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ulfhpersson

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  1. 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.
  2. 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.
  3. 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".
  4. 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.
  5. 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.
  6. 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.
  7. And because of those qualities i usually prefer the album versions over the live versions.
  8. 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.
  9. 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.
  10. 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.
  11. 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).
  12. 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.
  13. When i was a boy, i read Mark Twains The Adventures of Huckleberry Finn again and again; did i say: read? No, in my imagination iwas the one who, together with Jim, was travelleing along Mississippi; of course i did not know then, that you could leave you small town, i did not even know, that there was another world waiting out- side of my own; sure, all that changed, when i years later in our house on tv suddenly was watching Fellini´s La Dolche Vita; at that moment i knew, how restricted my and my comarades life really was. I knew, i had to leave. So Art really, really can liberate You! Now, many, many years later, i´m reading Twain´s Life on the Misssissippi. It surely is a marvellous book! And to my suprise, i find in this book a part of the book about Huck, that was not translated in the book of my youth. It is the story how Huck swims to a huge raft, to get information about where he and Jim really are along the river: it really is a astonishing piece of writing! But, i also found this, and i guess that was the way The River was in Springsteen´s song, before the people in the valley lost their faith in the future, and The Rives for them went dry: ”One ...cannot tame that lawless stream, cannot curb it or confine it, cannot say to it, Go there, or Go there, and make it obey; cannot save a shore which it has sentenced, cannot bar its path with an obstruction which it will not tear down, dance over, and laugh at.”
  14. For You and Rosalita one more time. 1. Before the poet can come forth in the World of You Shall, he exist in the Defying of each singular You Shall. In this Defying, he has his existence, but also the means for the realization of his goal: to liberate every one of you who is subordinate to the You in You Shall. The Defying is thus the I-loose poet's dumb means to acquire freedom from a singular You Shall, but also the proposed means for every you´s liberation from You in You Shall. But in the Defying, the Poet experiences the contradiction of, that existence and freedom depends on You Shall; this contradiction, namely, that the Defying can take place only in front of a certain You Shall. The freedom of the Poet from You Shall via the Defying is in other world his non-existence. That means, that he, in order to once again achieve existence, once again must collide with one You Shall. Hence: from the Earth of You Shall the Poet rises through Rejection towards the Heaven of freedom, but on his way, he finds his existence thinned out and disappeared, and to again gain existence, he must fall down back to Earth. The contradiction is thus the Poet's constant oscillation between Earth and the Heaven. From this world of contradiction between existence and freedom, the Poet frees himself by creating a Kingdom that joins the sky and the earth, a Kingdom in which he no longer has to defy each individual You Shall, but in which he instead rejects You Shall generally. This new, created Kingdom is the Kingdom of – You Shall Not! But in that the Poet in the world of You Shall creates the Kingdom of Not, he has also struggled him selves out of his muteness. He is now coming forward, not as a Defying but as an I. Only now can he tell of his time as a dumb poet, about what it was like to grow up in the world of You Shall: standing in front of a You Shall Sit!, I defyed and remained standing; standing in front of a You Shall Come Down (to Earth), I defyed and threw up all these individual You Shall. Now he can say what he previously could only convey through Defying: I came (to the World) for you, (in order to liberate you from the You in You Shall). This subordinate you is – the Muse 2. The poet thus creates in the World a Kingdom of You Shall Not. This is characterized by the fact that there is nothing of You Shall. Since the Iin this kingdom is not subjected to You Shall, it is The Wild; and because in this Kingdom it is impossible to commit a crime against one You Shall, it is also The Innocent; and the movement of the I is no longer the bound vertical movement of the oscillation, but the wild, innocent horizontal Dance. This wild and innocent kingdom, in which everything goes as in a dance, is - Eden. But this Eden of You Shall Not the Poet finds unreal.In it, there is nothing of what exists in the World of You Shall: not work, not limits (the youth comes up from the underworld, but the boundary between this world and the upper oneproves to be a non-limit thereby, that the passage of the same goes without consequence; the young woman leaves the small town and her dearest for a rich man in big city, but see there !, she is of course right back), not time and not death. And so, in the end,the Poet is filled with boredom. The life in this free Eden suddenly appears to him as an irresponsible seafront life, a pinball game life, a bordwalklife, yes, as a life which, because something You Shall do or react against is not to be found be available, excludes any real act. This kingdom, the Poet now sees, is undoubtedly a very small, restricted Kingdom. He now understands, that this Little Eden is limited by the surrounding world of You Shall. He wants to leave Little Eden or the Kingdom of You Shall Not. But his goal was never only his own liberation, he also wants the liberation of the Muse. But helping the Muse to free herself can not in Little Eden be what it was in like in the World of You Shall, i.e. seek her and say, that I came for you; because then, at that time and in that World, her you was still submitted to the You; she still had no I, and the Poet could hence not call out her name, could not bridge the distance between her and him selves, he had to confront her, in order to come to her you, had to break into her house of You Shall. Here, on the other side, in Little Eden, she has a I and a name, and the Poet can therefore at distance call her by name, and ask her, not only to leave the house of You Shall, but also the Kingdom of You Shall Not. 3. But how shall the Poet and the Muse escape both You Shall and You Shall Not?
