Willie Nelson, Lionel Richie, Tina Turner, Bob Dylan, Cyndi Lauper, Michael Jackson, Diana Ross, Kim Carnes, Billy Joel, Paul Simon and Bruce Springsteen during the recording of “We Are The World’‘1985
WheneverI hear discussions about high-profile men jokingly (or not?) expressing sexual attraction to other men, I’m always curious that no one mentions Bruce Springsteen. To most people, obviously, Bruce is the pure embodiment of unfettered American masculinity. And yet for the 40 years he played beside Clarence Clemons, until Clemons’ death in 2011, the two men had this clearly intense, complicated relationship that was enacted and re-enacted every night onstage – culminating in a long, deep kiss on the mouth – without irony or camp, just pure, exuberant love between two men, without a need to be defined as straight or gay.
See it here, in a series of quite touching and beautiful photos. There’s also a fleeting shot of it live, in the official “Born to Run” video, at about 0:18. (Though note that commenters continue to feel the need to provide the “NOT gay” disclaimer.) Of course, both men married women (multiple times each) and have large families. Who knows and who really cares what their sexuality is? I think it’s sort of beside the point. More interesting to me is the sheer intensity of their love and their fearlessness in expressing it without the need to declare, “Of course we’re both straight!”
To the contrary, when Clemons described the kiss in 2009, he didn’t bother to mention sexual orientation:
It’s the most passion that you have without sex. Two androgynous beings becoming one. It’s love. It’s two men – two strong, very virile men – finding that space in life where they can let go enough of their masculinity to feel the passion of love and respect and trust. Friendships are based on those things, and you seal it with a kiss.
Excerpt from Bruce Springsteen’s Eulogy for Clarence Clemons
…here comes my brother, here comes my sax man, my inspiration, my partner, my lifelong friend. Standing next to Clarence was like standing next to the baddest ass on the planet. You were proud, you were strong, you were excited and laughing with what might happen, with what together, you might be able to do. You felt like no matter what the day or the night brought, nothing was going to touch you. Clarence could be fragile but he also emanated power and safety, and in some funny way we became each other’s protectors; I think perhaps I protected “C” from a world where it still wasn’t so easy to be big and black. Racism was ever present and over the years together, we saw it. Clarence’s celebrity and size did not make him immune. I think perhaps “C” protected me from a world where it wasn’t always so easy to be an insecure, weird and skinny white boy either. But, standing together we were badass, on any given night, on our turf, some of the baddest asses on the planet. We were united, we were strong, we were righteous, we were unmovable, we were funny, we were corny as hell and as serious as death itself. And we were coming to your town to shake you and to wake you up. Together, we told an older, richer story about the possibilities of friendship that transcended those I’d written in my songs and in my music. Clarence carried it in his heart. It was a story where the Scooter and the Big Man not only busted the city in half, but we kicked ass and remade the city, shaping it into the kind of place where our friendship would not be such an anomaly. And that… that’s what I’m gonna miss. The chance to renew that vow and double down on that story on a nightly basis, because that is something, that is the thing that we did together… the two of us. Clarence was big, and he made me feel, and think, and love, and dream big. How big was the Big Man? Too fucking big to die. And that’s just the facts. You can put it on his grave stone, you can tattoo it over your heart. Accept it… it’s the New World. Clarence doesn’t leave the E Street Band when he dies. He leaves when we die. So, I’ll miss my friend, his sax, the force of nature his sound was, his glory, his foolishness, his accomplishments, his face, his hands, his humor, his skin, his noise, his confusion, his power, his peace. But his love and his story, the story that he gave me, that he whispered in my ear, that he allowed me to tell… and that he gave to you… is gonna carry on. I’m no mystic, but the undertow, the mystery and power of Clarence and my friendship leads me to believe we must have stood together in other, older times, along other rivers, in other cities, in other fields, doing our modest version of god’s work… work that’s still unfinished. So I won’t say goodbye to my brother, I’ll simply say, see you in the next life, further on up the road, where we will once again pick up that work, and get it done. Big Man, thank you for your kindness, your strength, your dedication, your work, your story. Thanks for the miracle… and for letting a little white boy slip through the side door of the Temple of Soul…❤️
I’ve collected a bunch of my lettering pieces over the years and created one big giant project on Behance (link in source, come say hi). This here is an excerpt and the total number of artworks is 77!
