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Everything posted by ulfhpersson

  1. Yes, and "Yes, that's the excuse some still roll out to excuse their lack of desire for change" is the excuse some still roll out to excuse the "drive into selfishness and callousness and greed"
  2. sorry for this slow reply! it is Léon Gieco´s Sólo le pido a Dios beautiful, unsentimental song, and even if it is written in a context that is very different from Springsteens own, it has a theme, that I think is also a genuine Springsteen-one.
  3. When I now, after I wrote the text above, read about High Noon, I find a much deeper connection to The Promise. The screenplay was written by Carl Foreman, and he, like many other, was summoned to appear before the House Un-American Activities Committee, but refused to name names, and hence was, as many others, blacklisted. Many of them had to emigrate to Europe: Orson Welles, Charlie Chaplin, Jules Dassin, Joseph Losey, and also Carl Foreman, and many more. All this was of course against the constitution, i.e. against the law, but of course there was the ones who did not stand their ground. I will not here name the names. And of course, there was a few that took the fight and without hesitation told the truth, for example Lionel Strander; Wikipedia wirites: When Stander was himself called before HUAC, he began by pledging his full support in the fight against "subversive" activities: I know of a group of fanatics who are desperately trying to undermine the Constitution of the United States by depriving artists and others of Life, Liberty, and the Pursuit of Happiness without due process of law ... I can tell names and cite instances and I am one of the first victims of it ... [This is] a group of ex-Fascists and America-Firsters and anti-Semites, people who hate everybody, including Negroes, minority groups, and most likely themselves ... [T]hese people are engaged in a conspiracy outside all the legal processes to undermine the very fundamental American concepts upon which our entire system of democracy exists. Of course he was talking about HUAC itself.
  4. well, i thought that the sentence well expressed, that who "his" referred to, was what was in question; but English is not my first language, so...
  5. High Noon Apple arrives in the city to ”take care of” Springsteen's ownership to his work. Springsteen asks for help, but no one will give him any. In the court he tells the truth, but no one is listening to him. He is desperately fighting alone for the right to his own work. He wants it all: the right to his heroes. But this right is not recognized. It all comes down to a simple exchange. In the end he own his work, but he had to pay for it. He gets it all, but during this process in court, he has realized, that the heroes he had been fighting for, all belong to them that has let him down. For the heroes, that was born to run, that said, that the promised land lay awaiting at the end of Thunder Road, was not apt to stay and fight for his right. They wanted to run away, but no fight is won by deserting. So, now when he has taken it all, he trows it all away. The kind of star he was, he trows to the ground. Now he is leaving the city, leaving his old heroes for new ones, that will stand their ground.
  6. I have always admired well balanced, with good argument grounded conclusions, so I say cheers, and drink my Guinness!
  7. Hear Mr. Obama imagine he is the Boss, and hear Mr. Springsteen slowly appears as the real boss, that man that really has something to say that is concretely personal and political at the same time. But I must admit, that I am embarrassed on Mr Springsteens behalf; I mean, the man he is talking to has said ok to a lot of killings of a lot of innocent people, men women and children, people like you and me, by for example drones, killings without any legal rights, and that is a crime against humanity. Of course, USA do not recognize the International Criminal Court in Haag, so those criminals, and in my view Mr. Obama is one of them, are at least for the moment safe. But surely Mr. Springsteen, you are too good for a company like Mr. Obama. I fully understand Obama: its hard to leave the spotlight, and you can reenter it by the help of creative, artistic people like Mr. Springsteen. But I do not understand why Mr. Springsteen is accepting such a company.
  8. Dear Daisey Jeep, I am sorry, if my view of Mr Springsteens work as a downhill movement has in any way made you sad; but I hold for true, that critique is better for a Poet, than just admiration. I have admiration for his work up to Nebraska, but after that, I think he has gone astray; good songs, yes, good albums no. There is, I dare say, something disturbing in his book "Born to Run", that I think is his own reflection of his later musical work: after reflecting on Nebraska, the book is a way self-glorifying of himself, his family and his work, that makes me think, that he himself is aware of, that he after that album has produced work of lesser importance.
