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ulfhpersson

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  1. So many words I have used trying to express what you do in a single line. That line of yours is the most beautiful I ever read about Springsteen!
  2. I see that I have not been too clear in my writing. So yes, Silvia, also I do not think that mortality is the direct theme of WS. But as I see it, the absent of the insight in their mortality is the real theme of WS. The heros longing for the past, that forces them to live not their own life, but the life in the crane that they think the other will approve, that repetition, that makes them work five days a week in a work that takes their life from them, just for the two night in the Café, where they say that they comes alive, but in a voice, that do not tremble of any life whatsoever - all this longing, all this repetition can go on as long as the insight of their mortality has not confronted them. But without any doubt, by what they are satisfied with, we can measure their loss. And I would say: they are not really alive. And they know it. They admit it. If we remember. The girls at the Café are not the girls out in the street, who gives our hero brilliant eyes, no they slap on their makeup and flirt the night away. Its not for real. They all live a kind of non-life. In the world under WS, nothing will change, until the absolute Master enters there scene.
  3. Well, I agree with Berlin tramps remark above. And I really think that der absolute Herr is at the center of WS. I use my own words again: How astonishingly close (yet surprisingly distant from) Springsteen's latest heroes arenot the main character (grippingly played by Harry Dean Stanton) in John Carroll Lynch's movie LUCKY. Close, for he too, like Springsteen's latest heroes, lives a ritualized life, a non-life in anticipation of real life. He and they are fixed by their past. They live only for and by what has been. They are for that reason alone. They live only horizontally. Distant, since he, unlike them, finally returns to life; during one of his routines, he faints and falls to the floor, and then, when he rises again, - he is enriched with the insight of his own mortality. Now he can relate to other people again, become part of a community. He has experienced the verticality of life.
  4. Daisey Jeep! So beautiful you write about Springsteens work in general and WS in special! Your text expresses most of what I think on the subjekt, but much better than I can. I just want to add the following: Of course WS can be performed in front of a audience. But such a performance would, I think, be a connection between Springsteen and the audience of a different kind than the usual one. Nothing wrong with that, there are many different kind of places for an audience: film-, classical-, Max Raabe-audiences and so on, and none is better than the other. But I do not think that an artist of Springsteens kind would be satisfied with the kind of place for the audience, and the connection, that WS creates. And, if I dare speculate (hey stupid, you nothing else!): perhaps is it possible to image, that WS is an expression of the poets understanding, that not to far away, he will be without that audience that made it all possible, both for him selves, and the audience. That is, WS was thought to be his swan song.
  5. Well, I agree with you, that these songs have a place for an audience, but then I would say: outside the songs. They do not have that place in them where we, as a audience, is represented by one figure or other. This place is were the audience and the poet meets, and the existence of this place is what makes Springsteens relation to his audience so extraordinary. So what kind of tour would it really be? I think he realized, that it would be like going to different places with a movie - and so he made one.
  6. Why did not Springsteen perform his new songs on tour? Well, I think a tour centered around this new material was not really possible for an artist of Springsteens kind. The reason, as I see it, is the following. In Western Stars there is no real other. There is no Mary at the porch, no Mister in the valley. The other is lost, is a memory. The porch and the valley are boarded up, i. e. the poet and the other are only in the mind of the poet. That is: the songs of Western Stars has no place for an audience.
