I would connect this interview of Bruce Sprinsteen that takes place in the explicit light of Walker Percy's search for the "I" in alienation, with Pope Francis' asceticism of escaping from the "self-referential" and going to "the peripheries" of poverty that Benedict XVI identified with the lonely.
Francis to the Cardinals before the Conclave (March 2013): "The Church is called to come out of herself and to go to the peripheries, not only geographically, but also the existential peripheries: the mystery of sin, of pain, of injustice, of ignorance and indifference to religion, of intellectual currents, and of all misery.
2. - "When the Church does not come out of herself to evangelize, she becomes self-referential and then gets sick."
Joseph Ratzinger To Catechists in Rome (2000): "The
deepest poverty is the inability of joy, the tediousness of a life considered
absurd and contradictory. This poverty is widespread today, in very different
forms in the materially rich as well as the poor countries. The inability of
joy presupposes and produces the inability to love, produces jealousy, avarice
-- all defects that devastate the life of individuals and of the world.
This
is why we are in need of a new evangelization -- if the art of living remains
an unknown, nothing else works. But this art is not the object of a science --
this art can only be communicated by [one] who has life -- he who is the Gospel
personified.
In early 1989, Walker Percy penned
a fan letter "of sorts" to Bruce Springsteen, praising the
musician's "spiritual journey" and hoping to begin a correspondence
between them. At the time, Springsteen hesitated in responding, but he later
picked up a copy of The Moviegoer and began a new journey into Dr. Percy's
writing. Walker Percy died in May 1990, and the two never met, but Percy's
novels and essays, among other books and films, have had a most profound
impact on Springsteen's songwriting.
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In 1995, Springsteen recorded The
Ghost of Tom Joad, a richly lyrical album that forged a new purpose for his
music, linking him in some ways to the tradition of such artist-activists as
John Steinbeck (Joad is the radical hero of The Grapes of Wrath) and folk music
icon Woody Guthrie. Springsteen's songs tell us, in their familiar narrative
style, about ordinary people struggling through life's twists and turns,
presenting a cast of characters that includes immigrant families, border
patrolmen, midwestern steelworkers, and America's poor and disenfranchised.
The populist sensibility of Guthrie can be heard throughout: it is music
competing for the public conscience.
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Following an Atlanta concert
promoting the album, Will Percy, Walker's nephew, met Springsteen backstage,
and the two talked for hours. When Springsteen mentioned his regret at never
having written back to Will's uncle, Will encouraged him to write to his
aunt, Walker's widow. A few months later, Springsteen, who likes to say that
"it's hard for me to write unless there's music underneath," sat
down and wrote four pages-a letter years in the making.
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Last fall, Will Percy and Springsteen had the chance to meet again, this time
on the Springsteen farm in central New Jersey, not far from the small town
where Springsteen grew up or from the Jersey Shore clubs where he first made
his mark in the 1970s. With a tape running, the two explored the importance
of books in Springsteen's life, most recently his discovery of Dr. Percy's
essays in The Message in the Bottle. Like the long-in-coming letter to Mrs.
Percy, perhaps this is part of the conversation that Bruce Springsteen might
have had with Walker Percy.
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Will Percy: When did books start influencing your songwriting and music? I
remember as early as 1978, when I saw you in concert, you mentioned Ron Kovic's
Born on the Fourth of July, and you dedicated a song to him.
Bruce Springsteen: I picked up that
book in a drugstore in Arizona while I was driving across the country with a
friend of mine. We stopped somewhere outside of Phoenix, and there was a copy
of the paperback in the rack. So I bought the book and I read it between
Phoenix and Los Angeles, where I stayed in this little motel. There was a guy
in a wheelchair by the poolside every day, two or three days in a row, and I
guess he recognized me, and he Þnally came up to me and said, "Hey, I'm
Ron Kovic"-it was really very strange-and I said, "Oh, Ron Kovic,
gee, that's good." I thought I'd met him before somewhere. And he said,
"No, I wrote a book called Born on the Fourth of July." And I said,
"You wouldn't believe this. I just bought your book in a drugstore in
Arizona and I just read it. It's incredible." Real, real powerful book.
And we talked a little bit and he got me interested in doing something for the
vets. He took me to a vet center in Venice, and I met a bunch of guys along
with this guy Bobby Muller who was one of the guys who started VVA, Vietnam Veterans
of America.
