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News Updated August 8, Since the E Street Band as a whole was welcomed into the NJHOF in , Max has already enjoyed the honor of induction, but he’ll be celebrated this fall as an individual.

The 14th Annual Induction Ceremony will be virtual, with specific dates and times airing on multiple dates across multiple channels to be announced after Labor Day. Today’s release, Brendan Byrne Arena, August 19, , joins those two shows in the Live Archive series, and August 6 as well, as the fourth official live release from the Meadowlands summer stand.

The concert was one of 55 the band has played there to date, more than any other venue. The Born in the U. A Tour featured a shift for the E Street Band. It was the first tour after Steven Van Zandt left the band though he made guest appearances, including a big one on August 20 and was replaced as lead guitarist by Nils Lofgren.

The tour also saw the addition of Patti Scialfa on vocals and percussion. Like the other nights at Brendan Byrne, the show opened with “Born in the U.

But given the duration of the run, Bruce and the band switched up the setlist each night, offering variety while keeping the focus on material from both albums released since their previous tour, Nebraska and Born in the U.

On August 19, the special guest appearance came from the Miami Horns, beefing up “Tenth Avenue Freeze-out” as well as the onslaught of covers in the encore. This was the first of three pop-ins the horns would make that summer, followed the very next night by a memorable turn on ” Drift Away ” for the stand’s finale.

In fact, it’s one of only five plays for the entirety of the Born in the U. As the song begins, cheers dissipate and fans fall almost silent, hanging onto every word of the song’s childhood dream narrative. On playback, you can take yourself into the moment as Bruce’s voice and story ring throughout the hushed arena.

Continuing on, the inherent fun of an E Street Band show begins to prevail. Another thing that just sets this concert aside from others: Bruce and the band sound more rehearsed after 27 shows, since starting on June 29 in St.

Moreover, they’re at home: a relaxed feeling comes through, as a reminder of being connected to the music and spending time with old friends. From the stamina he displays to Bruce’s notably gruff voice, a youthful, raw sound carries the music here, as if the band were still in its infancy — nearly 40 years on and some 20 years into the Reunion era, one could argue that they were.

Compared with No Nukes just five years earlier, here the music is more refined as the band continued to find its groove — not to mention some newly prominent synths. Nights like this were just the start of something for Bruce, as his audience expanded the Born in the U. Also read: Erik Flannigan’s latest nugs. Sending all the best to Ms. Photographs by Riku Olkkonen. Happy birthday, Pats! In short, the market-based system works as intended.

Quoted in a larger piece billed as an exclusive in the New York Times, Landau addressed fans’ ongoing frustration with the dynamic pricing platform, stating that the prices for the U. The Times story, written by personal finance columnist Ron Lieber who stated in the column that he’s a “longtime” Springsteen fan , explored the past week’s events with a mix of voices, scenarios, and the “confusion” around the pricing environment: “Dynamic pricing isn’t new , though it was new to plenty of Mr.

Springsteen’s fans this month,” Lieber wrote. It’s four in the morning and raining. We’re feeling old, listening to the outcries of fans feeling similarly betrayed by last week’s ticket sales, and remembering that things were different a decade ago.

Because we know our audience, the fans, and count ourselves among them, it feels unnecessary to recap here what transpired on Wednesday when Ticketmaster’s first U.

But if you need a catch-up we can point you to Variety , industry observer Bob Lefsetz , or to practically any news outlet of your choice to get the broad strokes of what happened. Call it what you like: market pricing, dynamic pricing, surge pricing, Platinum pricing.

Just don’t call it The New Normal. From our point of view, this so-called premium, algorithm-driven model violates an implicit contract between Bruce Springsteen and his fans, one in which the audience side of the equation appeared to truly matter — and in fact was crucial.

We believed it because he told us repeatedly it was true. We can imagine Lefsetz and others, perhaps, snickering here, but we still know our audience: we’ve all been made to feel we’re part of an ongoing conversation, one in which we were all “in concert,” a vital element of the formula: “If you’re here, and we’re here… they’re here.

