

So you've been broken and you've been hurt

Show me somebody who ain't

Yeah, I know I ain't nobody's bargain

But, hell, a little touchup

and a little paint...

You might need somethin' to hold on to

When all the answers, they don't amount to much

Somebody that you could just to talk to

And a little of that Human Touch

Baby, in a world without pity

Do you think what I'm askin's too much

I just want to feel you in my arms

Share a little of that Human Touch

Feel a little of that Human Touch

Give me a little of that Human Touch

TOCCO UMANO

Tu ed io eravamo i pretendenti

Abbiamo fatto in modo che tutto svanisse

E alla fine ciò che non vuoi perdere

Bene, è il mondo che te lo porta via

Ragazza, non c'è dolcezza sul volto degli stranieri

Non troveremo alcun miracolo qui

Bene, puoi aspettare un dono benedetto, mia cara

ma io ho un affare da proporti in questo istante

Non sto cercando preghiere o pietà

Non sono venuto alla ricerca di una stampella

Voglio soltanto qualcuno con cui parlare

E un pò di quel tocco umano

Solo un pò di quel tocco umano

Non c'è pietà sulle strade di questa città

Niente manna dal cielo

Nessuno che trasformi in vino il proprio sangue

Siamo solamente tu ed io questa notte

Dimmi, in un mondo senza pietà

Pensi che sia troppo quello che chiedo?

Io voglio solamente qualcosa a cui attaccarmi

E un pò di quel tocco umano

Solo un pò di quel tocco umano

Oh ragazza quel senso di sicurezza che desideri

bene, viene con un alto prezzo da pagare

Non puoi eliminare il rischio e il dolore

Senza perdere l'amore che rimane

Siamo tutti passeggeri su questo treno

Così sei stata distrutta e colpita

Mostrami qualcuno che non lo è stato

Si lo so, non sono un affare per nessuno

Ma perdio, un piccolo ritocco

E un po' di vernice

Potresti aver bisogno di qualcuno a cui aggrapparti

Quando tutte le risposte non ti dicono molto

Qualcuno con cui semplicemente parlare

E un piccolo di quel contatto umano

Bambina, in un mondo senza pietà

Pensi che quello che stò chiedendo sia troppo?

Voglio solamente sentirti tra le mie braccia

Condividere un pò di quel tocco umano

Sentire un pò di quel tocco umano

Dammi un pò di quel tocco umano

Human touch - Bruce Springsteen & Patty Scialfa (sub ita)

[ryanmeft]

Movie Review: Western Stars

Are you a big, big fan of Bruce Springsteen? Did you like his new album? Did you feel kinda jilted that the most famous musical voice of the working man spent a year on Broadway and far, far out of the financial reach of any of the people he sings about? Me, too. If we’re alike in this regard, this companion piece to the mournful-but-triumphant album of the same name may be right up your alley. It’s undeniably a bit odd to see Springsteen talking about the simple life in a movie so obsessed with image, but that’s as much a function of the overall culture as anything else. If you’re not already a fan, you have very little reason to be interested. The film is as stripped down as it can be and still be called a film, rather than a promotion. Going in knowing at least something of what the new album is about will help. After a few years of more anthem-oriented songs that called back to his early days, Springsteen made an album that is essentially about the end of life. The characters on it are lost dreamers as always, but they are aging lost dreamers; the central figure in the title song, which has become a personal favorite, is an old western actor past his prime, spending his nights over drinks recounting the time he was shot by John Wayne. Another tune is about the lies we accumulate as we go on. With a couple exceptions, they are about loss and the acceptance that everyone will lose eventually; it is reminiscent of Nebraska, though less bleak.