I
go through periods where I read, and I get a lot out of what I read, and that
reading has affected my work since the late seventies. Films and novels and
books, more so than music, are what have really been driving me since then.
Your uncle once wrote that "American novels are about everything,"
and I was interested in writing about "everything" in some fashion in
my music: how it felt to be alive now, a citizen of this country in this
particular place and time and what that meant, and what your possibilities were
if you were born and alive now, what you could do, what you were capable of
doing. Those were ideas that interested me.
The
really important reading that I did began in my late twenties, with authors
like Flannery O'Connor. There was something in those stories of hers that I
felt captured a certain part of the American character that I was interested in
writing about. They were a big, big revelation. She got to the heart of some
part of meanness that she never spelled out, because if she spelled it out you
wouldn't be getting it. It was always at the core of every one of her
stories-the way that she'd left that hole there, that hole that's inside of
everybody. There was some dark thing-a component of spirituality-that I sensed
in her stories, and that set me off exploring characters of my own. She knew
original sin-knew how to give it the þesh of a story. She had talent and she
had ideas, and the one served the other.
I
think I'd come out of a period of my own writing where I'd been writing big,
sometimes operatic, and occasionally rhetorical things. I was interested in
Þnding another way to write about those subjects, about people, another way to
address what was going on around me and in the country-a more scaled-down, more
personal, more restrained way of getting some of my ideas across. So right
prior to the record Nebraska [1982], I was deep into O'Connor. And then, later
on, that led me to your uncle's books, and Bobbie Ann Mason's novels-I like her
work.
I've
also gotten a lot out of Robert Frank's photography in The Americans. I was
twenty-four when I Þrst saw the book-I think a friend had given me a copy-and
the tone of the pictures, how he gave us a look at different kinds of people,
got to me in some way. I've always wished I could write songs the way he takes
pictures. I think I've got half a dozen copies of that book stashed around the
house, and I pull one out once in a while to get a fresh look at the
photographs.
WP: I find it
interesting that you're inþuenced a lot by movies -you said you're more
influenced by movies and books than music. In the liner notes of The Ghost of
Tom Joad you credited both the John Ford Þlm and the book The Grapes of Wrath
by Steinbeck.
: I came by the film
before I really came by the book. I'd read the book in high school, along with
Of Mice and Men and a few others, and then I read it again after I saw the
movie. But I didn't grow up in a community of ideas-a place where you can sit
down and talk about books, and how you read through them, and how they affect
you. For a year, I went to a local college a few miles up the road from here,
but I didn't really get much out of that particular place. I think I'm more a
product of pop culture: films and records, films and records, Þlms and records,
especially early on. And then later, more novels and reading.
WP:Where did you draw your
musical influences in your earlier writing as compared with this last album?
: Up until the late
seventies, when I started to write songs that had to do with class issues, I
was inþuenced more by music like the Animals' "We Gotta Get Out of This
Place" or "It's My Life (And I'll Do What I Want)"-sort of
class-conscious pop records that I'd listen to-and I'd say to myself:
"That's my life, that's my life!" They said something to me about my
own experience of exclusion. I think that's been a theme that's run through
much of my writing: the politics of exclusion. My characters aren't really
antiheroes. Maybe that makes them old-fashioned in some way. They're interested
in being included, and they're trying to Þgure out what's in their way.
I'd
been really involved with country music right prior to the album Darkness on
the Edge of Town [1978], and that had a lot of affect on my writing because I
think country is a very class-conscious music. And then that interest slowly
led me into Woody Guthrie and folk music. Guthrie was one of the few
songwriters at the time who was aware of the political implications of the
music he was writing-a real part of his consciousness. He set out intentionally
to address a wide variety of issues, to have some effect, to have some impact,
to be writing as a way to have some impact on things: playing his part in the
way things are moving and things change.
I
was always trying to shoot for the moon. I had some lofty ideas about using my
own music, to give people something to think about-to think about the world,
and what's right and wrong. I'd been affected that way by records, and I wanted
my own music and writing to extend themselves in that way.
WP: I notice that you talk
about "writing" and not "songwriting." Do you sit down and
write lyrics and then look for music?