This past week, too many Springsteen fans got thrown to the wolves, pushed aside in a way that seems as unfathomable as it was avoidable. The artist has maintained that he understands the essential role of his audience. How, then, did we end up facing, in far too many instances, prices for tickets that exceeded normalcy, then departed from reality entirely by orders of magnitude?

But from our point of view, it boils down to the stark difference between inside and outside. So many fans who have always gone to the shows, who have always been part of This Thing of Ours, now can’t go, will not be inside, will not be part of the conversation, purely because they can’t pay the cost to see the Boss.

Bruce Springsteen tickets have been historically and notoriously difficult to obtain. That’s the nature of the beast, with so many wanting to witness the power and the glory of rock ‘n’ roll, and relatively few seats to hold them. But the issue has rarely been the money. Over many years, there have been continuous, clear efforts made by the Springsteen camp to keep things fair and as fan-centric as possible, to foil scalpers, to give average concert-goers and fans the best shot at a reasonable price in a world where bots run rampant and scalpers rule.

For decades, Springsteen kept his ticket prices significantly lower than what the market might bear, which felt in keeping with his brand, his stated philosophies, his belief in community, and his clear view of what a concert was supposed to be, as for three hours or so — and sometimes more — he and the band gave us a glimpse of a better world.

The tent over E Street has always been big, inviting, and open, but what about the question he began to ask in … are we missing anybody? After this week, it sure appears the answer has changed.

What were we to think when we made it through the queue on Wednesday morning to find that tickets — initial sales, not resales — were on offer for thousands of dollars? In the past, no matter how difficult tickets were to score, persistence paid off. Now, it seems, persistence just ratchets the algorithm up another notch. Or four. Surely, these multi-thousand-dollar prices were not intended or anticipated, many of us thought. Some assert the algorithm got out of control — are we sure that it was ever in control?

We’d never expect Ticketmaster to balk at making money, but surely, many believed, Springsteen would put a stop to it and demand adjustments to the system, if not an overhaul, before the next onsale. Friday came with a general repeat of circumstances and even more fans in disbelief.

As recently as last month’s European offering, we’ve seen Ticketmaster cancel an onsale when conditions called for it and reschedule for the following day. So if these prices were unintentional, it’s hard to imagine a good reason for the second onsale, let alone a third. For the ticketsellers, the end result of dynamic pricing must be a feature and not a bug.

Wait a minute. We thought it was raining. Is it not raining? That might be a takeaway from data Ticketmaster just shared with us, suggesting that the rain is an illusion.

Variety reports these Ticketmaster-provided stats, a series of figures that don’t quite add up appear to tell the full story, that obscure more than clarify. In the end, these numbers only leave us with more questions. The biggest one being, if it’s not raining, why are we getting soaked? But the ideals Springsteen’s music puts forward — they’re still alive, aren’t they? Whether in the grooves or in concert, wherever those guitars ring out?

In our shared spirit? If one can’t say yes — if only for a few hours every so often — then maybe the magic really is just tricks. Springsteen has been paid a king’s ransom, and we’ve never begrudged him that, either.

We believe in the value of his music, his work; those other transactions and the arenas in which they take place feel beyond our purview. What happens in the actual physical arenas, where every few years Springsteen and his audience come together to create something bigger than all of us — and everybody has a decent shot to be part of it, at a reasonable price — that’s something that remains worth fighting for. Because in rock ‘n’ roll, as we’ve come to believe, one plus one does equal three.

To wit: Ticketmaster’s Official Platinum seat program enables market-based pricing adjusting prices according to supply and demand for live event tickets, similar to how airline tickets and hotel rooms are sold. The goal is to give the most passionate fans fair and safe access to the best tickets, while enabling artists and other people involved in staging live events to price tickets closer to their true market value.

To answer just one question we’ve heard a lot today, as we saw ticket prices quickly soar well into the thousands of dollars apiece for the initial Ticketmaster transaction, before any resales , there is no consistent “face value” for these tickets: The price you pay is the original price of the ticket.

Official Platinum Seats were not purchased initially and then posted for resale; they are being sold for the first time through Ticketmaster on behalf of the artist or Event Organizer. If you’re looking around for the license plate of the truck that hit you, wondering what the hell happened and how we got here It may also provide some consolation, even with no satisfying answer at the moment.