The centerpiece of the film is a performance of the album by Springsteen, his wife Patti Scialfa, and a 30-piece orchestra, but the performance wasn’t shot for the film. It was put on in the Springsteens’ 19th-century barn, which has been converted to a bar and hangout spot, and for this performance is festooned with subtle Christmas lighting. It works. This space is incredibly appealing, even if you don’t give a whit about interior decorating. Springsteen and his allies play the songs in order, including some touches---like Scialfa’s contributing vocals---that are not on the actual album, and the chorus enhances the music to near-religious levels in places; perhaps intentional, since Springsteen at several points mentions the connection between land, people and God. These aren’t new themes for him, but this outing sees him tackling them in more subtle ways, ones which enhance the always-present parts of his music that address death and ending.

The main issue with the film is those interstitial scenes of Springsteen explaining the songs. The concert was filmed in one go, of course, and the scenes added later, and they afford Springsteen the chance to explain what the songs are about in his eyes. Therein lies the problem: his best stuff has always had a strong element of interpretation to it. The last verses of anthems like “Born to Run” or “Thunder Road” may offer hope, but you can derive notes of sadness, melancholy, loss and the inevitability of fate from them, as well. I proposed recently to a friend that many of his songs could link together, telling continuous stories that resolve the fates of previous characters, not always to their benefit. Imagine, if you will, the couple of “Thunder Road” continuing on into “Atlantic City” as they run headlong into real life.

Springsteen’s explanations of the songs offer a definitive artist interpretation, and he states them with finality, essentially saying you can find something else in the song, but that’s not what it is. The title track is an excellent example. Everyone I have talked to has interpreted it as the tale of a fading actor trying to hold on to what is left of his dignity as he essentially sells his memories for free drinks and stars in low-rent commercials. Springsteen asserts it is a happy song about a man who has everything he really wants in life, which seems at odds with what he’s actually singing. To be clear, I’m not calling Springsteen wrong; I am not quite that arrogant yet. I am saying the ability to relate music to your life is essential, and being told what to make of it takes some of that ability away.

This may not matter to you as much as it did me. The concert itself is absolutely beautiful, and makes up a bit for how inaccessible live Springsteen is to the characters in his songs. The film has been co-directed by Springsteen and long-time collaborator Thom Zimny, and while it’s uncertain exactly how much Springsteen did---promotional materials calling it his directorial debut have a ring of intentional flattery to them---the result is a joy to watch and listen to as long as the music is playing. Were the album to be released coupled with the footage of the concert but without the talky bits, I would pay extra to have it.

Verdict: Average

Note: I don’t use stars, but here are my possible verdicts.

Must-See

Highly Recommended

Recommended

Average

Not Recommended

Avoid like the Plague

 You can follow Ryan's reviews on Facebook here:

https://www.facebook.com/ryanmeftmovies/

 Or his tweets here:

https://twitter.com/RyanmEft

 All images are property of the people what own the movie.

[frankiefellinlove]

I almost cried because I couldn’t attend this event 😔

Report of Archives shown in Asbury Park today

By Stan Goldstein

What a shame this wasn't recorded or filmed or even photos exist yet. The Asbury Park Music and Film Festival photographer was allowed to take pictures of the talk and hopefully they will appear soon.

This was one for the ages. It was spectacular!! Bruce was there. He did a Q&A at the end. Ten videos shown.

Then they had the talk. Thom Zimny and Chris Phillips came out, there was a third chair. Before they started Thom waved to the side of the stage and said "Come out now" and Bruce walked out to a standing ovation.. What followed was an incredible Q & A. It's a shame this wasn't recorded, but I took a lot of notes.

Some breaking news from it.

Bruce said that a DVD/video will be coming out of the full New Orleans Jazzfest show from 2006.

Bruce said that show was "One of his Top-5 live performing experiences."

Bruce also said he would love to see a full Tunnel of Love show come out.

Bruce said a lot of this footage he had never seen before. He said he never saw the clip with Clarence from Buffalo in 2009 before.

Bruce says he's amazed what he can find on Youtube and suggest fans should go there to find some things.

He was very relaxed. Wore a black sweat shirt (sweater? ladies need your help here) with a "5" on it.

Some quotes from Bruce:

"I have lived many lives, many I haven't seen myself," after seeing this footage.