  9. Never ever did I imagine, that Mr. Springsteen would sell himself, but he did, and to a car manufacture, and hence to an ideology, that threatens our future; I always thought "the car" was a metaphor for our wish to leave this destructive world behind us, that Thunder Road was a road out of this our cannibalistic society of poor and vulgar rich, but now he is defining the car as only "the car". I have always thought, that Mr. Appel was not the Apple of knowledge, but the Apple of Sin, and by now I am sure of, that the destructive greed, that Mr Springsteen and Mr Appel so unabashed exhibit, was in the core of their relationship already from the beginning. Dancing in the Dark was the bite, that forced him out of Eden, a piece of money, that he, I think, deep inside has regretted all his life. Or worse: not at all.
  10. Dear Mr. Springsteen, ”This” in the following sentences of course apply also to your Work: So long as men can breathe or eyes can see, So long lives this, and this gives life to thee. But ”this” is in your case still an ongoing project, - and, after listening to your latest album, I can not believe, that that ”this” is just what you nowdays are capable to to create; no, I sincerely believe, that you are more than ready and have the guts to create The Great American album, - and hence to let us breathe and see again! Yours sincerly Ulf Persson
  11. We all know, that everything, whatever else it is, also is political, hidden or open it is there, everywhere. And Mr. Springsteens work is surely a proof of this. Many years ago I wrote this: http://docplayer.se/14801772-Floden-till-anthony-wilden.html.
  12. Yes, I think you are right. Its more complicated than my simplistic "analysis". The means, but no real goal (Born to Run), a real goal, but no means (Darkness on the Edge of Town) - perhaps.
  13. Well, you (or better: I) should not write anything after a bottle of wine. But I wrote it, and even if I now read it a little embarrassed, it surely expresses my inner thoughts. As always, Daisey Jeep, you are uncompromising kind. As for the status of having growing up, I prefer to grow up for ever. On the other side of the line, we find the hero being more specific: be ware of, that the things you want, not seldom is what others wants you to want: Blow away the dreams that tear you apart Blow away the dreams that break your heart Blow away the lies that leave you nothing but lost and brokenhearted
  14. Well, I, who thinks Springsteen have not produced a good album (but surely some good songs) since Nebraska, who am I to speak about his songs? And still, I have to speak. Now, rock n roll is, to be true, also, and perhaps mostly, about ”getting out of this place”. That is, to create a place where you can explore and evolve the things you have deep, deep inside, the very things the ordered society around you try to blockade. Not many have succeeded to manage this escape, and only a few of those that have succeeded have shown any solidarity with those (the majority) who did not make it, i. e. the ones (many) left behind. But - the Kinks with Dead End Street, and Springsteen, with Factory, managed to do it. And, alas, there surely is, to be able to succeed in being true to you history, a line you have to cross: that is, at the same time, too leave and stay, - and this line surely is hard to define. But I think that this line has a name. That name is: The Promise. This song is, as you surely know, something of a in between. On the one side, it surely do not fit in Born to Run. It is too melancholic. And on the other side, it does not fit in Darkness on the Edge of Town. Its to defeatist. Born to run is ,as we all know, based the idea that the promised land can be reached without any effort: hence the joyful tone of the album; Darkness on the edge of town, on the other side (and this is really on the other side) is based on the idea that the promised land surely can be created by, - not I but by us all; but therefore, it must be created against the force of the capitalistic society: hence the harder, uncompromising tone. And The Promise? Well, its in between. Between running away and fight. Gone is the idea of a simple solution (Thunder Road: I am pulling out here to win). But here is not yet the insight of: not I, but We are the vehicle needed to have the work done (Racing in the Street: we are going to the see to wash these (our) sins from our hands). But, you say, so far so good, but: what about The Promise? Its a product between the I and the We. What stands between I and We? The things the capitalistic society wants us to buy instead of searching for the things we really, really wants. What do we want? A society. in which our concern is our fellow human being, not the things we are learned to think is of importance to us. Not the things, the human beings. So: the hero of Springsteens song know in the end, that you have to thowe all that away, that the capitalistic society wants you to look for and long for. No things between you and your human fellow. Be naked and be vulnerable. Be a human being.