We won’t bury the lede — Rich’s take, one we share, that dynamic pricing, “for lack of a better term, is a fucking shit-show.

As usual, eminently knowledgeable longtime fan Greg Drew hosts the proceedings; as Greg puts it, this time around there’s “a little less talk from me, a little more music; bar bands play long sets with very few breaks. Don’t forget your beer money or your dancing shoes, and may the truth ring out from every small-town bar.

Every big-city bar, too. New dates for the Tour , this time in Edinburgh , Birmingham , and London. Get Verified! European dates for the international tour were announced in May and over 1. Tour dates in the UK will also take place next year, with cities and shows to be announced very soon. Tickets for the U. The tour will be using Ticketmaster’s Verified Fan platform for tickets sold via Ticketmaster. Fans can register for Ticketmaster Verified Fan starting now through Sunday, July 17 for the chance to buy tickets.

All registrants who are verified will be equally eligible to receive a unique access code for the Verified Fan Onsale. Registering does not guarantee you will receive a code, or have the ability to purchase tickets. For shows utilizing Verified Fan, the Verified Fan Onsale will take place between 10am and 2pm local time. If tickets remain, a general onsale for all fans begins the same day at 3pm local time with no code required.

The show has been rescheduled to celebrate Labor Day, rather than the Fourth of July, and tickets will be honored for the September 4 date.

 
 

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Just don’t call it The New Normal. From our point of view, this so-called premium, algorithm-driven model violates an implicit contract between Bruce Springsteen and his fans, one in which the audience side of the equation appeared to truly matter — and in fact was crucial. We believed it because he told us repeatedly it was true. We can imagine Lefsetz and others, perhaps, snickering here, but we still know our audience: we’ve all been made to feel we’re part of an ongoing conversation, one in which we were all “in concert,” a vital element of the formula: “If you’re here, and we’re here… they’re here.

This past week, too many Springsteen fans got thrown to the wolves, pushed aside in a way that seems as unfathomable as it was avoidable. The artist has maintained that he understands the essential role of his audience. How, then, did we end up facing, in far too many instances, prices for tickets that exceeded normalcy, then departed from reality entirely by orders of magnitude?

But from our point of view, it boils down to the stark difference between inside and outside. So many fans who have always gone to the shows, who have always been part of This Thing of Ours, now can’t go, will not be inside, will not be part of the conversation, purely because they can’t pay the cost to see the Boss.

Bruce Springsteen tickets have been historically and notoriously difficult to obtain. That’s the nature of the beast, with so many wanting to witness the power and the glory of rock ‘n’ roll, and relatively few seats to hold them. But the issue has rarely been the money. Over many years, there have been continuous, clear efforts made by the Springsteen camp to keep things fair and as fan-centric as possible, to foil scalpers, to give average concert-goers and fans the best shot at a reasonable price in a world where bots run rampant and scalpers rule.

For decades, Springsteen kept his ticket prices significantly lower than what the market might bear, which felt in keeping with his brand, his stated philosophies, his belief in community, and his clear view of what a concert was supposed to be, as for three hours or so — and sometimes more — he and the band gave us a glimpse of a better world.

The tent over E Street has always been big, inviting, and open, but what about the question he began to ask in … are we missing anybody? After this week, it sure appears the answer has changed. What were we to think when we made it through the queue on Wednesday morning to find that tickets — initial sales, not resales — were on offer for thousands of dollars?

In the past, no matter how difficult tickets were to score, persistence paid off. Now, it seems, persistence just ratchets the algorithm up another notch. Or four. Surely, these multi-thousand-dollar prices were not intended or anticipated, many of us thought.

Some assert the algorithm got out of control — are we sure that it was ever in control? We’d never expect Ticketmaster to balk at making money, but surely, many believed, Springsteen would put a stop to it and demand adjustments to the system, if not an overhaul, before the next onsale.

Friday came with a general repeat of circumstances and even more fans in disbelief. As recently as last month’s European offering, we’ve seen Ticketmaster cancel an onsale when conditions called for it and reschedule for the following day.