Bruce said they were "superstitious about being filmed in the early days. That's why we never did any TV. We felt that a magician should not look too close at his magic trick."

Bruce then gave a shout out to Barry Rebo who was in the audience. Barry is the one who shot much of the early footage.

Bruce said he was surprised to find out what they have (in the vaults). "I feel glad that Thom was able to dig up this stuff."

Bruce said when they did the filming for "Live in New York City" in 2000 that he felt "he was finally getting over the wall" of not liking to be filmed.

This was after Chris asked him about the Blood Brothers documentary from 1995 being one of the first things being filmed officially.

Bruce had a funny line about being recorded/filmed: "You always think you are more handsome than you actually are and you always think you sound better than you actually do."

Bruce said the 1975 Bottom Line shows "Really changed the life of the band. We were officially contenders. We no longer had to be good, we had to be GREAT! every night." to which many in the ground yelled out "You are!"

Chris asked about doing 10 Bottom Line shows in five days in 1975 (early and late show) and Bruce said they were only an hour-and-a-half each, so it wasn't too bad.

Chris Phillips tried to ask him about the new album but Bruce said he didn't really want to talk about it.

The 10 songs:

1. When You Walk In The Room - Bottom Line, August 16?,1975

One-camera color. Not great quality but who's going to complain seeing Bruce from this era

2. Apollo Medley - Apollo Theater, NYC, March 9, 2012

Chris Phillips asked Bruce about this. It's the clip where Bruce goes up in the balcony and sings from the front, really dangerous.

Bruce: "I don't know what I was thinking when I did that. It wasn't planned, no one was following me. I just said fuck it and I then fucked up the whole arrangement with the band. I was just glad to find some pipes to hold on to. We do perform some death-defying acts."

Bruce also said it was incredible to play there with all the history of the place and it was a great way to break the band in to start the Wrecking Ball tour. Said it was Jake's first show and "there was no pressure."

Bruce also said to Thom that they should put this out someday too. It was all professionally filmed with multiple cameras. This footage was awesome. The look on Patti's face when Bruce was in the balcony was priceless.

3. New York City Serenade, Dec. 15, 1973, Nassau Community College, black and white, two cameras: Rough footagae but incredible.

Chris Phillips asked about David Sancious playing on this. This was the original E Street Band: Bruce, Garry, David, Danny and Vini Lopez. This clip was shown at the Monmouth U. archives event in 2014. A magical clip. David on the piano is spectacular.

"David is one of the most musically talented people I have met and on the planet. His ability to cover everything, he's a master. I loved to have him in the band."

Chris then said "Well there's the elephant in the room. We have some new music and David plays on it and Bruce said "Yea, he plays on some of it. But we don't have to talk about that."

4. My City Of Ruins - Seeger Sessions, Jazzfest, 2006

Pro-shot, multiple camera footage. Great shots of the crowd singing along "Rise Up!" According to Bruce, this whole show will be out at some point.

Bruce: "The Sessions Band was a great band. I want to do that again. It was a great day. The day before we went driving down to the Ninth Ward. Rock and Roll is best when the stakes are on the table and go go against trouble and hard times. It was good to perform there and serve."

Bruce said to come back to Asbury Park now is so great to see how it is doing. He said he feels like the "Ghost of Christmas past" when he walks around

5. Quarter to Three, Bottom Line, August 16, 1975

Bruce asked Thom Zimny who shot this? And Thom told him Barry Rebo.

Great, color, one-camera footage. Bruce is all over the place. Dancing on the center table in front of the stage. Jumping on Danny's organ then going over to Roy's piano. At one point he drops his guitar pick and a fan hands it back to him. Young, classic Bruce at his best.

Bruce said the band was physically and literally half the size they are now back in those days compared to the Apollo footage now. .

6. Promised Land - Freehold, Nov. 8, 1996

A one-camera close up shot of Bruce in color. Not the greatest video but I'm not going to complain.

