From: owner-luckytown-digest@luckytown.org (LuckyTown Digest) To: luckytown-digest@luckytown.org Subject: LuckyTown Digest V9 #92 Reply-To: luckytown@luckytown.org Sender: owner-luckytown-digest@luckytown.org Errors-To: owner-luckytown-digest@luckytown.org Precedence: bulk LuckyTown Digest Tuesday, October 8 2002 Volume 09 : Number 092 NOTE: Sale/trade posts should be emailed to luckytown-ads, *NOT* to luckytown. That includes tix wanted/tix grovels, post them to luckytown-ads, please. Contents: Interpretations without Depth: Paradise and Mary's Place [Bob Handlin ] Boston Night [PremGolf@aol.com] Thunder Road ["M. Conens" ] SNL [Tom Ross ] Roy Orbison singin' for the Lonely [Cheryl McIntosh ] Looking for GA Info ["Ron Bansmer" ] Musicians On Call Meeting thius Wednesday in New York [Keroz3@aol.com] Boston [amy w ] ---------------------------------------------------------------------- Date: Mon, 07 Oct 2002 14:55:23 -0400 From: Bob Handlin Subject: Interpretations without Depth: Paradise and Mary's Place Interpretations I've read of "The Rising" point out, in spades, why understanding and appreciating Springsteen music requires more commitment than most are willing to make -- even many who take the time to follow this list. Two cases in point: "Paradise" and "Mary's Place". - --------- Paradise: I feel like I've read 100 times now that the song is *about* a Middle Eastern homicide bomber. The song is clearly about multiple characters and their respective quests to find paradise. The first verse *is* about a homicide bomber seeking paradise through martyrdom, but the second is clearly about a Pentagon widow ("the Virginia hills have gone to brown." [Remind me here: Which part of the West Bank is Virginia in?]), waiting for paradise, while meeting her murdered lover in her dreams. The third verse describes a less well-defined character trying to see "the other side" (also paradise) by nearly drowning in a river (this passage, I think, is a mix of literal and symbolic), and realizing that paradise is more elusive, and probably unreachable without actually going to "the other side." You can argue with the details of this analysis, but I stand firm that there is NO possibility that this song is about a single character, and that seeing it as about just a single homicide bomber misses most of the point. Bruce likes this structure (multiple angles looking at the same idea) and has used it in the past. Reason to Believe from Nebraska pops to mind, for one. - -------- Mary's Place: Many descriptions of this song are similar. People characterize it as a frat rocker that's a weak cousin to "Rosalita." Arrrrrgh!! This song is not a lightweight frat rocker, dammit! In fact, it's the most personal statement Bruce makes on the entire record. The song is about a woman (not 100% sure, but it feels like a woman speaker to me) seeking connection with her lost partner. As she works through her grief, she's looking to set up a seance-like meeting with him, using whatever spiritual bridge might work. There's no party (at least not on this planet), and the furniture never moves. She's arranging the party in her heart and in her dreams, and begging her lover to meet her there. It's a similar process to what the character is aiming for in the third verse of Paradise. In and amongst trying every spiritual angle she can think of, she makes her most passionate play: She drops the needle on to their favorite Bruce record. This idea captures something very real to me as a Bruce fan: At it's best, Bruce's music is transcendent. In this song, Bruce is confessing that he understands the power of his music to move people. He's read the accounts of how important he was to the lives of many of the 9/11 victims. He's talked to the widows and widowers. He knows that those moments when he's "calling up daylight, and waiting for the shout from the crowd" are among the most spiritual that they (and many of us) have experienced. The aftermath of 9/11 taught Bruce that the "Church of Bruce" is more real for many fans than he had ever imagined. In this character's case, with all of the world's religions and philosophies at her disposal, she seeks the connection she's looking for in the pure joy of a Bruce record. It's fascinating to me that Bruce has tried to come to grips with this phenomenon. It took courage to do so. Unfortunately, most won't probe the message deeply enough to see the point. - ------ There's lots of reasons why people love Bruce and his music, but what I love is that his music rewards the additional investment you have to make as you digest it. Songs that "all sound the same" at the outset take on unique personalities with each additional listen. The lyrics, too, reveal themselves slowly over time. If you give up after 1 or 2 or even 10 listens, you never really hear the music. Bob ------------------------------ Date: Sun, 06 Oct 2002 19:02:54 -0400 From: Ken G Subject: Bruce