So if these prices were unintentional, it’s hard to imagine a good reason for the second onsale, let alone a third. For the ticketsellers, the end result of dynamic pricing must be a feature and not a bug. Wait a minute. We thought it was raining. Is it not raining?

That might be a takeaway from data Ticketmaster just shared with us, suggesting that the rain is an illusion. Variety reports these Ticketmaster-provided stats, a series of figures that don’t quite add up appear to tell the full story, that obscure more than clarify. In the end, these numbers only leave us with more questions.

The biggest one being, if it’s not raining, why are we getting soaked? But the ideals Springsteen’s music puts forward — they’re still alive, aren’t they? Whether in the grooves or in concert, wherever those guitars ring out?

In our shared spirit? If one can’t say yes — if only for a few hours every so often — then maybe the magic really is just tricks. Springsteen has been paid a king’s ransom, and we’ve never begrudged him that, either. We believe in the value of his music, his work; those other transactions and the arenas in which they take place feel beyond our purview. What happens in the actual physical arenas, where every few years Springsteen and his audience come together to create something bigger than all of us — and everybody has a decent shot to be part of it, at a reasonable price — that’s something that remains worth fighting for.

Because in rock ‘n’ roll, as we’ve come to believe, one plus one does equal three. To wit: Ticketmaster’s Official Platinum seat program enables market-based pricing adjusting prices according to supply and demand for live event tickets, similar to how airline tickets and hotel rooms are sold. The goal is to give the most passionate fans fair and safe access to the best tickets, while enabling artists and other people involved in staging live events to price tickets closer to their true market value.

To answer just one question we’ve heard a lot today, as we saw ticket prices quickly soar well into the thousands of dollars apiece for the initial Ticketmaster transaction, before any resales , there is no consistent “face value” for these tickets: The price you pay is the original price of the ticket.

Official Platinum Seats were not purchased initially and then posted for resale; they are being sold for the first time through Ticketmaster on behalf of the artist or Event Organizer. If you’re looking around for the license plate of the truck that hit you, wondering what the hell happened and how we got here It may also provide some consolation, even with no satisfying answer at the moment. We won’t bury the lede — Rich’s take, one we share, that dynamic pricing, “for lack of a better term, is a fucking shit-show.

As usual, eminently knowledgeable longtime fan Greg Drew hosts the proceedings; as Greg puts it, this time around there’s “a little less talk from me, a little more music; bar bands play long sets with very few breaks.

Don’t forget your beer money or your dancing shoes, and may the truth ring out from every small-town bar. Every big-city bar, too. New dates for the Tour , this time in Edinburgh , Birmingham , and London.

Get Verified! European dates for the international tour were announced in May and over 1. Tour dates in the UK will also take place next year, with cities and shows to be announced very soon.

Tickets for the U. The tour will be using Ticketmaster’s Verified Fan platform for tickets sold via Ticketmaster. Fans can register for Ticketmaster Verified Fan starting now through Sunday, July 17 for the chance to buy tickets.

All registrants who are verified will be equally eligible to receive a unique access code for the Verified Fan Onsale. Registering does not guarantee you will receive a code, or have the ability to purchase tickets. For shows utilizing Verified Fan, the Verified Fan Onsale will take place between 10am and 2pm local time. If tickets remain, a general onsale for all fans begins the same day at 3pm local time with no code required. The show has been rescheduled to celebrate Labor Day, rather than the Fourth of July, and tickets will be honored for the September 4 date.

And we wanted to oblige. Recorded on May 2, , at the legendary Cleveland Agora, the concert is one of three shows the Jukes did in the Northeast Ohio area that week.

Despite being on a Monday night, the crowd is into it—which of course doesn’t surprise Southside, when Backstreets reached him for a chat about the release. The Agora show captures the hunger of this time, as well as how tight the band sounded on the new material, including the title track, as well as “Without Love” and “Love on the Wrong Side of Town.

We were very intense and aggressive, but still having fun. We weren’t going to have anybody sitting down if we could possibly convince them to get up and dance, singing along and all that stuff. We wanted to move people emotionally, but also physically.