Bruce said "going back to St. Rose of Lima was tough enough. I did debut 'Freehold' that night.

7. Who Do You Love/She's the One - Tunnel of Love tour, Rotterdam, June 28,1988.

May have been the highlight clip of the afternoon. Hard rocking E Street Band with the spotlight on Clarence. He's at his peak physically and is all over. "The sight of the The Big Man and the maracas" Bruce said with a smile.

Some epic footage of Bruce and Clarence practically making love on stage. You have to see it to understand. The women in the audience particularly liked this clip.

This is when Bruce said "We should put out a Tunnel of Love show."

8. Patti Scialfa doing "Tell Him" from the Stone Pony 10th anniversary show, 1984 with Cats on a Smooth Surface. Nice color, one-camera shot.

"I almost had her here today," Bruce said. "That's the night I met my wife, 30 years ago at the Stone Pony. As I said in the Broadway show, it was the first time I heard her sing. She was playing with Bobby Bandiera, an Asbury Park hero."

Bruce asked where that footage came from and Thom Zimny said Kevin Buell knew someone who had it.

9. Sandy - Dec. 15, 1973, acoustic with Danny Federici, black and white. Nice version but a bit slow. But hey it's classic Danny and Bruce.

Bruce kidded that "I thought I was going to fall asleep at any moment. I went to the bathroom and came back I was still playing!"

Chris asked Bruce a little bit more about "Sandy" and the writing of it and Bruce said "Sandy was when things were just starting to happen for the band. It was a goodbye to Asbury Park. The last night Danny Federici played with us (Indianapolis, March 20, 2008) I asked him what he wanted to play and he said 'Sandy.' The song was appropriate because I wrote it It as the ending of something wonderful and the beginning of something new. We were leaving Asbury Park just as things were changing,"

10. Growing Up - Buffalo, Nov. 22, 2009. With the story of meeting Clarence.

Bruce said he had never seen this clip before. "The story is completely true, all those things. It actually happened. Looking at that, I really miss the Big Man" Bruce said as he and the crowd got a bit emotional.

Toward the end Bruce thanked Thom Zimny, saying "He has allowed us to use this great footage. He's like another member of the band."

Bruce said how he saw a Jean Claude van Damme movie and called Thom up and said "we should look like that for the Darkness taping right on this stage." Which was done in December of 2009, the filming of the band playing the entire album for the box set.

Bruce also commended Thom for his work on "Springsteen on Broadway" and said "Broadway was going well, let's not fuck this thing up!" Bruce kidded that the "magic begins with: 'Do I look great?'"

There was a little bit of talk about the "Night with the Jersey Devil" film and the short movie made from "Hunter of Invisible Game."

Chris Phillips also asked Bruce about the Upstage movie that is being shown tomorrow and what Bruce thought about the original version which he saw in 2017.

"Why am I not in this?" Bruce said. He then did do an interview for it which will be in the new version. He continued: "That last time I walked into the Upstage it looked exactly how it looked in 1968."

Some notes: Cameron Crowe was in the audience as were the Farrelly Brothers.

When I got to my seat, I was told I was being moved. I bought a single ticket the moment they were on sale and ended up in the first row. They told me my seat was going to be used by Bruce and his family. I got bumped up to a folding chair in the pit right in front of the stage. A little tough to watch the videos but right in front of Bruce for the Q&A so no complaints here. As it turned out, Bruce never sat in the seats anyway. He did watch from the side up against the wall of the lower right (facing the stage) orchestra for a bit

The locking up the cellphones thing worked well. In a way it was kind of nice not having a zillion phones up when Bruce was onstage but what a shame that it wasn't record for "the archives", then again, maybe it was. I don't know.

Great job by Chris Phillips. What I liked is he asked "fan-type"" questions, not like how a New York Times or Rolling Stone writer would try to talk about it.

And if you stayed this long, thank you for reading

[lovetheplayers]

Taylor Swift Reputation show charms the snakes out of MetLife Stadium

Snakes alive, that was a good show.