  7. Well there’s a place on a blank stretch of road where nobody travels and nobody goes.This blank stretch was once a Promise. This Promise was created and presented and pointed at by the Poet. This Promise was Thunder Road. It was at Thunder Road the Poet pointed. The promise was that of the way, the truth and the real Life. But the Poet could not go that way by himself, alone. If he did, it would be consumed, be lost. No, just he pointed at Thunder Road, for the sake of us all. If this Promise was to be fulfilled, we would have to fulfill it together. This Promise was given at the place were we were: the Porch. We heard the Promise, we believed that Thunder Road was a possibility. But now-days we do not believe in the Promise of Thunder Road. This our new world of non-belief stretches out under Western Stars. The Porch, i. e. the place in which we thought, that a better world for us all was possible, is deserted. Now we se, that the Porch was just a place on our own, solitary journey. It was a motel. It was Moonlight Motel. In Moonlight Motel we still believed in the Promise. Now we do not believe any more. Hence we can never go back to Moonlight Motel. We have boarded it up by our non-belief. There exists only ordinary motels in which two young folks only can disappear into themselves. We have lost We. So much came in the way: the ordinary life. Once we was at the Porch: we believed in the Promise; now we see, that we never was at the Porch: we just believed just during a quick stop at Moonlight Motel. Now, when we not any more have a belief in the promise of Thunder Road, it is not possible for us to go to Moonlight Motel. We can only go to a closed Moonlight Motel. This is a Motel opposed to what we once believed in. Where there once stood a sign, saying: This is the land of peace, love, justice, and no mercy, there now is a sign saying: ”Children be careful how you play”. We do not believe in the Promise, but we almost remember the exuberant feeling of believing in it: and so, slowly backwards those memories pass across the valley floor, back over the porch and in behind the screen door to that moment just before the poet gave us the Promise. But all that is now gone. We can not really remember. We do not remember, that the wind, that now is blowing the covers of our lonely bed, once was promised to be the wind that would blow back our hair when we travelled on Thunder Road; and the covers, well were they not something else, back at the Porch at the edge of Thunder Road? And yes, the road back to what now is the closed Moonlight Hotel is by no means the two blank lanes of Thunder Road; no it is a black road, filled with a cold wind and tumbling leaves. The Poet could not alone leave the Porch for Thunder Road. This Road was, as we now know, for us all or none. He can not return to the Porch, because we was never there, it never existed. He can not return to Moonlight Motel, since we ar not still there. He can only travel to the boarded up Moonlight Motel. But by doing so, he forces us to start to remember. We remember the Porch, the Moonlight Motel, The Promise of Thunder Road. We give them all their tribut and know, that even if its a fact, that everything dies, in one way or other it will all come back.
  8. There is a place on a blank stretch of road where nobody travels and nobody goes in the world lit up only by the Western Stars. This road is the road that is leading out of the past to a place of a new life facing the future. This road is blank of illusive memories. But the hero do not travel this route. He can not break loose from his past, - that is his finest hour and the index for his now. Wherever he is and whatever he does, he returns in his mind to the past. The memories of the emotions he had at that moment in the past, is the emotions he have today. He lives only in the past, i. e. he does not live. It is autumn in his world. Everything is in decay. Yes, he lived once. He loved once. He himself was once. Then came the ordinary life. The life of the living dead. And now he is satisfied with his non-life in memories. As a substitute. As alcohol. But of course, his memories are a lie. He remembers only the part of the poem that legitimate his non-life: It’s better to have loved. Yes, under Western Stars it is better to have loved, then to love. Its better to indulge in the past as a lie, than to act now for the future. Under Western Stars the poets wound up wounded, not even dead. But of course, alcohol can, in the end, correct that all that.
  9. The interesting thing about the heroes, who come to the fore in Springsteen's latest album, is not that they are alienated (who are not?), but that they cannot stop rationalizing their alienation. Let's take the Hitchhiker as a representative example. You can hitchhike to get where you want; you then hitchhike to reach a goal. One can also have the hitchhiking as such as a goal. Of this latter kind of hitchhiking, there are at least two different kinds: either it is the result of rejecting all the goals and values that society otherwise holds as important; and then only a life without a goal remains, i.e. hitchhiking; or is the hitchhiking itself is the basis, and the rejection of the goals of society the result; then the hitchhiker has a life without goal as a goal. Hitchhikers of the former kind (because the reason for their hitchhiking is clear to them), rest safe in themselves, and hitchhiking is for them a conscious decision; they may therefore be silent about why they are hitchhiking; the alienation is to them an accepted consequence of a conscious rejection. The second kind of hitchhiker, on the other hand, must constantly reject for themselves and others the goals and values that bind other people to a permanent existence; to them, rejection is a consequence of alienation, not the other way around; he or she can therefore never be silent, must constantly reject society's goals. Such an existential hitchhiker must all the time repeat that he is not following a map, but is aimlessly driving in accordance with the powers of the weather. Since the hitchhiker's existence in the hitchhiking is not the result of a rejection of the goals and values of them, who he travels with, but in the telling of this rejection, the hitchhiker can neither categorically deny (his existence requires someone to give him a lift) or categorically confirm (his existence also requires the rejection of of these values and goals) the values and important goals that they have, that gives him a ride. So even though he agrees that their goals (property, family, children) are positive, he also makes it clear that they are positive only in their world, not in his. So he has to constantly repeat to himself and others his mantra, which is not: "I am a hitchhiker", but: "I am a hitchhiker all day long", which has a childish tone, and may well be interpreted as: "I rejecting your life, which consists of working all day long ”. Of course, he wants to escape the alienation which he rationalizes and maintains in his words, but since he rejects all goals, his liberation can only happen in an alienated way: just like he is carried around in his alienation by external powers (weather and wind), he can be brought out of his alienation only by one likewise external power: another human being. "Catch me now, because tomorrow I will be gone" is therefore a necessary complement to "I hitchhike all day long". The latter mantra preserves and defends his alienation, the former pleads for liberation from the same alienation. Both are equally necessary, and both must necessarily be repeated.