It was a very physical kind of music. A post shared by Backstreets Magazine backstreetsmag. An anniversary gift? Mais oui! Does the Live Archive series mark significant anniversaries in the history of Bruce Springsteen’s performing career? Other than the Roxy ’78 —which sure felt timed to coincide with its 40th anniversary this month in — probably not. This July brings another notable anniversary we’re talkin’ ’bout the tenth , and intentionally marking it or not, today’s First Friday features a surprise dual-release from the Wrecking Ball tour, July 4 and 5, , in Paris.

Together, these concerts magnifique — rare indoor arena shows on a European tour that largely played to massive open-air stadiums —feature the best of what Bruce and the E Street Band had going in , from the guiding themes of loss and renewal to spontaneity and the sheer joy of playing live. Neither correspondent knew the other show was part of the plan; that kept the focus on the music as it happened over the course of the two nights, which Paris has in abundance: 29 songs on July 4, followed by 31 on July 5, and a truly remarkable 47 different songs altogether.

But first, its two major themes needed conveyance. This first night in Paris is well up to the task, addressing the great recession and calling on the spirits of both Dan Federici and Clarence Clemons, while still managing to be a Fourth of July special.

The ninth Wrecking Ball tour selection in the Live Archive series, July 4, Paris saw a performance that moved seamlessly from those themes and their structures, particularly “If you’re here, and we’re here, then they’re here , ” to thrilling spontaneity.

Several seeds sown here would mold monumental concerts in Gothenburg , Helsinki , and, later that summer, Boston. Those revered shows have rightfully been immortalized in the series; now, this Independence Day concert, long lauded as one of the elite, takes its place beside them on the Mount Rushmore of Summer July 4 was not a guaranteed triumph.

A trio of power outages that day — one occurring with fans already in the arena — had created concern that celebration could descend into chaos.

Before Bruce and the E Street Band stepped on stage to continue their European leg after a ten-day break, journalist Antoine de Caunes was tasked with advising the eager Paris audience to brace for an evening that might not go according to plan. The power held firm, thankfully unlike an evening four years later on the RiverTour , but the air conditioning did not: it was sweltering inside the Palais Omnisports de Paris-Bercy. Good thing the music was hot, too, and it brought a few changes to the set.

Together, these six numbers convey the vision for the tour, and after an intense, cathartic opening, the music scales an emotional peak with Bruce’s repeated interrogative in “My City of Ruins,” ” Are we missing anybody? With the fans warmed up and themes served, detours from the written setlist begin. After a minute or so, Bruce simply rides the wave, bringing the outro around again in reprise. You may recall a similar instance during “Badlands” on the Berlin ’93 release.

As Roy Bittan comes down front with his accordion, the early ’70s linger, taking us to the other side of town for a lovely “Sandy. Of these, “Independence Day” stands out. While fans in Paris likely anticipated its appearance, few expected the arrangement. Giving his bandmates a break from the heat, Bruce plays a mesmerizing solo piano arrangement that is truly, as he terms it in his introductory remarks, “something special.

In this golden age of First Fridays, one might forget how cautious Bruce used to be about releasing live material, how it took something exceptional to chip away at that resolute armor. In particular, it’s amazing how different his voice sounds here, with a blend of despondency, urgency, and exhaustion creating a pure, emotional reading of the song.

The Fourth of July specials may grab our attention, but an array of essentials offers much enjoyment, too. Opening with fiery bullet mic and more Parisian participation, this one shines. A tasty Little Steven guitar solo ensues, as does a spotlight duet for Bruce and Patti Scialfa, who makes her first tour appearance since April.

Rock and soul shape the rest of the main set with mighty, heartfelt renditions of “The River,” “The Rising,” and “Land of Hope and Dreams,” and the last presents more changes as Bruce tweaks the finale, replacing ” thank the Lord! Maintaining the Wrecking Ball theme, “We Are Alive” sets us on the home stretch, a rousing tribute to those who’ve left us. Bruce adds another tribute afterwards, centered on France’s assistance in the American Revolutionary War and the Franco-American relationship it fostered.