The Taylor Swift Reputation Stadium Tour concert, Friday, July 20 at MetLife Stadium in East Rutherford, had everything form temptation to heartache to grrrl power, and not necessarily  in that order.

But what it really had was snakes — and a lot of them. Big ones, too, the biggest being a prop that appeared during a performance of “Look What You Made Me Do,” the lead single from the 2017 album, “Reputation.”

It was a cobra about 40 feet tall in the air, ready to strike. Swift kept the serpent at bay throughout the night. A reputation, like a snake,  can strike when you least expect it.

“We feel we don’t have a problem with our reputation when we feel it matches up to who we are as a human being, but when we feel people are saying things about us behind out back that don’t match up with who we feel who we are as a person, your reputation can torment you,” said Swift during the intro for “Delicate” from the “Reputation” album.

A morality play presented as a super-sized pop concert. Swift, who summered at Stone Harbor when she was a kid, performed the majority of the show in front two huge multi-component video screens, that combined seemed it would cover the football field at MetLife. The images, alternating between Swift and song-appropriate tableaux, were vivid and striking.

The songs, many from the 2017 album “Reputation,”  were equally outsized and sweeping. Swift has grown as songwriter, nimbly trimming the fat from her compositions,  and the effect is a vibrancy that connects to the listener immediately.

Swift, who wore mostly leg-bearing bodysuits, is the rare kind of artist who can connect with an audience on multiple levels. She will turn the music down to tell a story. Here, she told of meeting fans at her concert meet-and-greets who have listened to her songs since they were 10 and now they’re adults.

“I find it really surreal,” said Swift, 28. “I find it shocking in the best way that they would want to listen to my music I made when I was 16 and they were 10.”

Swift makes the connection on multiple levels. Fans were given glowing wrist bracelets, in part, so Swift could see everybody in the stadium, she said. She rode a twinkle-lit cable-suspended basket to a stage on the opposite end of the field to perform up-close to those not near the main stage.  Then she walked the width of the field, shaking hands along the way,  to another stage to perform two more songs off the main stage.

She eventually rode inside a cable-suspended snake, which looked a little like fish bones, back to the main stage. While on the first audience stage, she was joined by openers Camila Cabello and Charlie XCX for “Shake It Off.”

Both had previously delivered appealing sets. Charlie XCX, an edgy Brit, is a high energy performer, always on the move, and always in the spotlight. She closed her set with “Fancy.”

Cabello, who wore a Jets jersey when she sang with Swift, is a star in ascendancy thanks for her monster hit “Havana.” Here, she played with a band and roamed the stage with a crew of dancers. The former Fifth Harmony member demonstrated her singing and playing chops, taking a run at the Elvis Presley  classic “Fools Rush In,” which segued into  “Consequences,” for which she hunched over her keyboards to sing and play.

This wasn’t glamour time. It was time to work.

Cabello’s music ranged from a flamenco vibe for “Control” to breezy pop for “Into It.”  She was appealing all the way through.

But it was Swift who was the star of the show, and the stars came out. Gigi Hadid, Emma Stone, Jack Antonoff (who had lunch with Bruce Springsteen and Patti Scialfa earlier in the day in New York City), Amy Robach from Good Morning America and Sara Haines from The View came out to MetLife on Friday. Swift, after her MetLife shows on Saturday, July 21 and Sunday, July 22, will become the first female artist to play three consecutive nights at the stadium and its predecessor, Giants Stadium.

She’ll also become one of three performers to play six times at MetLife on Sunday. The other two are Bon Jovi and Springsteen and the E Street Band.

Swift's a monster talent. The monster snake learns that lesson each night of the tour.