  10. The Promise. Springsteen band members play in other contexts. He himself does not get much done. He goes to the cinema or stays at home. Once upon a time he tried to make a dream come true, just like the heroes on the white screen do. His dream then was to create a rock 'n' roll work, one that he himself considered to be right, i. e. without having to worry about restrictions imposed. Appel gave him the promise to help him realize this dream and Springsteen also realized such a creation and was met with abundant success and was seen as the rock n 'roll great promise. But when Appel broke his promise, the promise of the future of rock 'n roll was also broken. And when the double promise was broken, Springsteen also partially lost his dream. He had already started to realize his dream before Apple's promise, but when Apple broke his promise it turns out that his promise also was Springsteen's sale of his work to Apple. At that time long ago, he was secretly living his own dream, and now he regrets letting it be captured by Apple's world. All his life he has fought the battle no man can win, namely, that to produce without that the products are stolen away from you by the commercial world, which Appel represented. So, as said, every day it becomes increasingly difficult to believe in the dream of one's own free creation. But Springsteen still clings to the possibility of this impossibility, which bears the name of Thunder Road. In relation to it, he now sees that something of significant importance, the original dream, is dying. And sure, with Thunder Road he made himself great; but the legal process with Appel showed what high price he had to pay for his success. He know now that this price is what we all have to pay, and it’s like he is carrying the broken souls of all the others who had lost their dreams. Of course, life goes on even when the promise is broken, but the crime robs something essential from your soul, and from your heart, that becomes cold when you tell the truth in court, but this truth is not even listened to. In the evenings Springsteen often goes to the movies. One night he sees High Noon, and realizes that his dream has always forced him to fight against those who want to hinder him, and without help from those who do not want to help him. But more important, he understand that even if he had to realize his dream in Thunder Road, he know now, that he, if he wants to create a new and truer version of his dream, must throw it away. Because Thunder Road is both a correct and an incorrect expression of his dream. Correct, since it is an expression of the freedom of creativity. Incorrect, since the runaway ideology that is its message in no longer adequate: if he now run away, he will lose his free productivity and his product. He will lose his dream. So he has to stay and fight. He do so. He fights. When the fight is over, he can trow Thunder Road down in the dirt, and travel to his glorious future with his muse
  11. Speaking of Born in the USA, I once wrote that Springsteen in that album replaced The Work with Himself. In Nebraska, the heroes' desperate, alienating testimonial stories are biting and stinging accusations against a society that does not meet its citizens with honesty, justice, loyalty and, yes, love, - why they also lack the genuine self-esteem and sufficient self-respect that would have given them due respect for other people. Their stories form one of the mirrors in which the United States can see its true face, and we perhaps our future. Western Star, on the other hand, is a collection of private stories. The lives of the heroes are fixed by one for them significant event in the past. The album itself is undoubtedly as one-sided and defaitist as the heroes of their lives are one-sided and defaitist. It is as if people's lives had no social place and significance. Here, rock 'n roll is an unknown concept. Here there is no anger, no not even a fist tied in the pocket. The heroes of Western Star live in a Paradise Lost of a Paradise, which has never existed. I do not hold Westerns Stars for a bad work, but I ask myself, why make an album like this in a time when we surely can not afford defeatism. And it is in all ways of lower content and solder, than for example Nebraska, and to now see how Springsteen, instead of producing works of real value in the real world, produces himself in all sorts of contexts such as the wise, honest, good, loyal, family lover Springsteen (much like in the self-glorifying second half of autobiography), and thus making himself the guarantor of the quality of his work, is deplorable. But as Pentti Saarikoski pointed out: After September comes October.