Article in current East Hampton Star From The East Hampton Star 10/3/2002 Bonac Loves The Boss By Jason Biondo Friday afternoon, East Hampton's rain-slicked Main Street reflected the gray sky, interrupted by an occasional car dividing the mirror images. Autumn was in the air as the exhausted South Fork seemed to take in a deep breath after another maddening summer. Inside Long Island Sound, which has been the village's music store for about 30 years in the heart of Main Street, summer may have ended but the frantic pace was still apparent. For most of East Hampton's working people, Friday afternoon is the start of a relaxing weekend, but for Gary Madison, the shop's owner, and Bob Matz, the manager, Friday is the day to order more music. "This was the best summer on record," said Mr. Matz. Perhaps equally as impressive was that, as September ended, business showed no sign of slowing down. Between telephone calls and customer queries, Mr. Matz slipped into a back room to make his lunch. Amanda Young took the helm behind the counter in his absence. She agreed that the summer was indeed busy, and if there was a single album that stood out, it was "The Rising," the latest by Bruce Springsteen and the E Street Band. "Without a doubt," she said, "it quadrupled the next best-seller," "Come Away With Me," by Nora Jones, a young jazz artist. Mr. Matz concurred. He said that Mr. Springsteen's latest success is largely due to the "reflective content of the album." Most of the 15 songs center around the Sept. 11 attacks. As in much of his music before, Mr. Springsteen's songs are stories about ordinary people's lives. The album is not as much about the tragic day as it is about the many days that followed. A fireman's widow, a Muslim woman in love with a Christian man, a widower hungry for vengeance, their stories are told through the poetic lyrics that have made this New Jersey boy an American icon over the last three decades. Part of the album's "hysterical success," said Mr. Matz, was due to the recent reunion of the Boss with the E Streeters and their monumental worldwide tour two years ago. "He's done the exact correct steps in the right order," said Mr. Matz, who added that "The Rising" is simply "a great rock-and-roll album if you're just listening to it in the background. Or if you really listen to the lyrics, it will make you cry. I did." Pure Dumb Luck Sales were in all categories. In addition to the somewhat surprising success of Nora Jones (jazz is a difficult genre to please the masses), the manager said that the second album from Cold Play, a pop-rock group, is "fantastic. They beat the sophomore jinx." According to Mr. Matz, new recordings from "a huge slate of established, in-demand artists" put sales over the top for the summer. He insisted that it was purely coincidence, and for music stores, just dumb luck, that Van Morrison, Bonnie Raitt, Sheryl Crow, Moby, Counting Crows, James Taylor, The Dave Matthews Band, Beck, and the Red Hot Chili Peppers all put out new releases. "Oh, the kiddie stuff," said Mr. Matz, remembering yet another category, music that is no longer dominated by the likes of Britney Spears and the Backstreet Boys, such as "Let Go" by Avril Lavigne and the self-titled debut album from Play, which also cater to the teen and preteen audience. Soundtracks from the Disney film "Lilo and Stitch" was a big seller for children, while "XXX," which starred Vin Diesel, "did okay," and "Blue Crush," a surfer flick that featured Kate Bosworth, "was this year's 'Coyote Ugly,' " said Mr. Matz. The favorite soundtrack for adults proved to be "I Am Sam," a film with Sean Penn and Michelle Pfeiffer. Variety seemed endless. "Verve/ Remixed" is a compilation CD from various modern DJs who remixed classic jazz songs from the 1950s and '60s. That, too, was tough to keep on the racks, said both employees. "The Dixie Chicks rounds out the summer," said Mr. Matz with a deep sigh. And, although the holiday season is two months away, it is on the minds of those at Long Island Sound. The new albums just keep coming. "40 Licks," a two-CD collection of greatest hits plus four new tracks from The Rolling Stones, hit the shelves on Tuesday. "They can still do it," said Mr. Matz. Also set for pre-holiday release are "The Last DJ" from Tom Petty and the Heartbreakers and a second best-of album from U2. A second wave of requests for "The Rising" is highly anticipated, Mr. Matz and Ms. Young agreed. With more that a dozen copies of the album on the shelves directly behind the cash register, not to mention those on the new release wall and in the "S" rack, a full carton of Mr. Springsteen's album is within arm's reach. "We have boxes of these everywhere," said Ms. Young. ------------------------------ Date: Sun, 6 Oct 2002 12:48:09 EDT From: PremGolf@aol.com Subject: Boston Night When I finally got in Bruce was finishing The Rising. Apparently the Fleet Center didn't