  15. Tom Waits Road to Peace. And do not miss: http://www.rollingstone.com/music/news/tom-waits-lends-instrumental-song-to-banksys-west-bank-hotel-w510659
  16. i find more castrated cats than howling dogs on main street this time
  17. The following enigmatic part of The River is begging for an interpretation. Lets try! Is a dream a lie if it don't come true or is it something worse That sends me down to the river, though I know the river is dry We will not brood on the question wether a dream, that not will be fullfilled, is a lie or not. But in the Valley the dream of a secure life surely was a lie; the economic depression showed that. But it was also a lie, since the people of the Valley could not be true to that dream, they also needed to feel the River, the very thing they did forsake to be able to believe and live the dream. And so they was forced to oscillate between the Valley and the River. But now they live under the economic depression, their dream has suddenly vanished in the air, and now it is not a false dream that forces them down to the River. No, it surely is something worse. They can not accept, that they all the time accepted the secure life in the Valley, when they all the time had at their hands that, what could have liberated them: The River. So what to do? They deney that they ever had this dream. This they can not say with words; they have to act it: and so they act as if they never cared about this secure life, or act as if they dont remember this dream. So they have to act as if they do not remember what they remember. They remember the River. Hence they must act as if they do not remember the River. And so they must return to the river. It was close to it, that they felt the River. But they now acts as if they did not travel to the river for the sake of the memory of the River; no they acts if they came to the river for the sake of the river: see, there it flows so gently, so peacefully. For this river we came, not for anything else. And so the people of the Valley have to ocillate between the pvalley and the river to be able to act out, in the valley that they do not remember their dream of a secure life in the Valley, and on the banks of the river, that they do not remember the River. And so we can understand why the subject in The River has to ride to the river, even if the River is dry (that is: a memory only)
  18. THE RIVER The Valley is the undisputed Order. In that Order man and woman work hard, and you do what your father or mother did before you. If you make your girl pregnant, well then you simply marry her. This Valley is a life of monotony, which its inhabitants did not choose, but which the Order chose for them, is a realm of futility, monotony and joylessness. Here the wedding surely is not a happily happening, not full of joy, no, it is a duty that must be met. What the people in the Valley, half consciously, half unconsciously forsake, is the struggle against the Order or the River. Whoever chooses the River does not know where it will take them, and this insecurity is what the people of the Valley can not bear. In exchange for the River, they receive through the Order a seemingly secure income and thus a certain level of security. But the Valley limits their lives, and represses them. They are therefore deep inside attracted to what they forsake: the River. But that it is the River they are attracted to, they can not admit to themselves; their lives are based on the forsaking of the River. Instead, they go out of the Valley to the river. Well beyond the Valley and near the river they have left the Valley-Order behind them, and since they confuse the river with the River (their possibility to freedom), they feel more free. Here, on the banks of the river, they are filled with what they forsake, (the River) and full of the roaring, real life they miss in the Valley, they can express a love that is so quiet in the valley. But the Valley, which demanded the forsaking of the River in exchange for security, does not hold its part of the agreement. Suddenly there is a recession in the Valley, and people find that the life, that seemed to them to be guaranteed to the price of their forsaking of the River, has disappeared. They once rejected the fight against the Order to instead live safely lives, the lifes of the Order, but now, well now the Order has deprived them of this safe life. But for that matter, the inhabitants of the Valley do not give way to the River. Their dream of a safe, secure life has gone, but they are still residents of the Valley, can not admit to themselves that they have forsaken and still forsake the only means by which they can free themselves and their fellow human beings: the River. Now, during the depression, their lives are the source of waste and, as they do not want to assert the existence of the River, i.e. that they all the time had in their hands the tool for their liberation from the illusory life of the Valley, they pretend that the life they just lived, now means nothing to them, or pretend, that they do not remember this life. And so, just as the life of the Valley, which presupposed the forsaking of the River, now has disappeared, and is a memory only, that no one wants to remember, so is the River now also only a memory. But deep inside the inhabitants of the valley lives the memory of the River. They all only to well remember the unconditional love and the feelings of real life that they experienced at the banks of the river-River, and therefore they again go down to the river. But the life in the Valley, that forced the River to flow, is gone, and so they now find themselves standing in front of a muddy and slowly moving river, uninterested looking at small pieces of wood passing by. For them, the River is dry.