  15. Well, perhaps its possible also to understand this song as a story about the dilemma of having a uncompromising urge to fully express ones personality, i. e to live a authentic life? Our hero lives in a town. Of all the people living in this town, he distinguish three different kinds: a) those who are still racing out at the Trestles, b) the ones that by now have left this racing life for a life in Fairview, but only to find that they are struggling with a life they hardly can afford, c) the very few ones, that live a good life, given to them by birth or taken anyway, anyhow. Now every man and women has an urge to explore their human capabilities. But they are usually afraid to face it because it will lead them into the darkness of a very unsure path. Hence: some will keep it buried inside them selves, safe from the alienated world and work and life they find that they have to endure. This urge then, is the one and only dream that they do not follow. And so they find, that this dream hunts them as a reminder of what they have had to give up, that is: the price they had to pay. In the end, this urge, or dream, offers two possibilities: a) you cut it loose, and accept your alienated life as a necessity (and choose one of the ready-made and alienating forms of life: street racing or a life in Fairview; the alternative c) above is for all of them out of reach, if ever wanted), or b) you can let it drag you down in the darkness on the edge of town, to be able there to search for an un-alienated life (i. e. to pay the price for wanting to realize your dream); darkness, because you do not know what this life or this realized dream looks like; edge of town, because it can not be found or created in the pre-fabricated, alienated life or work of the town. This path b) is no doubt the path of our hero. He sacrifices everything for his goal. He tell us, that he has lost his money and his wife, but that them things do not seem to matter much to him. The word ”seem” is important. By it the hero is telling us, that by pursuing his quest, he has to sacrifice all that he also wants. His cost, the price he has to pay, is not small: friends, family, lovers, money and so on. Of course, for most inhabitants, and they do not even exist for our hero, alternative b) is not an option. They all do have someone they care about and are responsibly for, friends, a wife, children, and they do have to adapt to one or more of the ready-made styles of life and work in town (bus-driver, factory worker and so on). And for them alternative a) is a provocation. To go racing in the street is to choose the loneliness of competition (they do not have to listen to the hero of Racing in the Street to know this, they experience the need for solidarity each working day), and they have once and for all accepted the need for the solidarity, that is a condition for the survival of a family and for friends. But the hero do not want the ready-made, alienated life. He wants the thing that he know he has the capability for, the things (?) that can only be found in the darkness on the edge of town. He is without doubt true to his quest, for his dream of an authentic life. But the dilemma is, that he tries to create an non-alienated life by alienating himself from all and everything that is connected to the life of the town. And since any thing or living being has existence only as far as it has relations to other things or other people, the ultimate loneliness, that is the core of the darkness on the edge of town, threatens to dissolve the hero, hurl him into that terrifying void, that other heroes, in a future, has the urge to speak about. But then, of course, for the Hero, who is blind for the real life of ordinary people, all the people in this town is alienated and lonely. Here is, as far as he can see, no couple that drive out of the alienated valley down to the free flowing river. No, only for the coming hero, the hero that will be, will the relations to other people be as important as the quest, the dream of an authentic life. He will learn, and hence be this other, new hero, for whom an authentic life, whatever this can mean, is possible only in the community with other people. If you are blind for this fact, then somewhere, sometimes, perhaps in a small village way out west, you will be be aware of this fact, and in the community of the people in this village, you will see you loss, and this loss is the loss of your selves, for only wanting things, that can be found in the darkness on the edge of town. The truth of Darkness on the Edge of Town is Nebraska. So what Mr. Springsteen, who really did pay the cost for wanting things that only can be found in the darkness on the edge of town, really found in the darkness on the edge of town, was, just what we all have to find in The Darkness on the Edge of Town: that two hearts are better than one.