: When I'd write rock
music, music with the whole band, it would sometimes start out purely
musically, and then I'd find my way to some lyrics. I haven't written like that
in a while. In much of my recent writing, the lyrics have preceded the music,
though the music is always in the back of my mind. In most of the recent songs,
I tell violent stories very quietly. You're hearing characters' thoughts-what
they're thinking after all the events that have shaped their situation have
transpired. So I try to get that internal sound, like that feeling at night
when you're in bed and staring at the ceiling, reþective in some fashion. I
wanted the songs to have the kind of intimacy that took you inside yourself and
then back out into the world.
I'll
use music as a way of defining and coloring the characters, conveying the
characters' rhythm of speech and pace. The music acts as a very still surface,
and the lyrics create a violent emotional life over it, or under it, and I let
those elements bang up against each other.
Music
can seem incidental, but it ends up being very important. It allows you to
suggest the passage of time in just a couple of quiet beats. Years can go by in
a few bars, whereas a writer will have to come up with a clever way of saying,
"And then years went by. . . ." Thank God I don't have to do any of
that! Songwriting allows you to cheat tremendously. You can present an entire
life in a few minutes. And then hopefully, at the end, you reveal something
about yourself and your audience and the person in the song. It has a little in
common with short-story writing in that it's character-
driven.
The characters are confronting the questions that everyone is trying to sort
out for themselves, their moral issues, the way those issues rear their heads
in the outside world.
WP: While your previous
albums might all come from personal experience-from the people and places you
grew up with in New Jersey and elsewhere-you seem to have started writing more
about other people and topics now, Mexican immigrants, for instance, in songs
like "Sinaloa Cowboys." With that song, I remember you said in
concert that it started out when you met a couple of Mexican brothers in the
desert once when you were traveling.
: There's no single
place where any of the songs come from, of course. True, I drew a lot of my
earlier material from my experience growing up, my father's experience, the
experience of my immediate family and town. But there was a point in the
mid-eighties when I felt like I'd said pretty much all I knew how to say about
all that. I couldn't continue writing about those same things without either
becoming a stereotype of myself or by twisting those themes around too much. So
I spent the next ten years or so writing about men and women-their intimate
personal lives. I was being introspective but not autobiographical. It wasn't
until I felt like I had a stable life in that area that I was driven to write
more outwardly-about social issues.
A
song like "Sinaloa Cowboys" came from a lot of places. I'd met a guy
in the Arizona desert when I happened to be on a trip with some friends of
mine, and he had a younger brother who died in a motorcycle accident. There's
something about conversations with people-people you've met once and you'll
never see again-that always stays with me. And I lived for quite a while in Los
Angeles, and border reporting and immigration issues are always in the paper
there. I've traveled down to the border a number of times.
WP: Why would you travel
down to the border?
: With my dad, I'd take
trips to Mexico a few years back. We'd take these extended road trips where
we'd basically drive aimlessly. The border wasn't something I was consciously
thinking about, it was just one of those places that all of a sudden starts
meaning something to you. I'm always looking for ways to tell a particular
story, and I just felt the connection, I can't explain what it was exactly-a
connection to some of the things I'd written about in the past.
I
don't think you sit down and write anything that isn't personal in some way. In
the end, all your work is a result of your own psychology and experience. I
never really write with a particular ideology in mind. As a writer, you're
searching for ways to present different moral questions-to yourself because
you're not sure how you will respond, and to your audience. That's what you get
paid for-from what I can tell. Part of what we call entertainment should be
"food for thought." That's what I was interested in doing since I was
very young, how we live in the world and how we ought live in the world. I
think politics are implicit. I'm not interested in writing rhetoric or
ideology. I think it was Walt Whitman who said, "The poet's job is to know
the soul." You strive for that, assist your audience in finding and knowing
theirs. That's always at the core of what you're writing, of what drives your
music.
It's
all really in your uncle's essay "The Man on the Train," about the
"wandering spirit" and modern man-all that's happened since the
Industrial Revolution when people were uprooted and set out on the road into
towns where they'd never been before, leaving families, leaving traditions that
were hundreds of years old. In a funny way, you can even trace that story in
Chuck Berry's "Johnny B. Goode." I think that we're all trying to
find what passes for a home, or creating a home of some sort, while we're
constantly being uprooted by technology, by factories being shut down.