open will call until 7pm. I got there at 7:20 to pick up my tickets and the line was 100's of people deep. I was lucky that my buddy was in line half way back waiting. Even with that we got our tickets at 8:25 and jumped in our seats 4 minutes later. It was a horrible set up. The arena was terribly disorganized and only had six of their 12 will call windows open. Ugly. I feel bad for the 200 people who were still in line after I got out. They must have missed the first 4-5 songs. I wonder if some Arenas don't realize that the bigger the show (Bruce, Stones, etc..) the more VIP will call tickets. It's not like this is a Creed show. This show was so much better than the opener at the Meadowlands that I saw. The crowd was so alive and energized. No Surrender full band was amazing. Candy's Room brought back so many memories. I used to play Candy's Room and Badlands (live versions of course) on my walkman before those 2 hour essay tests in college to get myself pumped up. Candy's Room is one of those songs (like She's the One) that makes you so greatful for stereo sound. People who posted about it being quiet for Empty Sky and You're Missing were right on. Actually during the opening to City of Ruins I looked back up at the crowd and it was so quiet and everyone was staring at Bruce, I turned to my 3 friends and pointed to them to look and they stared back at me and I said "He's got them!!" and they grinned. He really did have us. Seemed like everyone was captivated by the energy and the performance. For You was spectacular. Bruce- Keep playing that every show because that is so powerful everyone should see that song every night. Wow. My buddy was holding his girlfriend during that song and they were mesmorized. It's amazing how a 30 year old song can have so much meaning and power and be so resonant and timely. Specatcular and best version ever of Workin' on the Highway. It's amazing how Bruce can keep re-doing a song and making it better or finding some sound in the song that's never come out before. The violin was great on it. Is it me or is Soozie just the hottest woman in Rock n Roll? She does it for me. Wow. I thought it was all over after LOHAD and almost 3 hours but then Bruce did a little "You talkin to me" at the roaring crowd. The crowd was so appreciative and loud they didn't want to let them leave. I had seen Peter Wolf on the floor earlier in the show. After LOHAD I didn't think we would see him. Then they ran out and put an extra mic stand and I thought great, Raise Your Hand, which they played last time in Boston with Peter. What a treat for Dirty Water. This show was definitely top 5 of my 28 career shows. By the way, the sound was awesome down in the lower bowl. Very crisp. Dan, a thankful fan ------------------------------ Date: Sun, 06 Oct 2002 22:10:10 -0700 From: "M. Conens" Subject: Thunder Road #2. Definitely. Relates to Orbison's Only the Lonely (know the way I feel tonight...) Written in first person, Bruce identifies with the 'lonely' in the song that plays on the radio as Mary dances ("like a vision") across the porch. in the song, Bruce is looking for a little 'companionship' and doesn't want to be rejected by Mary ("don't run back inside darling you know just what I'm here for"). ------------------------------ Date: Sun, 6 Oct 2002 17:46:06 -0400 From: Tom Ross Subject: SNL Well it took 10 years, but Bruce finally got the SNL monkey off his back. That earlier performance was......... well let's leave the past in the past. I thought last night's ( Oct. 5th ) SNL performance was amazing. I realize it is hard for a group of musicians like this who feed off the audience, and each other's energy over the course of a full length concert, to turn it on for just a song, but I thought the performance of Lonesome Day was great, and the solo reading of Missing was breathtaking. I still got goosepimples the 5th time I watched it a few minutes ago. By the way, I hope you watched the show til the end, cause the best non-Bruce moment was the cartoon at the end, which was a take off of the Anna Nicole Show, but done with the Smurfs, The Smurfette Show........Hilarious!!!!!!!!! Tom In Vegas ------------------------------ Date: Mon, 7 Oct 2002 10:13:32 +1000 From: Cheryl McIntosh Subject: Roy Orbison singin' for the Lonely Just my humble take on this Thunder Road & Wings For Wheels phrase: I always took it (since I first heard the song good enough to REALLY listen to in '83) that Roy Orbison was singing Only the Lonely [on the radio that was playing] and that this all was just too cumbersome to fit ALL of it in the lyrics. Now, I've had to have a rethink. Maybe someone -- more probably the antagonist than Bruce because I think these two people are VASTLY different characters -- IS lonely. But, as anyone who knows me will attest, I am loathed to change my mind once I've implored a notion. I just found the lyrics, and indeed, the narrator in Roy's