Bruce Springsteen i New Yorker
The New Yorker har publisert en 17 sider lang artikkel om Bruce Springsteen. Her er hele, under er noen biter.
No matter how long I sat there, I could never ever see his face. We’d start talking about nothing much, how I was doing. Pretty soon, he asked me what I thought I was doing with myself.
And we’d always end up screaming at each other. My mother, she’d always end up running in from the front room crying, and trying to pull him off me, try to keep us from fighting with each other. . . .
I’d always end up running out the back door and pulling away from him. Pulling away from him, running down the driveway screaming at him, telling him, telling him, telling him, how it was my life and I was going to do what I wanted to do.
Springsteen started to think in larger terms than cars and highways; he began to look at his own story, his family’s story, in terms of class and American archetypes. The imagery, the storytelling, and the sense of place in those novels and films helped fuel his songs.
Springsteen was also experiencing intervals of depression that were far more serious than the occasional guilt trip about being “a rich man in a poor man’s shirt,” as he sings in “Better Days.”
A cloud of crisis hovered as Springsteen was finishing his acoustic masterpiece “Nebraska,” in 1982. He drove from the East Coast to California and then drove straight back. “He was feeling suicidal,” Springsteen’s friend and biographer Dave Marsh said. “The depression wasn’t shocking, per se. He was on a rocket ride, from nothing to something, and now you are getting your ass kissed day and night. You might start to have some inner conflicts about your real self-worth.”
Springsteen began questioning why his relationships were a series of drive-bys. And he could not let go of the past, either—a sense that he had inherited his father’s depressive self-isolation. For years, he would drive at night past his parents’ old house in Freehold, sometimes three or four times a week.
In 1982, he started seeing a psychotherapist. At a concert years later, Springsteen introduced his song “My Father’s House” by recalling what the therapist had told him about those nighttime trips to Freehold: “He said, ‘What you’re doing is that something bad happened, and you’re going back, thinking that you can make it right again. Something went wrong, and you keep going back to see if you can fix it or somehow make it right.’ And I sat there and I said, ‘That is what I’m doing.’ And he said, ‘Well, you can’t.’ ”
It took some doing to get Springsteen, an “isolationist” by nature, to settle into a real marriage, and resist the urge to dwell only in his music and onstage. “Now I see that two of the best days of my life,” he once told a reporter for Rolling Stone, “were the day I picked up the guitar and the day that I learned how to put it down.”
Scialfa smiled at that. “When you are that serious and that creative, and non-trusting on an intimate level, and your art has given you so much, your ability to create something becomes your medicine,” she said. “It’s the only thing that’s given you that stability, that joy, that self-esteem. And so you are, like, ‘This part of me no one is going to touch.’ When you’re young, that works, because it gets you from A to B.
When you get older, when you are trying to have a family and children, it doesn’t work. I think that some artists can be prone to protecting the well that they fetched their inspiration from so well that they are actually protecting malignant parts of themselves, too. You begin to see that something is broken. It’s not just a matter of being the mythological lone wolf; something is broken. Bruce is very smart. He wanted a family, he wanted a relationship, and he worked really, really, really hard at it––as hard as he works at his music.”
Jeg så ham på Valle Hovin lørdag
og på Rådhusplassen søndag, fornyet respekt.
No matter how long I sat there, I could never ever see his face. We’d start talking about nothing much, how I was doing. Pretty soon, he asked me what I thought I was doing with myself.
And we’d always end up screaming at each other. My mother, she’d always end up running in from the front room crying, and trying to pull him off me, try to keep us from fighting with each other. . . .
I’d always end up running out the back door and pulling away from him. Pulling away from him, running down the driveway screaming at him, telling him, telling him, telling him, how it was my life and I was going to do what I wanted to do.
.................
Landau fed Springsteen’s curiosity about the world beyond music. He gave Springsteen books to read—Steinbeck, Flannery O’Connor—and movies to see, particularly John Ford and Howard Hawks Westerns.Springsteen started to think in larger terms than cars and highways; he began to look at his own story, his family’s story, in terms of class and American archetypes. The imagery, the storytelling, and the sense of place in those novels and films helped fuel his songs.
Springsteen was also experiencing intervals of depression that were far more serious than the occasional guilt trip about being “a rich man in a poor man’s shirt,” as he sings in “Better Days.”
A cloud of crisis hovered as Springsteen was finishing his acoustic masterpiece “Nebraska,” in 1982. He drove from the East Coast to California and then drove straight back. “He was feeling suicidal,” Springsteen’s friend and biographer Dave Marsh said. “The depression wasn’t shocking, per se. He was on a rocket ride, from nothing to something, and now you are getting your ass kissed day and night. You might start to have some inner conflicts about your real self-worth.”
Springsteen began questioning why his relationships were a series of drive-bys. And he could not let go of the past, either—a sense that he had inherited his father’s depressive self-isolation. For years, he would drive at night past his parents’ old house in Freehold, sometimes three or four times a week.
In 1982, he started seeing a psychotherapist. At a concert years later, Springsteen introduced his song “My Father’s House” by recalling what the therapist had told him about those nighttime trips to Freehold: “He said, ‘What you’re doing is that something bad happened, and you’re going back, thinking that you can make it right again. Something went wrong, and you keep going back to see if you can fix it or somehow make it right.’ And I sat there and I said, ‘That is what I’m doing.’ And he said, ‘Well, you can’t.’ ”
It took some doing to get Springsteen, an “isolationist” by nature, to settle into a real marriage, and resist the urge to dwell only in his music and onstage. “Now I see that two of the best days of my life,” he once told a reporter for Rolling Stone, “were the day I picked up the guitar and the day that I learned how to put it down.”
Scialfa smiled at that. “When you are that serious and that creative, and non-trusting on an intimate level, and your art has given you so much, your ability to create something becomes your medicine,” she said. “It’s the only thing that’s given you that stability, that joy, that self-esteem. And so you are, like, ‘This part of me no one is going to touch.’ When you’re young, that works, because it gets you from A to B.
When you get older, when you are trying to have a family and children, it doesn’t work. I think that some artists can be prone to protecting the well that they fetched their inspiration from so well that they are actually protecting malignant parts of themselves, too. You begin to see that something is broken. It’s not just a matter of being the mythological lone wolf; something is broken. Bruce is very smart. He wanted a family, he wanted a relationship, and he worked really, really, really hard at it––as hard as he works at his music.”
Jeg så ham på Valle Hovin lørdag
og på Rådhusplassen søndag, fornyet respekt.
innlegg av fr.martinsen på
23:27
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