I
remember when my parents moved out to California-I was about eighteen. My folks
decided that they were going to leave New Jersey, but they had no idea really
where to go. I had a girlfriend at the time and she was sort of a hippie. She
was the only person we knew who'd ever been to California. She'd been to
Sausalito and suggested they go there. You can just imagine-Sausalito in the
late sixties! So they went to Sausalito, three thousand miles across the
country, and they probably had only three grand that they'd saved and that had
to get them a place to live, and they had to go out and Þnd work. So they got to
Sausalito and realized this wasn't it. My mother said they went to a gas
station and she asked the guy there, "Where do people like us
live?"-that's a question that sounds like the title of a Raymond Carver
story!-and the guy told her, "Oh, you live on the peninsula." And
that was what they did. They drove down south of San Francisco and they've been
there ever since. My father was forty-two at the time-it's funny to think that
he was probably seven or eight years younger than I am now. It was a big trip,
took a lot of nerve, a lot of courage, having grown up in my little town in New
Jersey.
But
that story leads back to those same questions: how do you create the kind of
home you want to live in, how do you create the kind of society you want to
live in, what part do you play in doing that? To me, those things are all
connected, but those connections are hard to make. The pace of the modern
world, industrialization, postindustrialization, have all made human connection
very difficult to maintain and sustain. To bring that modern situation
alive-how we live now, our hang-ups and choices-that's what music and film and
art are about-that's the service you're providing, that's the function you're
providing as an artist. That's what keeps me interested in writing.
What
we call "art" has to do with social policy-and it has to do with how
you and your wife or you and your lover are getting along on any given day. I
was interested in my music covering all those bases. And how do I do that? I do
that by telling stories, through characters' voices-hopefully stories about
inclusion. The stories in The Ghost of Tom Joad were an extension of those
ideas: stories about brothers, lovers, movement, exclusion-political exclusion,
social exclusion-and also the responsibility of these individuals-making bad
choices, or choices they've been backed up against the wall to make.
The
way all those things intersect is what interests me. The way the social issues
and the personal issues cross over one another. To me, that's how people live.
These things cross over our lives daily. People get tangled up in them, don't
know how to address them, get lost in them. My work is a map, for whatever it's
worth-for both my audience and for myself-and it's the only thing of value
along with, hopefully, a well-lived life that we leave to the people we care
about. I was lucky that I stumbled onto this opportunity early in my life. I
think that the only thing that was uncommon was that I found a language that I
was able to express those ideas with. Other people all the time struggle to
find the language, or don't find the language-the language of the soul-or
explode into violence or indifference or numbness, just numbed out in front of
TV. "The Language"-that's what William Carlos Williams kept saying, the
language of live people, not dead people!
If
I'm overgeneralizing, just stop me. I'm not sure if I am or not, but in some
fashion that's my intent, to establish a commonality by revealing our inner
common humanity, by telling good stories about a lot of different kinds of
people. The songs on the last album connected me up with my past, with what I'd
written about in my past, and they also connected me up with what I felt was
the future of my writing.
WP: Do you think your last
album, which wasn't a pop or rock-and-roll record, had the same impact on the
larger public that other records of yours had?
: I've made records that
I knew would Þnd a smaller audience than others that I've made. I suppose the
larger question is, How do you get that type of work to be heard-despite the
noise of modern society and the media, two hundred television channels? Today,
people are swamped with a lot of junk, so the outlets and the avenues for any
halfway introspective work tend to be marginalized. The last record might have
been heard occasionally on the radio, but not very much. It's a paradox for an
artist-if you go into your work with the idea of having some effect upon
society, when, by the choice of the particular media, it's marginalized from
the beginning. I don't know of any answer, except the hope that somehow you do
get heard-and there are some publishing houses and television channels and
music channels that are interested in presenting that kind of work.
I
think you have to feel like there's a lot of different ways to reach people,
help them think about what's really important in this one-and-only life we
live. There's pop culture-that's the shotgun approach, where you throw it out
and it gets interpreted in different ways and some people pick up on it. And then
there's a more intimate, focused approach like I tried on Tom Joad. I got a lot
of correspondence about the last album from a lot of different people-writers,
teachers, those who have an impact in shaping other people's lives.
WP: Do you think pop
culture can still have a positive effect?
: Well, it's a funny
thing. When punk rock music hit in the late 1970s, it wasn't played on the
radio, and nobody thought, Oh yeah, that'll be popular in 1992 for two
generations of kids. But the music dug in, and now it has a tremendous impact
on the music and culture of the nineties. It was powerful, profound, music and
it was going to find a way to make itself heard eventually. So I think there's
a lot of different ways of achieving the kind of impact that most writers and
filmmakers, photographers, musicians want their work to have. It's not always
something that happens right away-the "Big Bang"!