  12. ARTE has sent a moving film about Robert Saint-Rose, who lived at Martinique. In the mid-1970s he built a space capsule, with which he would go into space, The fuel he intended to use for the capsule's journey was the poetry of Armé Césaire. This rising he would do not only for his own fame, but also, and above all, for his country's honor and reputation. So he locked himself in the canister and recited Césaire's poetry. Outside the capsule stood his girlfriend and several friends. When darkness came, and the capsule showed no signs of really lifting, they left him where he sat in the capsule. You might think that ARTES film is a story of a ridiculous attempt to rise above the earthly reality, but the fact is that the film gives both understanding and honor to his attempt. Now, maybe someone is wondering, what does this have to do with Springsteen and his latest album? Well, to see the connection, we just need to replace the space capsule with rock and roll (in the sense of: We gotta get out of this place) and Césaire's poetry with Springsteens. Both vehicles illustrate the same insight: You cannot change your and others' lives horizontally, only vertically. Thus, Springsteen's first album takes place in a world sandwiched between the joyous sky and the underworld of the living dead, a world illuminated and guided by the Sun, the source of all joy and happiness. And Western Stars? This is the horizontal world. Everyone in this world is in motion on the earth's surface, but their movements are only seemingly movements; in fact, they are all fixed by their past: they are looking for the life that has fled. The sun in this world is on its way down. The top of the tree or the elevated position in the crane is just an expression of alienation between people. The verticality of the first album, which expressed the desire and a pursuit of a new, different life for one's self and others, has here been replaced by a horizontal expression of the distance between every human being in the present and the human being she once was, and between every human being and every other human being. In this world it is dark on Earth, and do not doubt it, it’s getting darker. How did it go for Robert Saint-Rose? Well, when morning came, he and the capsule had disappeared.
  13. How astonishingly close (yet surprisingly distant from) Springsteen's latest heroes arenot the main character (grippingly played by Harry Dean Stanton) in John Carroll Lynch's movie LUCKY. Close, for he too, like Springsteen's latest heroes, lives a ritualized life, a non-life in anticipation of real life. He and they are fixed by their past. They live only for and by what has been. They are for that reason alone. They live only horizontally. Distant, since he, unlike them, finally returns to life; during one of his routines, he faints and falls to the floor, and then, when he rises again, - he is enriched with the insight of his own mortality. Now he can relate to other people again, become part of a community. He has experienced the verticality of life.
  14. Springsteens work up to Nebraska is an expression for his quest to find out what he (we) and the world really is. In Nebraska he found the truth: he was a man he did not want to be. In his autobiography he recall very beautifully and moving, how he in the living life of a small town way our west recognized all that, that his quest had forced him to forsake. He was Elvis (alas without the money) alienated in Graceland (the quest of Rock´n Roll). He had via Rock´n Roll escaped New Jersey only to end up in his own Graceland; now he must escape this Graceland. He does not want a real life inside Graceland; he wants a ”Graceland” inside a real life. All his life, he had lived for the quest of Rock´n Roll. Never had he compromised his artistic integrity for money. And this is what he now uses to escape Graceland. His quest is now for a family life with children. He ostentatiously work for money and not for artistic integrity. So, I do not think that money was his goal, it was one of his means to escape Rock´n Roll. This, I think, is the difference between Springsteens albums up to and including Nebraska, and the albums following them: Nebraska was the last of his albums made inside Rock´n Roll.