As Springsteen concludes his dedication with a touching ” This is for France ,”drummer Max Weinberg launches into a towering rendition of the “soldier story,” “Born in the U.

The titanic track sets the tone for the encore, and Paris is treated to communal versions of encore regulars from “Born to Run” through “American Land. Summer remains special for fans who experienced the tour in Europe. Although big nights in London, Gothenburg, and Helsinki helped round out the leg, both shows in Paris remain amongst the tour’s most fondly remembered.

July 5 will surely remain sought-after, but in the meantime, we’ll always have night one. Taking place only a year after Clarence Clemons passed away, the set focused on overcoming loss and honoring those who’d departed. Fans who had marked the calendar for the two arena shows in Paris as “not to be missed” were right: not only did they live up to the anticipation, July 5, Paris captures the best show I’ve seen Bruce play since Clarence died. Moreover, it is the best show I’ve seen anyone play in the last 12 years.

I will try to set the scene and explain why. It was a holiday week, and the tour came indoors for two nights, resuming its European leg. Fans traveled from across the continent, of course, joining others from the United States Bruce had much of his family with him including his mom, Adele.

The first show, on July 4, took place at the end of an incredibly hot Parisian day, highly unusual from what we were told. Worse, the building’s air conditioning failed. It was the hottest I’ve ever felt in an arena — perhaps dangerously so. Sweat was pouring off everyone in the crowd, not to mention Bruce himself.

But the show was great, highlighted by a beautiful solo piano version of “Independence Day” and a wild crowd sing-along to the coda of “The E Street Shuffle. Afterward, we hoped the AC would be restored by the following night.

A tweet from Steve Van Zandt stated that would not be the case; fortunately, the day was cooler, and the arena itself was nowhere near as hot for the second night.

The same could not be said for the performance, which was positively scorching. First, Roy Bittan and Charlie Giordano emerged to play “Au Clair de la Lune” on accordion, making us feel like we were all taking a stroll through the Parisian night.

Here, Bruce was flying by the seat of his pants and feeding off the crowd. A lip-read revealed a third audible, “Downbound Train,” a personal favorite from Born in the U. That ran right into a rampaging version of “Candy’s Room,” which cemented the idea that something different was happening. Scrambling around the stage and still calling out songs, Bruce reached for an all-too-infrequent “Something in the Night. For the record, the written setlist had placed it second, after a “Ties” opener.

The segment lasted about 30 minutes, showcasing Bruce’s ability to read a crowd. From there, five Wrecking Ball tour staples re-established a more familiar pattern, until “Incident on 57th Street,” a first in France and only its second appearance on the tour. Nearing the end of the main set, Bruce sat at the piano for a gorgeous version of “For You” another European tour premiere , the emotion of which carried over into an absolutely majestic “Racing in the Street.

I particularly love Max’s performance during the final moments of the coda, and, needless to say, Roy Bittan stands tall, too. And it wasn’t over yet. Now, it was approaching midnight. It seems relevant to point out that the trains in Paris only operate until around 1 am; texts began to fly about the arena as fans tried to figure out what we would do if, improbably, the show went on so long that we all missed our trains.

Which meant, of course, that the encore would begin with a lengthy story. Bruce had much of his family in the building: his kids, his mom, Patti’s mom, and his sister, Pam.

He had Adele take a bow because “there was no show without her. He spoke lovingly about his mom, who had it hard but always had love to spare. Dedicating the song to her, Bruce set the scene at the Freehold cemetery, he and his sister visiting their grandmother’s grave, before singing, “There’s a cross up yonder up on Calvary Hill. By this point, the building was shaking. It was a sweet moment. The show was now past the three-and-half-hour mark, but Springsteen had one more song to play: the usual closer at this point, “Tenth Avenue Freeze-out” with a break in the middle to honor The Big Man.

With that, an amazing night came to a close around am. I dashed out of the arena and made the final train with no more than 30 seconds to spare. When I got to the other end, I walked through the empty streets of the Paris night still buzzing from what I had witnessed in Bercy. And now, ten years later, as part of the wonderful Live Archive series, everyone can hear this amazing show.