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[blogfernsonthayassslove]

Jessica Springsteen Jumps To Olympic Glory in Japan

บาคาร่าสูตร Her old man sings about racing in the street, but she’s the one actually doing it. Well, show jumping isn’t just about racing(and its not in a street), but the point is that Jessica Springsteen and her teammates Laura Kraut and McLain Ward are now silver medalists following her Olympic debut at the TokyoGames. Springsteen, the 29-year-old daughter of Patti Scialfa and Bruce Springsteen and 14th ranked show-jumper in the world, told CNN that she FaceTimed her famous family after the second place win. “They were all screaming, I don’t think we understood anything,” she said. The Gold medal went to Sweden, and that’s nice and all, but does anyone on the Swedish team have parents who are both in the Rock and Roll Hall of Fame? We think not! While Springsteen and her family celebrate there’s someone else who ought to feel proud: the 12-year-old Belgian Warmblood stallion Don Juan van de Donkhoeve. In a recent interview, Springsteen said that she and her steed, whom she refers to as her partner, “have a lot of trust” and took advantage of the yearlong delay in the Olympic Games for more practice.

[jazziesb]

Just because BS won a Tony Award for his concerts on Broadway 2018. This is from his acceptance speech: Congratulations on your Special Tony Award, Bruce! “This is deeply appreciated and thanks for making me feel so welcome on your block. Being a part of the Broadway community has been a great thrill and an honor for me. It's been one of the most exciting things that I've ever experienced. I’ve got to thank Patti Scialfa, my beautiful wife and artistic partner, for her love and inspiration every night. I’ve got to thank Jon Landau, George Travis, Barbara Carr, and Jordan Roth for great work of getting our show on stage. And last but not least, our wonderful audiences who’ve made these shows so exciting and fulfilling. Evan, Jesse, Sam, Daddy loves you. And the fans have been wonderful to me this season. Thank you so much. God bless all of you.” - Bruce Springsteen

[theresanotherdance]

bruce and patti

‘sundown’

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Letter to You Review: Bruce Springsteen and the E Street Band Take Us Home

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One of the things that always impressed me about Bruce Springsteen is the melodic possibilities he can find in two-chord vamps. He doesn’t do it all the time, that would prove to be monotonous all night, but when he does it is a consistent affirmation of the power of rock and roll. It’s like he took every early inspiration which weaned him and plays their feel as if it were an instrument. Not the melodies, but what the melodies convey. The “stone and the gravel” in Springsteen’s voice may not be a suitable vehicle for the smooth vibratos of Drifters’ hits, but he never misses a note or what that note wants you to feel.

The new record is called Letter to You, and Springsteen’s weathered-through-rain-heat-and-gloom-of-night delivery consistently implies a range of additional tonic possibilities. And he’s got the band to back it up. His 20th studio LP is the first to feature The E Street Band since High Hopes in 2014 and is the first time they’ve performed together since The River 2016 tour. The album came out the same day as director Thom Zimny’s Apple TV+ documentary, Bruce Springsteen’s Letter to You, and we see it was recorded in Springsteen’s home studio. This is a mixed blessing. Yes, it’s obviously more comfortable than braving the first snow in Jersey to hit Hit Factory studios. But it might be a little too familiar, as the record was recorded on a factory schedule. The same one the Beatles stuck to when they were churning out hits on EMI’s clock.

Springsteen’s got the tightest rock and roll band “on the planet” around him. They’ve been playing together their whole adult lives and enjoyed triumphs and weathered losses. Hell, one of them is the Boss’s wife. They instinctively know what they’ll be playing before they’ve charted the chords and time signatures. The E Street Band – “Miami” Steve Van Zandt, Roy “The Professor” Bittan, Garry “the foundation of the E Street Nation” Tallent, “the mighty” Max Weinberg, Nils Lofgren, Charlie Giordano, Patti Scialfa and Jake Clemons (the late Clarence Clemons’ nephew) – hasn’t been this prominent on an album since Born in the U.S.A. The group can do anything, as their live shows attest, and Springsteen knows how to vary the sonic realities of whatever venue his musicians are playing.