With
the exception of certain moments in the history of popular culture, it's
difficult to tell what has an impact anymore, and particularly now when there's
so many alternatives. Now, we have the fifth Batman movie! I think about the
part in the essay "The Man on the Train" where your uncle talks about
alienation. He says the truly alienated man isn't the guy who's despairing and
trying to find his place in the world. It's the guy who just finished his
twentieth Erle Stanley Gardner Perry Mason novel. That is the lonely man! That
is the alienated man! So you could say, similarly, the guy who just saw the
fifth Batman picture, he's the alienated man. But as much as anyone, I still
like to go out on a Saturday night and buy the popcorn and watch things
explode, but when that becomes such a major part of the choices that you have,
when you have sixteen cinemas and fourteen of them are playing almost exactly
the same picture, you feel that something's going wrong here. And if you live
outside a major metropolitan area, maybe you're lucky if there's a theater in
town that's playing films that fall slightly outside of those choices.
There's
an illusion of choice that's out there, but it's an illusion, it's not real
choice. I think that's true in the political arena and in pop culture, and I
guess there's a certain condescension and cynicism that goes along with it-the
assumption that people aren't ready for something new and different.
WP: Do you think that the culture of
celebrity is a cause of some of those problems? You seem to have escaped some
of the problems that go along with being a celebrity.
: I don't know,
it's the old story-a lot of it is how you play your role. My music was in some
sense inclusive and pretty personal, maybe even friendly. I've enjoyed the
trappings from time to time, but I think I like a certain type of freedom. Of
course, I enjoy my work being recognized, and when you get up on stage in front
of twenty thousand people and you shake your butt all around, you're asking for
some sort of trouble. I hope I've kept my balance. I enjoy my privacy.
I don't
think the fascination with celebrities will ever really go away. An
intellectual would say that people in the Industrial Age left their farms and
their towns, so they couldn't gossip with their neighbors over the fence
anymore-and all of a sudden there was a rise of a celebrity culture so we could
have some people in common that we could talk about.
The
substantive moral concern might be that we live in a country where the only
story might be who's succeeding and who's number one, and what are you doing
with it. It sure does become a problem if a certain part of your life as a
writer-your "celebrity," or whatever you want to call it-can blur and
obscure the story that you're interested in telling. I've felt that and seen
that at certain times. One of the most common questions I was asked on the last
tour, even by very intelligent reviewers was, "Why are you writing these
songs? What are you complaining about? You've done great." That's where
your uncle's essay "Notes on a Novel about the End of the World" was
very helpful to me and my writing. Your uncle addresses the story behind those
same comments: "The material is so depressing. The songs are so
down." He explains the moral and human purpose of writing by using that
analogy of the canary that goes down into the mine with the miners: when the
canary starts squawking and squawking and finally keels over, the miners figure
it's time to come up and think things over a little bit. That's the writer-the
twentieth-century writer is the canary for the larger society.
Maybe a
lot of us use the idea of "celebrity" to maintain the notion that
everything is all right, that there's always someone making their million the
next day. As a celebrity, you don't worry about your bills, you have an
enormous freedom to write and to do what you want. You can live with it well.
But if your work is involved in trying to show where the country is hurting and
where people are hurting, your own success is used to knock down or undercut
the questions you ask of your audience. It's tricky, because American society
has a very strict idea of what success is and what failure is. We're all
"born in the U.S.A." and some part of you carries that with you. But
it's ironic if "celebrity" is used to reassure lots of people, barely
making it, that "Look, someone's really making it, making it big, so everything
is all right, just lose yourself and all your troubles in that big-time
success!"
WP: Do you think you're through making music
videos?
I don't know. I
probably am. There's nobody waiting with bated breath out there for my next
video right now. I've never been much of a video artist. I was
"prevideo," and I think I remain "prevideo," though maybe
I'm "postvideo" now.
Music
videos have had an enormous impact on the way that you receive visual images on
television and in the theaters-and it sped up the entire way the music world
worked, for better or for worse. When I started, you had a band, you toured two
or three, four years, you did a thousand shows or five hundred shows, that's
how you built your audience, and then maybe you had a hit record. I feel sorry
for some of these talented young bands that come up: they have a hit record, a
video or two, and then it's over. I think it might have made the music world
more fickle. In some ways, it may be more expedient for some of the young acts,
but I think it's harder also, because you don't have the time to build a
long-standing relationship with your audience.