  15. So we have to ask: why did he make it the way he did? I think the reason was this: During the work with Nebraska Springsteen found out, that he was caught by a rock´n roll-world in which he was alienated from the real world; perhaps he, by creating the heroes of the record saw that their alienation (that is, the missing of real, living relations to other people) was also his own. He himself was one of his heroes. Now he wanted to escape from his cage. At this turning point he alienated himself from his heroes. That is why Dancing in the dark sounds like it do, and thats why he made that, at least for me, ridiculous video. His ambition to make himself free from the heroes and start a new life as a real human being in the real world, is, i think, a way to explain the difference between Nebraska and BITUSA. In my opinion, the latter just that artistic failure, that Springsteen at that time perhaps not wanted, but surely needed.
  16. I doubt there is a piece of art thats IS good. A stone IS, GOOD is a relation. If we read CruchOnOutlawPete´s text, we do not doubt that The Iceman is a good work of art for him, and perhaps we even feel, that is has done him a lot of good. I had never reflected on the text before, and his analysis was interesting for me, and it started my own reflect- ion, so this his analysis was good for me. If a piece of art is interesting is more important to me, than if it is "good".
  17. Brilliant analysis! On another level, perhaps it is also possible to read the song as autobiographic commentary? Before the conflict with Apple, Springsteen was a preacher for his audience. What he preached was to run from the city that do not budge: Eden. But during the conflict, Apple stole Springsteen's creative freedom, and so Springsteen found himself a resident of the city he just preached the escape from. This is a city of emptiness, of no budge, and he had already clearly judged it on Born to Run. But Eden is also the city of an audience that he could not be budged (no new record). But he now knows that he can not really run away from this city of emptiness. He thought he had left it via Born to run, but found that in fact it was still in it. But now he has eaten the apple. He wants to take back the right to his creativity. He has lost everything, and has consequently everything to win. He therefore knows no worries. Now he turns the Ford's cooler, not toward Thunder Road, but toward the City. Now he takes the battle with Apple. He will budge Eden. An now he finds, that not by running away, but by fighting for his rights, he really have left Eden, and is heading back to Eden to regain his freedom. He does not care about the angels who, with burning swords, wants to stop him from entering . He is like ice, hot and cold at once. He is passionate and calculating. He is the Iceman who fights for the right to live in accordance with his essence, not Edens. And he says to his future Audience: Better than sitting in the shadow of my former church, better than waiting for a new messiah, is to search.
  18. Nebraska. Very simplified: relationships forms the basis of human existence. And we are born into a very special kind of relationships: "I was born in the valley where you are raised to do what the father did". These relationships are rigid ties that bind: they assigns us a place and a code of action, but a place and a code that we have not chosen and not created. They surely give the individual a place in society, but no real recognition. When the boy got the girl with pregnant (as it is called in this already made world) he will no doubt marry her; the wedding is of course without joy and happiness. At work you perform what is prescribed by others and by these others' machines and organization of work. Unemployment affects you as a natural disaster. You buy or is longing to buy what others buy or long to buy. These stiff ties that bind gives you an existence, but they deprives you of a recognition based on your own decisions and self-chosen actions. Of course, some of us can perhaps escape this world: a young man or woman can, lets say, become a rock star, but we, who are left behind, have to create a new world: the promised land, in which no one is left behind. As it is now, man and women to often is denied a real, mutually recognized life. They feel an emptiness inside: they are not anyone who is seen, treated with respect and who is recognized for what they say and does. These ties thus bind mankind to an existence, but one that she know is not her true existence. Therefore, there are those who will turn against these rigid ties that bind. Some leave those ties, but only to find themselves more and more lonely and, because relationships with other people truly are the basis for her existence, in a state where the self is threatened by dissolution. These people therefore hunger for something or someone who can reconnect to the ties that bind to an existence. Their retreat from the ties that binds was of course a hidden criticism of these ties. The one, who in words articulate this criticism and saves these existential criminals from being reduced to simply killers and car thieves, is none other than - the poet. The heros themselves are not liberated, they all meet a tragic end. They can not reconnect to the ties that bind. They must remain true