On record you can hear the difference in how the band sounds on the songs “Night” and “Meeting Across the River” on Born to Run that goes beyond how many players are in the room. There is a notable difference in the aural reality of “Hungry Heart” as opposed to “The River” on the album it’s named after. Both have the full band playing, but damn if it doesn’t sound like they’re miles apart. The home studio quantizes that just a little, not that Weinberg would even need a click track. Letter to You was produced by Springsteen and Ron Aniello, who has produced every Springsteen album since Wrecking Ball in 2012. The pair maintain a cohesive tone throughout. The arrangements are almost uniform, but still evoke genre recognition from soft folk to their adoration of Phil Spector’s Wall of Sound.

The band delivers “Letter to You,” the title song, on time, undamaged and you don’t have to sign for it. It is a warm hello from an old friend on behalf of a whole bunch of friends who are standing so close they can share a mic. The song is a confessional without the penance of details. The album opens with the sparse and reflective “One Minute You’re Here.” Bruce drawls like a country music veteran over acoustic guitar and strings, until he hits one line in a baritone croon, it’s a surprising change and gone by the time it registers.

“Burnin’ Train” could have been a B-side off Darkness on the Edge of Town, and would have charted. The guitars are particularly hot. Bruce bends the knee to Ben E. King, Wilson Picket and all the other disciples of soul who inspired Van Zandt to go solo on “The Power of Prayer.” Springsteen has always believed in the healing power of rock and roll, and both worships and preaches at the transcendent “House of A Thousand Guitars.”

“Sometimes folks need to believe in something so bad, so bad, so bad,” Springsteen sings on “Rainmaker.” He invokes the comic rule of three to demonize the used car salesman running things without having to give power to his name. Bruce doesn’t buy the snake oil of the presidential seal. Another Republican wanted to believe Springsteen’s song “Born in the U.S.A.” was a rousing anthem of national pride, when it was a sobering call on a different kind of patriotism altogether. The kind which could scare off police protection on indictments of “41 Shots.”

Bruce must have picked up one of his bootlegs while he was playing his Broadway residency. He is finally giving full-band studio treatment to three songs which were on the demo Springsteen sent to Columbia Records’ A&R god John Hammond before he formed the E Street Band in 1972. “If I Was the Priest,” with its line about Jesus being sheriff, convinced Hammond the kid from the Jersey Shore wasn’t merely a new Bob Dylan. The new version of “Song for Orphans” would fit nicely on Nashville Skyline, though. The opening jangly guitar and Hammond B-3 organ of the epic “Janey Needs a Shooter” sounds like it could have been on Dylan’s Highway 61 Revisited.

At the heart of most of the songs on the album are the tales of survival and loss. Springsteen staged his Born to Run memoir for the solo Springsteen on Broadway run, and continues his reflections. Keyboardist Danny Federici, who co-founded the E Street Band with Springsteen, died in 2008. The “Big Man,” Clarence Clemons, died in 2011. George Theiss, who dated Springsteen’s sister and brought Bruce into his group as a teenaged guitarist, died of lung cancer in 2018. Springsteen was in The Castiles from 1965 to 1968, an “eternity in the ‘60s,” the documentary notes. “Ghosts” comes from the last surviving band member. The song also subliminally references the late Tom Petty with its nod to “Freefalling,” and rocks a traditional call and response pattern. The album ends with the somber “I’ll See You in My Dreams.” Letter to You is an upbeat album with a strong downbeat.

“The pay is great, but you’re the reason we’re here,” Springsteen says at the very start of the album’s documentary. It sounds like he’s glad he’s passed the audition. Because the album comes along with the documentary, it begs comparison to the making-of documentary Let It Be. The title, Letter to You, even vaguely sounds like it, if merged with the Sesame Street parody “Letter B.” But Bruce Springsteen’s Letter to You is no breakup film, in spite of its stark black and white cinematography. This is a band in action. This is another album before the next album. Even if it is Springsteen’s 20th, it’s the first of the new decade and it’s got that 2020 hindsight. It’s safe at any social distance.

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Letter to You is available now.

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