There
was something about developing an audience slowly-you'd draw an audience that
stood with you over a long period of time, and it got involved with the
questions you were asking and the issues you were bringing up. It's an audience
who you shared a history with. I saw the work that I was doing as my life's
work. I thought I'd be playing music my whole life and writing my whole life,
and I wanted to be a part of my audience's ongoing life. The way you do that is
the same way your audience lives its life-you do it by attempting to answer the
questions that both you and they have asked, sometimes with new questions. You
find where those questions lead you to-your actions in the world. You take it
out of the aesthetic and you hopefully bring it into your practical, everyday
life, the moral or ethical.
"Man
on the Train" [Chapter 4 of Percy's "Message in the Bottle"] helped me think about these things in some fashion, where
your uncle dissects the old Western movie heroes. We have our mythic hero, Gary
Cooper, who is capable of pure action, where it's either all or nothing, and he
looks like he's walking over that abyss of anxiety, and he won't fail. Whereas
the moviegoer, the person watching the movie, is not capable of that. There's
no real abyss under Gary Cooper, but there is one under the guy watching the
film! Bringing people out over that abyss, helping them and myself to realize
where we all "are," helping my audience answer the questions that are
there-that's what I'm interested in doing with my own work.
That's
what I try to accomplish at night in a show. Presenting ideas, asking
questions, trying to bring people closer to characters in the songs, closer to
themselves-so that they take those ideas, those questions-fundamental moral
questions about the way we live and the way we behave toward one another-and
then move those questions from the aesthetic into the practical, into some sort
of action, whether it's action in the community, or action in the way you treat
your wife, or your kid, or speak to the guy who works with you. That is what
can be done, and is done, through film and music and photography and painting.
Those are real changes I think you can make in people's lives, and that I've
had made in my life through novels and films and records and people who meant
something to me. Isn't that what your uncle meant by "existentialist
reþection"?
And
there's a lot of different ways that gets done. You don't have to be doing work
that's directly socially conscious. You could make an argument that one of the
most socially conscious artists in the second half of this century was Elvis
Presley, even if he probably didn't start out with any set of political ideas
that he wanted to accomplish. He said, "I'm all shook up and I want to
shake you up," and that's what happened. He had an enormous impact on the
way that people lived, how they responded to themselves, to their own
physicality, to the integration of their own nature. I think that he was one of
the people, in his own way, who led to the sixties and the Civil Rights
movement. He began getting us "all shook up," this poor white kid
from Mississippi who connected with black folks through their music, which he
made his own and then gave to others. So pop culture is a funny thing-you can
affect people in a lot of different ways.
WP: Did you always try to affect the
audience like that? When you first started out, when you were young?
We were trying to
excite people, we were trying to make people feel alive. The core of rock music
was cathartic. There was some fundamental catharsis that occurred in
"Louie, Louie." That lives on, that pursuit. Its very nature was to
get people "in touch" with themselves and with each other in some
fashion. So initially you were just trying to excite people, and make them
happy, alert them to themselves, and do the same for yourself. It's a way of
combating your own indifference, your own tendency to slip into alienation and
isolation. That's also in "Man on the Train": we can't be alienated
together. If we're all alienated together, we're really not alienated.
Blogger Comment: But consider "Alone Together" by Sherry Turkle in which we are all together on street, in bus, on subway intensely working out a video game for ourselves, wires to ears gently rocking away to our own isolated music, blaring out indiscriminently to no one visible while blind and impervious to the human context around us, all the while in a blur of thumbs sending out a cyber text to the other through the medium of the invisible cloud where we meet. Bill Orchard just kindly sent me: "Together" by Avril Lavigne:
Something just isn't right
I can feel it inside
The truth isn't far behind me
You can't deny
When I turn the lights out
When I close my eyes
Reality overcomes me
I'm living a lie
When I'm alone I
Feel so much better
And when Im around you
I don't feel
[Chorus:]
Together
It doesn't feel right at all
Together
Together we've built a wall
Together
Holding hands we'll fall
Hands we'll fall
This has gone on so long
I realize that i need
Something good to rely on
Something for me
When I'm alone I
Feel so much better
And when Im around you
I don't feel
[Chorus]
My heart is broken
I'm lying here
My thoughts are choking on you my dear
On you my dear
On you my dear
When I'm alone I
Feel so much better
And when Im around you
I don't feel
[Chorus x2]
When I'm around you
When I'm around you
I don't feel together
I don't feel together
When I'm around you
When I'm around you
I don't feel together, no
I don't feel together
Springsteen continues:
That's a
lot of what music did for me-it provided me with a community, filled with
people, and brothers and sisters who I didn't know, but who I knew were out
there. We had this enormous thing in common, this "thing" that
initially felt like a secret. Music always provided that home for me, a home
where
my spirit could wander. It performed the function that all art and film
and good human relations performed-it provided me with the kind of
"home" always described by those philosophers your uncle loved.