  19. Now, if someone would ask me, what concert, in your opinion, is the ultimate concert of Springsteen, I would answer: Passaic 9/19/1978, and if someone asked me for an example of the quintessence of Springsteens artistery, I would say, well, Backstreets of the same concert; never has the theme of Sad Eyes reached such an emotionally depth, and the never before or since has Springsteen been so close to the great greek tragediens, to the question of the I, even if the once again returns to the subject in "Two faces have I", but, alas, this time in a more Shakesperian way.
  20. The Order is ofcourse not absolute; it only seems to the Heros and the Muses. In history there are many instances when the Order suddenly reveils itself as very changeble. When the people take the opportunity and change the Order they live in according to their needs and their thoughts about freedom and rightfulness, we call it - revolution. Another thing: as i have said somewhere else in this forum, the Audience is in Springsteens work represented by the Muse. On this level For You is the Poets deklaration, that he did come to the Audience not for money but for the Audience sake; and Rosalita is on the same level the Poets statement, that he now knows, that he came to the Audience because he wanted the possibility to ask the Audience to leave the Order with him. Of course, this is to say, that the Poet as the savior of the Audience is the Messiah of the Audience.
  21. FOR YOU and ROSALITA The Muses of these two songs share in common, that they are stuck in an Order, from which they want to get out, but from which they can find no way out. What the Heroes of the same songs have in common, is, that they want to save their Muses from their restricted life in the Order, but - while the Hero of For You came to his Muse, the Hero in Rosalita expects the Muse to come to him. This difference is of course partly due to the fact that the former Muse is more hurt, injured and dis-oriented by the Order than the latter, and that she can not therefore stretch her hand towards her Hero. She can not believe that he has come for her sake, for she is another victim of the Order, and imagines, that he has come for the things, that she has been taught by the Order to imagine to be the most important things: his mirror, his ball and jack and so on, and, above all, - his money: The hero, hence, must convince her that he has come, not for these tings but for her sake. He thus counts up everything he did not come for and declares stubbornly over and over again, in order to break through her lost self-esteem and lost self-repect, that what he actually come for, is nothing but for her - I Came For YOU! But - the Order is absolute, it can not be broken, and the Hero will therefore never reach his goal; the Muse can not accept, that she can free herself and the Hero from this moment in limbo by accepting that the Hero came for her sake, and the Hero, who also knows that the Order can not be broken, makes no illusions about any success in his rescue-mission (of the Muse, but also of him selves). The Muse in Rosalita, on the other hand, is certainly not freeer, but she is definitely less hurt by the Order. But the Order is still absolute, and she and the Hero, just as the previous Hero and his Muse, know that there is no way to escape from it. But just like the Hero of For You found some kind of freedom from the Order in his never ending insisting of,that he came for the sake of the Muse, and not for anything in the Order, so the Hero of Rosalita finds som kind of freedom in the Order by urging the Muse to - choose the Order. Choosing the Order is to prove the very existence of the Order. To know (the existence of the Order) is to have some kind of Power. And to choose the Order is to make it not so absolute. So, Rosalita, do not get out of the Order through the window or the chimney (for to try to escape the Order is to acknowledge the Order), no Rosalita, - walk out of the Order through the door! That's what it's for!