On this day in music history: May 3, 1984 - “Dancing In The Dark” by Bruce Springsteen is released. Written by Bruce Springsteen, it is the ninth single release for the rock music icon from Freehold, NJ. Immediately after the release of “Nebraska” in 1982, Bruce Springsteen begins work on his next album. For the first time since “Born To Run”, he feels pressure to deliver a hit. Always a prolific writer, he composes dozens of songs during this time. In spite of this, his manager Jon Landau tells him that he hasn’t come up with a big hit single. Springsteen responds, “Look, I’ve written seventy songs. You want another one, you write it”. Eventually, Bruce takes Landau’s statement to heart and tries to comply with his request. Returning to his hotel, the musician initially comes up with nothing. Frustrated, he puts pen to paper and begins writing the lyrics, “I get up in the evening, and I ain’t got nothin’ to say. I come home in the morning, I go to bed feeling the same way…”. Another lyric “you can’t start a fire without a spark” brings it all into focus, and the rest falls into place. Ironically, “Dancing In The Dark” is literally inspired by trying to write a hit. Playing it for Landau the next day, he concurs that his artist has indeed come up with the goods. The last song written and recorded for “Born In The USA”, it is recorded at The Hit Factory in New York City on February 16, 1984 with The E Street Band. Anchored by Max Weinberg’s powerful drumming, another stand out element are the lead synthesizer lines played by keyboardist Roy Bittan. When the single hits the radio one month ahead of the album, there is minor grumbling from some long time fans who feel it is “too commercial and slick”. It hardly matters as it quickly becomes a smash and wins “The Boss” a huge new audience of fans. It is backed with the non-LP B-side “Pink Cadillac”, becoming fan favorite in its own right. It later is a major hit for Natalie Cole in 1988. “Dark” is also accompanied by a now iconic music video directed by Brian DePalma. The clip is filmed at the first shows of the “Born In The USA Tour” in St. Paul, MN on June 28-29, 1984. The live performance video features Springsteen pulling actress Courteney Cox out of the audience to dance with him on stage. Entering the Hot 100 at #36 on May 26, 1984, it looks as if Bruce will finally land a number one pop single, but fate has other plans. Released just two weeks later, Prince’s “When Doves Cry”, leaps over Springsteen to the top of the pop chart for a five week stay on July 7,1984. “Dark” has to settle for a four week stay at #2 beginning on June 30, 1984. The song is also remixed by Arthur Baker and released as a 12" single, peaking at #7 on the Billboard Club Play chart. The single also wins Bruce his first Grammy Award for Best Rock Vocal Performance, Male in 1985. “Dancing In The Dark” is certified Gold in the US by the RIAA.
1. I Come From Money - WWE Music Group 2. The Aristocats Theme - The Aristocats Soundtrack 3. Born Rich - Diamond White 4. Something To Be Proud Of - Montgomery Gentry 5. Mansion On The Hill - Bruce Springsteen 6. Uptown Girl - Billy Joel 7. Trust Fund Baby - Sammy Hagar & The Circle 8. Legacy - Jay Z 9. Rich Girl - Hall And Oates 10. Mitakuye Oyasin (We Are So Provided For) - Nahko And MFTP 11. Sweet Life - Frank Ocean 12. Family Is Family - Kacey Musgraves 13. Time Of The Season - The Zombies 14. We Take Care Of Our Own - Bruce Springsteen 15. U.M.C. (Upper Middle Class) - Bob Seger 16. Where You Are - Moana Soundtrack 17. Puttin On The Ritz - Fred Astaire 18. Royalty - Samuel Medas 19. The Living Years - Mike And The Mechanics 20. On My Father’s Wings - Andrea Corr
Hard times. Homelessness. Rejection. Financial ruin.
1. Streets of Philadelphia - Bruce Springsteen 2. Cost Of Livin’ - Ronnie Dunn 3. I Need A Dollar - Aloe Blacc 4. The A Team - Ed Sheeran 5. Allentown - Billy Joel 6. Almost Home - Craig Morgan 7. What It’s Like (live acoustic) - Everlast 8. The Day They Closed The Factory Down - Harry Chapin 9. The Ghost Of Tom Joad - Bruce Springsteen 10. On The Sidewalk - Bård 11. If There’s A God In Heaven (What’s He Waiting For) - Elton John 12. Mr Banker - Lynyrd Skynyrd 13. Dead End Street - The Kinks 14. It’s A Hard Knock Life - Annie Soundtrack 15. Unemployment Line - Creed Bratton 16. Flint (For The Unemployed And Underpaid) - Sufjan Stevens 17. Rain On The Scarecrow - John Cougar Mellencamp 18. Brother Can You Spare A Dime? - Bing Crosby 19. Workin Man - Nitty Gritty Dirt Band 20. Nobody Wants You When You’re Down And Out - Bobby Womack