There
are very real communities that were built up around that notion-the very real
community of your local club on Saturday night. The importance of bar bands all
across America is that they nourish and inspire that community. So there are
the very real communities of people and characters, whether it's in Asbury Park
or a million different towns across the land. And then there is the community
that it was enabling you to imagine, but that you haven't seen yet. You don't
even know it exists, but you feel that, because of what you heard or
experienced, it could exist.
That was
a very powerful idea because it drew you outward in search of that community-a
community of ideas and values. I think as you get older and develop a political
point of view, it expands out into those worlds, the worlds of others, all over
America, and you realize it's just an extension of that thing that you felt in
a bar on Saturday night in Asbury Park when it was a hundred and fifty people
in the room.
What do
you try to provide people? What do parents try to provide their children?
You're supposed to be providing a hopeful presence, a decent presence, in your
children's lives and your neighbors' lives. That's what I would want my
children to grow up with and then to provide when they become adults. It's a
big part of what you can do with song, and pictures and words. It's real and
its results are physical and tangible. And if you follow its implications, it
leads you both inward and outward. Some days we climb inside, and some days
maybe we run out. A good day is a balance of those sort of things. When rock
music was working at its best, it was doing all of those things-looking inward
and reaching out to others.
To get
back to where we started, it can be difficult to build those kinds of
connections, to build and sustain those kinds of communities, when you're
picked up and thrown away so quickly-that cult of celebrity. At your best, your
most honest, your least glitzy, you shared a common history, and you attempted
both to ask questions and answer them in concert with your audience. In
concert. The word "concert"-people working together-that's the idea.
That's what I've tried to do as I go along with my work. I'm thankful that I
have a dedicated, faithful audience that's followed along with me a good part
of the way. It's one of my life's great blessings-having that companionship and
being able to rely on that companionship. You know, "companionship"
means breaking bread with your brothers and sisters, your fellow human
beings-the most important thing in the world! It's sustained my family and me
and my band throughout my life.
WP: Do you think you've extended your
audience to include some of the kinds of people that you're writing about now:
Mexican immigrants, homeless people? Do you feel that you're doing something
for those people with your music?
: There's a
difference between an emotional connection with them, like I think I do have,
and a more physical, tangible impact. There was a point in the mid-eighties
where I wanted to turn my music into some kind of activity and action, so that
there was a practical impact on the communities that I passed through while I
traveled around the country. On this last tour, I would meet a lot of the
people who are out there on the front line-activists, legal advocates, social
workers-and the people that they're involved with. It varied from town to town,
but we'd usually work with an organization that's providing immediate care for
people in distress, and then also we'd find an organization that's trying to
have some impact on local policy. It helped me get a sense of what was going on
in those towns, and the circumstances that surround the people that I'm imagining
in my songs, in the imagined community I create with my music.
I'm sure
I've gotten a lot more out of my music than I've put in, but those meetings and
conversations keep me connected so that I remember the actual people that I
write about. But I wouldn't call myself an activist. I'm more of a concerned
citizen. I think I'd say that I'm up to my knees in it, but I'm not up to my
ass!
I guess
I'm-rock bottom-a concerned, even aroused observer, sort of like the main
character of Ralph Ellison's Invisible Man. Not that I'm invisible! But
Ellison's character doesn't directly take on the world. He wants to see the
world change, but he's mainly a witness, a witness to a lot of blindness. I
recently heard two teachers, one black and one white, talking about that novel,
and it sure got to them; it's what Ellison wanted it to be, it's a great
American story-and in a way we're all part of it.