against themselves. Hence they reconnect to the ties that binds by breaking them. They commit the crime they hope will tie them back to the straps. And so we meet the lonely man who go through the darkness of loneliness in an unrestrained night in a stolen car, hoping for nothing, just wishing that the police will catch him and return him into the ties that binds. They all are the hero, who asks for mercy and to be be redeemed from this nothingness, that threatens to swallow him. But then there are also those who so completely unleash the ties that bind, that they dissolve themselves as moral and ethical beings. They have lost all feelings of other people and can only use a brutal crime as a means of reconnecting to society's ties. One such a hero is driving with a girl through the badlands, killing 10 innocent people. For him, the killing of real ties to other real people is the way for him, who has grown up in the ultimate care of rigid ties and hence lacks a real perception of himself and his human fellows, to in other peoples eyes see, that he is some one; and in this case he really becomes one: society's enemy number one. Now at last is he someone to count on. The girl was during the ride his audience, and in her eyes he saw himself as the one who does nor belong to this society, that is - just the societies view of him. Now he is even. He is to himself, what he is to others. He is true. But later on, she as an audience has been replaced by police officers, journalists, court hearers, jury, judge and by prosecutors and defense lawyers who look at the hero and in him sees, not the truth of the society that they themselves are defending, but just simply as a brutal killer. After an almost vehement car race, in which both the killer and the two policemen know what roles they are expected to play, and after the hero has been arrested, one police asks the other: "Does he not look like James Dean?". Our hero laughs happily. In the end, the hero really has managed to reenter the ties via the detour of 10 murder; he is back in the ties that binds, even if those ties only are the tight leather straps that tie him to a last glorious moment of existence - in the electric chair. But now it's night in prison. The hero tell his story to someone else. This other is now his audience. He begins his story with what seems to be a regular event. The girl stood on the lawn, they took a ride in the car. Then: 10 innocent people died. He does not say that he murdered them. That's what he says next. Is the hero meanwhile looking on the other, trying to figure out what he thinks and knows? No reaction? Then the horrendous: "From Lincoln, Nebraska to ... I killed everything in my way." Now it is acknowledged. Again: does the hero search a reaction in the face of the other? Does he try to see how he reacts to this brutal acknowledgment? Does he respond? Or does he not? Is he just sitting calmly in his own security, knowing that it is not he who will be executed? Is it because he wants the other really to see him, see him at all as a human being, he adds the almost inhuman macabre words: "I'm not sorry for what we did, at least for a while we had some fun ". Then some neutral words about the jury's outcome, and the judge's verdict. Then the hero makes a wish to the other. - He wants to the girl to sit in his lap when he is executed! We can guess, that by this in the eyes of the badlands absurd wish, the other is confirmed in his view, that the hero is not human. But he does not know, as we do know, that what he once had in his lap was a gun that eliminates relations, and when he say, that he wish to have the girl in his lap when he is executed, he is really saying, that he regrets killing, people and their relations, that he now sees the glory of ties to human fellows, but also that all the ties he would like to bind, will be killed, when he himself is killed. But in the end, in jail humanity is also jailed. He continues: "They wanted to know why I did what I did". No one has ever seen or understood him as a human being. By killing other people, he became somebody, but only a man of emptiness. Stardom by slaughter is a career, but often not a long one. And the judge and jury sentenced him to death. They declared him unfit to live. They promised to throw his soul into the void he and the car thief and all the other existential heroes already existed and exist in. They demanded, that he would explain why he did that he did. His answer: "Well, I suppose there's way too much meanness in this world (of badlands)" is of course a confession of his own guilt, but also a pointing to the guilt of all those who never treated him or the ones like him as a human, including the policemen who found him to look like James Dean, the jury and the judge who just saw the guilt of the hero, but was blind for their own guilt, the other in the prison who refused to see the man in the murderer, to see his desperate attempts to reach a dialogue between TWO people. No one in the badlands can possibly see the human being (i.e themselves) in the killer. For that wonder, the Poet of the Promised Land is needed.
  19. Not better, but surely different. More dedication, less subtility, more power, less vulnerability, more dick, less vagina, more USA , less Europe, much more Scorsese, much more less Tarkovsky.