  16. the Bridge starts in the Darkness at the edge of own, and ends in the Promised land; the hero wants us, who thinks we are satisfied to live with a fair view of life and the prospect of consumption, to go with him over this Bridge. He can not pass over by himself, he can only pass with us; hence he can be easily found under the towering, hope giving Bridge. We think this Town is all bright and sun lit, but the the poet knows, that it is surrounded by Darkness. This Darkness is the Towns own Darkness. Its a Darkness of folks born into a good life, and folks getting it anyway, anyhow. The poet points to this Darkness so that we shall see it, and wish go over the Bridge. But we do see, do not go. So, the poet has to, in front of us all sinners who try to maintain the style of the Town, go up to that Hill, carrying the burden of the cross of our sins, to make us see this devastating Darkness on the edge of Town.
  17. I surely can read your text, but i find it hard to understand. The released version surely is ”I am...”. That the opposite would be the fact, is only in your imagination. And a ”we” would not make the made promise ”completely phony” to anyone. You can wish, that you where in a position in which it was possible for you to uttered these words, and believe that it was possible to live by them, but most people has a family to provide for, and for them it is a kind of unrealistic, but not, in your words, a phony promise, since we all know, that to be able to "run" from this destructive society, its not enough with a I, but must involve a we. You can invest your emotion in the hero of Thunder Road, and thereby get the feeling of how it would be, to fight for and live in an non-alienated world, to be able to do what is right for you and your family and the society you live in, and still have to accept the bitter facts of this alienating society. And, if i may dare to be a bit rude, what else is Springsteens work, but a emotional and intellectual reminder for us ordinary people of how neccesary it is for us to, as good as we can, fight for a better world? It helps us to keep that same dream of a decent society based on solidarity alive. Springsteen, true to the USA that has brought him up, has, as the base for his creativity, a individualistic worldview (I want to marry you), but in some remarkable way, he transmitter to us, that this, his own, individualistic society must be overcome, if we and our children will have any future whatsoever. You think, that ”It's a line one can more easily believe in when really young”, - well I guess that I am older than You, and I can more easily believe in these word today, than back in 1975, and that's because the change of I for a We.
  18. I got it wrong here. I meant, of course, to refer to the sad eyes part of the live versions (1978) of Backstreets, not the song with the same name. Sorry.
  19. Lampi, I see now, that I expressed myself ambiguously in my fist post above; with "the record should have ended with its first song" I did not mean the position of Thunder Road in the album, I meant to say, that if Mary had accepted the offer of the I who speaks in the story, then Thunder Road would have been the ONLY song on a one song album, i. e. there would not have been a Born to Run at all, only a song named Thunder Road. Not the heroes on the record, not Mary is really leaving anything behind on Born to Run; yes, they say they will leave on Thunder Road, but never do; they do not go further than the Backstreets; and even if the songs of the record uses words that gives a dynamic expression, it is a dynamic expression of a standing still; and this must be so, since when you are running away, you are still in the grip of what you are running away from; and Backstreets is the place of this life in limbo; years later, in Sad Eyes, this beautiful, youthful, hope giving propaganda of a life in limbo is criticized and corrected by the words: WE got to STOP hiding in the Backstreets. With Darkness the mission is no longer a mission of a solitary I to run away with a Mary from a world he do not want to be a part of, it is to change this world for a better one, The Promised Land, and that is not possible for an I , only for a WE.
  20. Well, I am talking, not about the exterior history of the record, but about the immanent world of the same.
  21. As I tried to show in a short text in Thunder Road from Maryś POW ( I think that was the name), she did not climb in; if she had done that, the record should have ended with its first song; but - the record was made, hence she did not climb in.
  22. A pice of art is not a thing. Even a thing is not a thing. Take for example a stone. It lays wet and shimmering on the beach. Take it home, and you will find, that it dries up and does not at all look the way it did at the beach. So the stone, just like art, whatever else it is, is also a relation. So whats the use of trying to make a piece of art to a stone, when not even the stone is a stone? Art is not a non-relation, someting good or bad in itself, its a relation to its audience. It also is a moment in the becoming of the artist. The streaming water of the artists evolution is also what wets and makes an perhaps otherwise dry and dull stone beautiful for the beholder.
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