song is lonely. I don't claim to be an Orbison expert (actually I usually ONLY have ears (and eyes) for one bloke; Bruce Springsteen) but I can't help wondering whether this song was penned before or after the demise of his family. Only The Lonely Performed by Roy Orbison *Dum-dum-dum-dum-dee-du-wah Ooh-yeah-yeah-yeah-yah Oh-woh-woh-woh-o oh-wa-wah Only the lonely, only the lonely Only the lonely I know the way, I feel tonight Only the lonely I know this feeling ain't right There goes my baby There goes my heart They've gone forever so far apart But only the lonely You know why I cry Only the lonely (Repeat *) Only the lonely I know the heartaches I've been through Only the lonely I know I cry and cry for you Maybe tomorrow a new romance No more sorrow but that's the chance You've got to take If you're lonely heartbreak Only the lonely As a totally unrelated (and probably somewhat daring!!) aside, I'll be glad to see the European shows start. The Europeans ... and I know stereotyping is evil ... but the Europeans seem to take Bruce less for granted than their American counterparts. I'm still a novice at this Bruce fan business (I've only been on the train 19 years) but from what I read here, and from what my friends in the hemisphere where he DOES tour portray, it's almost as though the Americans have a RIGHT to see him whereas the Europeans see it as, rightly, a PRIVILEGE. I think that's all I should say, for now! Anyway, when they come to Australia, this particular Australian will feel mighty privileged, you can be sure of that! ------------------------------ Date: Sun, 6 Oct 2002 23:46:15 +0100 From: "Craig Statham" Subject: Re: From Rolling Stone: 'Earle Pays, Springsteen Slides' Hi all In response to John C. LaFountain: >Do you really think the "political right" has been looking for an excuse to >hang Earle? For *years*? Is he even on their radar screen? Don't you suppose >they have bigger fish to fry? Let's look at the liner notes to the 'Freedom Sings' CD (song 8): "In 1997, Florida State Senator John Grant [Rep.] led a battle to cut off $104,000 in state funding for a public radio station because he objected to the programming. Grant particularly objected to this protest song [Wasteland of the Free] by Iris DeMent and 'Undone' by Robert Earl Keen". Smaller fish than Steve Earle, methinks. Ambiguity of Paradise: >it's pretty damn easy to figure out by reading the lyrics I argued that it was ambiguous, not indecipherable. A scene from a screenplay? Hmm! Re my assumptions: OK, if you want to be a pedant - "'John Walker's Blues' is Earle's interpretation of an insight into the mind of one American" - happy? Despite this I would still argue that 'John Walker's Blues' is an insight into his mind, just as Nebraska is an insight into the mind of Charles Starkweather. If you want to be pedantic (and I'm sure you do), it's Springsteen's interpretation. I didn't say that Walker "didn't" kill anybody, I said he "likely didn't" - a fair assumption given the ratio of Taliban soldiers to dead American soldiers. >Well, that, and he put the guy's name right in the title... Ooh, sarcasm... >Think "handful or even dozens." Humblest apologies for not knowing the song was about a lone bomber rather than a hijacker. In future I'll make sure to read every interview of, and article about, Springsteen. Funny though, I don't seem to be alone. In the previous mail Spencer wrote, "I can't help but notice that Americans want to interpret this bomber as one of the airline highjackers of 9-11." Regards (without blinkers) Craig ------------------------------ Date: Mon, 7 Oct 2002 08:43:43 -0500 From: Mike Hopkins Subject: St Louis Audience In LTD#90 Jim Mitchell talked about the St Louis show and the smaller audience. I think there were a couple of reasons for the smaller crowd. I believe a large reason was that this show was at the end of a crowded summer concert schedule, and in fact was the same night as the Bonnie Raitt / Lyle Lovett show just across the river. These are two acts that probably draw from a similar fan base. Additionally, the lack of radio support for The Rising in this market was amazing to me. Until the night of the concert, I did not hear a single song from The Rising on any commercial station. Did ticket prices play into it? Definitely, but to a much lesser effect than other artists. The Who announced a show here a week before Bruce, and tickets were off the wall price-wise. In playing with Ticketmaster, I saw that you could get 16th row floor seats 2 weeks after they went on sale. The concert was ultimately cancelled due to "scheduling conflicts." Paul McCartney will be here Wednesday, and as of this morning you can get tickets in the 2nd section from the stage lower level, which tells me there will be a whole lot of empty seats. I could swear I heard him say "see you next summer" at the end of the St. Louis show, and can only hope I will... Mike Hopkins - ------------------------------ ------------------------------ Date: Sun, 6 Oct 2002 21:59:49 -0400 From: "Ron Bansmer" Subject: Looking for GA Info Hello all. I was at the Boston show on Oct 4 and was completely blown away. I've been lucky enough to get a GA ticket for the show in Houston next month and since the majority of the tickets I've had in the past have been in the upper levels, I HAVE to get in the pit. Would anyone with experience with the GA line - or anyone who plans on being in the Houston pit - please e-mail me with any tips or advice they would be willing to share? I'm especially interested in things like: What time does the line usually begin forming? Do the people in line organize the line or is that done by the venue's personnel? Do people have to stay online all the time or are breaks allowed? Are there typically problems with people trying to crash the line? As you can probably tell, I haven't had any experience with lines like this - in the past I've either had tix for the shows or I stayed home. Thanks in advance for the help. Ron No Retreat - No Surrender ------------------------------ Date: Mon, 7 Oct 2002 16:53:50 EDT From: Keroz3@aol.com Subject: Musicians On Call Meeting thius Wednesday in New York If you are looking to help a great Music related charity, please join Musicians On Call for the Volunteer Committee meeting on Wednesday, October 9th at 7PM. This will take place at Musicians On Call ( 216 West 18th Street, Suite 201B). Refreshments will be served. Looking forward to seeing you soon! Michael Zorek Chair, Volunteer Committee ===================Musicians On Call (MOC) was founded in 1999 with the mission of using music to promote and complement the healing process in healthcare facilities. Additionally, Musicians On Call seeks to raise awareness of the beneficial effects of music and entertainment for people in heathcare facilities. To date, MOC has accomplished this through room-to-room hospital performances by both local musicians and national celebrities, weekly music lessons, CD Pharmacies and Project Playback. Among the artists who have supported Musicians On Call thorugh ticket donations and hospital visits are Bruce Springsteen and the E Street Band, Hanson, Def Leppard, Sting, Britney Spears, The Who, Bon Jovi, Levon Helm of The Band, Donald Fagen of Steely Dan, Dave Koz, Barenaked Ladies, Kermit the Frog, Matchbox Twenty, John Mellencamp, Alice Cooper, David Gray, Peter Frampton, Billy Joel, Tony Bennett, John Mayer, Paul Simon, and Eric Clapton, to name a few. [text/html attachment deleted] ------------------------------ Date: Mon, 07 Oct 2002 11:04:34 -0400 From: amy w Subject: Boston People who went to Philly are probably still reeling. It was the szizogy (sp?) and all, so I'm sure that played through in the show. :) But I'm still reveling in Boston. What a show. The link below is from truthout, for those who find it relevant and interesting. Apparently WRP did not realize Bruce actually did play No Surrender. Nor could he have known that the crowd cheered so eerily for the line "an eye for an eye". Part of the beauty of this song, of course, IMO, is that Bruce is able to stand in the shoes and make us all feel the ache for the kiss from your lips as much as the eye for an eye --both are the essence of being human. but I thought it was interesting to see the show mentioned in this context. After all, Bruce expanded his civil liberties talk to include the current war rhetoric. One more thing: at least the Herald (unlike the Globe) mentioned it, but did not emphasize what for me was a huge highlight--the roots version of Workin on the Highway was really something. As was the heartfelt For You on piano. > No Retreat, No Surrender > By William Rivers Pitt > t r u t h o u t | Perspective http://www.truthout.com/docs_02/10.07A.wrp.no.retreat.htm ------------------------------ End of LuckyTown Digest V9 #92 ****************************** ********************************************************************* ** LuckyTown WWW URL ** The LuckyTown FAQ, back issues, web-based subscription/unsubscription, and many other things can be found on the LuckyTown WWW Page: http://www.luckytown.org ** LuckyTown mailing list addresses ** You can send email to go into the next LuckyTown Digest to: luckytown@luckytown.org You can send email to go into the next LuckyTown-Ads Digest to: luckytown-ads@luckytown.org Any questions for the list admin should be emailed to: owner-luckytown@luckytown.org To unsubscribe, send email to majordomo@luckytown.org with message body: unsubscribe luckytown-digest To get further information on how to subscribe/unsubscribe/change your subscription address, as well as the other available commands, send email to majordomo@luckytown.org with message body: help ********************************************************************* The contents of this digest are not necessarily approved by the list admin.