  20. And because of those qualities i usually prefer the album versions over the live versions.
  21. This is a good example of what i tried to say, even if i was a bit categorial, and perhaps even more than little. And perhaps its not even a good idea to use a word like "better" in this case: songs played live are versions created not only to be a presentation of a song, but also to involve a live audience, to create that deep connection. But that also means that the live versions like the above one tends to be not as subtle and economic as the album versions, that is, of course, in my humble opinion. Of course i to are happy that we have all these versions, i only wanted to point out, that there are qualities in the album versions, that get lost in the live versions, and that this neccesarily is so, just like i write coarser in english than i do in swedish, if you see what i mean.
  22. In this maelstrom of live version of Springsteen, i , just like the Hero of Poes great novel, hold on to something that was sucked in the turmoil, in this case, the album versions, which in my view nearly always surpasses the live versions, even if they are as good as this one.
  23. Perhaps someone find this interesting. 4th of July, Asbury Park (Sandy)Little Eden, as it is presented for us by the Hero who speaks in 4th ofJuly, Asbury Park (Sandy), is above all a world of motion: thefireworks are hailin’, forcin’ a light, the switch-blade lovers are sofast, the wizards play, the boys from the casino dance and chace girls,the aurora is rising, the greasers tramp the streets or get busted. TheHero describes this world for his Muse, Sandy, and declares that forhim, this boardwalk life is throuh, and tells her: ”You ought to quitthis scene too”. But why does he want to leave Little Eden? Well, hetell her, that he just got tired of ”hangin’ in them dusty arcadesbangin’ them pleasure machines”, of ”chasin’ the factory girls” forcarnal pleasures, and that ”the girl I was seeing lost her desire forme”. We see, that also his life was a life in motion, he was aintegrated part of Little Eden. But he got tired of banging thempleasure machines – tired of the non-creativity of pinball machines orcarnal pleasures, tired of all free replays. In Robert J. Urban’s essay”Gambling Today via the ”Free Replay” Pinball Machine” from 1958, aninteresting discussion concerning the legislation up to that year inUSA refering to the pinball machine, we can read the following: ”Thesocial policy behind the anti-gambling laws opposes any means ofeliciting the gambling instinct in man so as to involv him in thatuproductive enterprise with its usual criminal connotations”. Theimportant world her is of course ”unpoductive”. Robert J. Urban can notaccept, that young people escape to Little Eden for a life outside thealienating life in industry, and in his paper he tries to clear out thenotion of free replay that the pinball industry inventet to be able toexclude their machines from the legislation of gambling machines, andin that way help the legislators to eleminate also the free replaymachines. But the Hero do not want to re-turn to the alienated worldoutside Little Eden. But then again, he want to escape the un-productive that is one with Little Eden. He has the hard way found,that even if he by skill can exclude chance when he plays pinn ball,there is even in Little Eden a reality that you can not control. Inthis world of motion and pleasure-seeking without productivity you cando nothing, but you are the object for things that happens to you: thegreasers gert busted for sleeping on the beach and Madame Marie getbusted for tellin’ fortunes of the wrong sort. And last night, he tellSandy, ”my shirt got caught (to that tilt-a-whirl down on the southbeach drag), and they kept me spinning...” And the girl he was seeing,well she lost her desire for him. And the Hero surely is true when heto Sandy says: ”Oh, love me tonight, for I may never see you again”,but surely, since chance is always possible, he can not believe his ownwords when he say: ” Oh, love me tonight and I promise I’ll love youforever”, and so he must add: ”Oh, I mean it, Sandy, girl”, and again:” Yeah, I promise, Sandy, girl”. He can not believe it himself. LittleEden, a kind of not really fulfilled hedonistic paradise, has itssnake: impoductivity and chance. For to be able to produce, you got tohave something that you want to change, and can change, something thatnot is in constant flux, you must be able to have a goal, that youwant to realise, there must be something real that you can change byrealizing your goal. In Little Eden there is no such reality, and theHero must in the end therefore ask himself: Oh, what can i (really) do(in Little Eden)? And he know the answer: Nothing. But then herealises, that he all the time has had that reality agains which he canset up a goal; in Little Eden he had no goal, outside Little Eden, inthe world represented by for example Robert J. Urban, a world we cancall the Djungelland, his goal is always sombody elses goal; he nowwants to find a world in wich he can realise his own goal; that worldis The Promised Land. So his now found goal is to run away from, notLittle Eden, since he left that world when he found his own goal, butfrom Djungelland, to The Promised Land.