  22. A Springsteen performance of a song is always more convincing, when the attitude of the song corresponds to the attitude he him self has at the moment, than when his attitude has changed and he performs a song that has an other, earlier attitude of his; that is, if it not is possible for him to in one way or another to change the attitude of the earlier song so it corresponds to his new attitude; for example, see my analysis of Backstreet's in this forum.
  23. Oh! Thunder Road - revisited! Now, after the event, he is standing in the rain beside Thunder Road, seeing his very own dream (to run away with his Muse (Rock n Roll) to the Promised land) rushing by him backwards from the glorious future he once imaged to the bitter past that now is only too real. A dream of the Promised land lost. A dream of the Promised land not yet regained!
  24. The following text is an attempt to interpret, not Backstreet's as such, but Springsteen's own interpretation of this his work after the event: i. e. his interpretation say about the second half of 1978. Springsteen as poet created Backstreet's, and as hero he presents it to the audience. It's the hero who talks to us. This hero is determined by a relation- ship with the world: he has learned from some experience that life can be lived genuinely only on the back streets. This experience he once shared with his muse. He and she met a long time ago and they swore hey would forever live their lives on the back streets. So far so well. But then suddenly the poet experienced that the muse was not his, and that he not was her poet. He realized, that she was a commodity, and as such even owned by someone else. - Hence he no longer enjoys his earlier affection for and trust in her. But on the other side, the poet can not be a poet without a muse, and the muse can not be a muse without a poet: a muse as a commodity is a muse without a poet. Now the poet is sad, and so is the muse. She cries - and the poet thinks that HE can stop her tears. But no, not HE, the poet of Backstreet's, can stop her crying, because he wants her back on the Backstreet's, he does not want to see, that she has changed. Way back, when she lived with the hero on the Backstreet's, she was not true to her self; in fact she was lying: she never belonged there, she was owned by another who surely did not live on the Backstreet's. And so, now realizing this, the hero is outraged: cause he now sees only to well, that not only she, but also he is lying: he is propagating the virtue of living on the Backstreet's, but then, if he is true to his evangelism, he can never reunite with the muse, will forever be a poet without his muse, that is, will never again be a poet. He has realized, that he must stop hiding on the Backstreet's, that he must fight, not the owner of the muse, but the temporary owners RIGHT to the muse. And so he rejoins with the muse and confesses to the audience (which up to this moment also wished to return to the Backstreet's) that he and the muse has been lying, that he now not anymore is the poet of the Backstreet's, that it now is time for him and the muse and the audience to leave behind this childish dream of a life on the Backstreet's, to say and say again, that we all have to STOP living on the Backstreet's. Not running away, but fighting, not the Backstreet's, but the Promised Land is from now on our goal.
  25. Suppose you have a dog. You command her to sit, but she refuses. You does not give in, and now you tries to make her sit by force (i.e. by using violence, since she already showed you, that she does not want to sit down, and you do not respect her wish). She responds by struggling, fights herself loose, and runs away, never to come back. In the first phase the dog rejects your command, but she still stands still. She does not sit down, but it is not you she rejects, it is only your command. She has no self, it is your self that is her self. And in the next moment she would normally swings around you, happy again and showing that you are and remain her boss. In the second phase, on the other hand, it is nor enough for her to refuse to be free, so she fights and struggles with teeth and claw, and will thus be free not only from your violence but also free from your self. Now the dog has her own self, and she can hence search a new self to subordinate her self to, or live as freely as she can. The refusal can only be shown, and is a direct response to your command. The fight, on the other hand, is the dog's own choice, she know that she is able to get beyond the refusal: she refuses to refuse and struggle her self free. She is a dog, of course, but in this her struggle she finds her self, and with a self, the dog can not only show (by refusal) but also (for those who has ears) tell (in dog language): The dogs on Main Street howl cause they understand That the Hero, just like they, In the right moment Would struggle himself free, For just like they not are puppies but dogs, He is not a boy, but a man, And like them, he believes in the possibility Of creating a promised land Without gentleman and dog.
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