Oct 192009
For our second piece in the Stations of the Boss series, artist Toby Wetland, has depicted the moment when Bruce was given his guitar to bear.
“Obviously,” says Wetland, this is not a historically accurate representation, as not only Max Weinberg’s son but Max himself would not have been on drums when Bruce received his first guitar. I chose this shot because it looked like his Tele is raining down from the heavens.”
Bruce Is Given His Axe, by Toby Wetland
I am really enjoying this series, but I actually have a serious question about The Boss.
As I have mentioned before, when I went through my own Bruce period, discovering the old albums, he was concurrently at his lowest ebb: Human Touch, Lucky Town.
Now his Cool Status is seemingly inextinguishable. How did this happen? What was the turning point?
Some possibilities:
A) “The Streets of Philadelphia” (unlikely)
B) Reuniting with the E Street Band briefly for that Greatest Hits album in the late-’90s
C) Reuniting with the E Street Band for more permanently, starting with that tour in 2000 or so.
D) “The Rising”
I look forward to your responses.
Great question, Oats, and during this faith-strengthening series I hope we continue to explore such issues.
I think it all comes down to His permanent acceptance of His role leading the E Street Band – and our nation – following 9/11 and the release of The Rising, so a bit of a combination of C and D. His time away from Them, even including the mighty, critically acclaimed, and rarely spun Nebraska, exposed His weaknesses and caused the faithful a degree of unease they’d never before encountered. His work following 9/11 delivered to a more satisfying degree than could W. or Rudy Giugliani (sp?). I mean, those two politicians had no “Born to Run,” no “Devil with a Blue Dress” medley to back up their post-9/11 rhetoric. When Bruce sang of us rising (and healing), he could call on his decades long history of speaking for this communal cause. Even those who’ve been challenged by His growing political activism have to give Him thanks and praise for calling The Big Man forward to rise yet again for another of his patented sax solos!
I agree that it was definitely tied to Bruce accepting his role and going back with the E-Street Band more-or-less full time.
The embarrassing bolo ties and pushed up jacket sleeves era of Tunnel of Love would be his temptation in the desert, and I think that period where he kinda, sorta got back together with the E-Street Band (was this Murder Inc, maybe?) but still tried to pursue his whole New Dylan side was Bruce looking for an out at Gethsemane.
I, too, am very excited by the Stations of the Boss that we have seen and those yet to come. I wonder if, as we go along, we can take a look at Bruce’s use of singing about his Sather and the way characters in his songs address him as Son to see if perhaps there has been a considerably deeper meaning to the Boss’ songs than any of us have ever realized.
Sather = Father, of course. I was subconsciously trying not to take the Lord’s name in vain.
Definitely C.
During the early years, much like the Wedding at Canaan, everyone knew that there was something special about him (http://www.youtube.com/watch?v=ZExfu7K-A3I), but it wasn’t clear that he was “the One”. But those were confusing times and there were lots of false prophets around.
The LA years were definitely his 40 days in the desert. He was tempted with a movie star wife, beautiful weather, and enough money to ride out the rest of his life just being Bruce. Most people would not be able to resist. But he emerged from his temptation stronger and more full conviction than ever. The Rising just helped solidify that.
By the way, I saw Him last Wednesday at the Spectrum, and the Big Man was wearing his priestly vestments. Also of interest: there were at least 10 people on stage, (only 2 short of a full set of apostles), and at one point I swear I saw Bruce lay His hands on a blind man and give him sight.