  24. Sandy and Wild Billy´s Circus Story The hero, who so sincerely talks to his Muse Sandy in SANDY, is tired of the meaningless and childlike boardwalk-life he lives in Little Eden, and we are therefore not at all surprised when he for her declares that this meaningless, endless life for his part is now over, nor are we surprised, when he urges Sandy, that she also ought to leave Little Eden. But to what place can you go from Little Eden? In WILD BILLYS CIRCUS we meet in a concentrate Little Eden: a circus life without a place of origin, one ambulatory life with only brief contact with everyday society, a one here than there suddenly built and equally fast disappeared small community that attracts a paying audience, an audience given the god given opportunity to experience something of all that normal, everyday society does not have a place for, but that every human being has hidden, from himself and from the society, deep, deep inside, and that therefore he or she in the cirkus feels so deep inside her, that she can not deny what she feels and the notions the feelings leads to. Here, in the Circus, are all the people who to the surrounding society are too overweight, too abnormal or too odd to be accepted by a not forgiving, scared society. But do not make any illusions: this circus-life is no easy-going, comfortable world that anyone can endure: its a life that suffer from exclusion and the lack of real long-term relation-ships with the people outside the circus life. A romantic world of course, and it realizes the dream of leaving the demanding, adult surrounding community behind and living for the art developed to equilibrism, but as said, is an world alienated from the surrounding world, and we will therefore not be surprised when it turns out that someone does not end up, if someone runs away along the highway, back to a small town well established in the safe but not less alienated surrounding society. But - to what place can the Hero leave from this circus life, this seafront life? To return to the demanding, surrounding society is not possible. To stay in this life of the Circus is, on the other hand, no alternative. Doing what They (the surrounding community) wants you to do is not possible. Doing what They (the surrounding community) not want you to do (Circus Life) is also not possible. So, what to do? Now, the way out of this dilemma is given by - Big Man! : DO YOU WANT to try the big top! That is, the hero rea-lizes that the only way away from circus life is that he must not be determined by either the surrounding world (You Skall) or the Circus World (You Shall Not), but of what He Himself wants. What does he want? Yes, to escape from both the surrounding, alienated world and from the alienated circus seafront life. He realizes this so suddenly that he does not understand how he came to this insight, but - the surrounding society is his father, the free circus life his mother and he, yes he now sees it only to clearly, as in the light of a thunder, he was born to run (from both of them).
  25. 3. As suddenly as a thunderbolt lights up the darkness of the night, as suddenly the Poet realizes, that to liberate you from You Shall and You Shall Not is to reach that place, where you are determined, not as before, by You in You Shall or in You Stall Not, but by you! This place is The Promised Land, where you decide what you shall and not shall. True to his insight he goes searching for The Promised Land. But he can not do this alone. He knows, that no one can win his or her freedom from You, if not all can win it. So once again is he standing outside the house of his Muse, this time asking her to join him for a journey on this thunder road, that goes from You Shall and You Shall Not and ends in The Promised Land, where you decide what you shall. But for the Poet it is difficult to reach the Promised Land. It is for him a hard work, a struggle with him self, unsure as he is if not what he is creating really is what You Shall create, and soon it seems to be only a hard, never ending work; but them, after a long time he really reaches The Promised Land, namely when he, to his surprise, realizes, that the searching for The Promised Land is The Promised Land, i. e. that your searching for you, is you! 4. But the Poet is forced to realize, that even that, what he has found, namely The Promised Land, is located in the World of You Shall. The Promised land was only found to be lost. But this time the Poet can not escape this World. He has tried to escape from You Shall into Eden, from You Shall Not into The Promised Land, but now he has found what he came for, now he shall stand firm and fight these Badlands of You Shall and You Shall Not. He shall regain The Promised Land.
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