I hope you enjoy it. The telephone call came as a cherry-on-top interview and a last piece of the puzzle, just as Rose was finalizing her manuscript, and she was able to get Springsteen’s take on an artistic affinity that spans decades. They specifically discussed a small but crucial element of Patti Smith’s career: “Because the Night,” co-credited to both songwriters, was a Top 20 hit for Smith well before Springsteen had one of his own.

In a Backstreets exclusive, Caryn Rose shares more from the phone call and traces the shadow history of Springsteen’s “Because the Night” as it evolved in live performance in ’78 and remained unreleased while Patti Smith’s version was on the airwaves.

In January of , an email arrived with the subject line:. Yes, tomorrow was okay, 2pm was okay — 2am would have been okay. I had been working on the research and writing of the manuscript for Why Patti Smith Matters since early , and the deadline was just a month or two away.

I already knew every version of the story about how Jimmy Iovine took the tape of “Because the Night” from one studio at the Record Plant to another. I knew why Patti Smith was initially resistant to even listen to it, and I could recite chapter and verse how she finally picked up the tape, listened to it, and wrote the lyrics her recording was released on The Patti Smith Group’s Easter in early I lined up two audio recorders on my desk with a third available on my computer if necessary and awaited the call.

And then, the phone rang. In my research, I had tracked the ’78 timeline covering the release of Easter , the completion of Darkness on the Edge of Town , the ascendance of “Because the Night” on the Billboard Hot charts, and the start of Springsteen’s Darkness tour.

In my mind the song is so closely associated with that tour, heard so often via the magic of tapes that captured the plethora of FM broadcasts from ‘ Bruce and the band played “Because the Night” on every single one of them. Right: Illustration by graphic designer Todd Alcott – Prints of this and many more of his cultural mashups can be purchased from his Etsy shop. It did not happen at CBGB’s — which was the listing in Brucebase until I sent documentation to the fine folks who maintain that valuable resource — but rather an old vaudeville theater in the East Village not far from the club.

After some back-and-forth about how Patti first showed up on Springsteen’s radar, and his early impressions of her — “Piss Factory” was not getting commercial airplay in , let’s remember!

I was hoping that Bruce might recall something from that night, but he did not even remember that it had happened at all. This was slightly disappointing but not entirely surprising.

The other thing I hoped he remembered was the first time he heard Patti’s version of “Because the Night” on the radio — and whether he thought, “Oh no, I shouldn’t have given that away. This question was interesting to me because, as a teenage Springsteen fan who was also a teenage Patti Smith fan, I had often heard various mumbling within Springsteen fan circles that Bruce was not happy about Patti’s success with the song.

Rumor had it that he didn’t want the song to have been given to her. I was dubious as to the authenticity of this claim even something years ago because I am always dubious , especially given that it came from random dudes at record stores or concerts whose connection to the inner thoughts of Mr.

Bruce Springsteen seemed questionable at best. I also knew that a lot of men didn’t like Patti Smith simply because she… existed. If you’d like to know more about that, I would recommend my book.

So I asked Bruce if he remembered. You can read the excerpt in Variety if you want the whole story, but what may be of most interest to the kind of diehard Springsteen fan that reads Backstreets is the glee I felt when I heard that familiar tone of gently mocking self-deprecation in his response.

Describing his reaction to “Because the Night” climbing the Billboard Hot chart, he said, “As far as I knew, none of us were doing that. I also asked Bruce whether he recalled his decision to add “Because the Night” to the set on the Darkness tour.

I pointed out that it wasn’t in the set for the first month of the tour and wondered if he remembered the moment when he knew he had to start playing it. He said he didn’t have any specific memories beyond, “If it’s charting, I need to play it” that’s a paraphrase. I thanked him for his time and got back to work. I am driving somewhere with the show loaded on my phone. BCT looms large in our legends, so it’s a delightful official release. I hear the now-familiar intro notes from Roy Bittan chime in, and after a soulful, pointed guitar interlude, Springsteen steps to the mic.

I had to pull over into a gas station because I was laughing so hard. I did not remember this, nor did any of the bootlegs I’d previously heard capture this moment in such clarity. When I got home, I looked at my notes: “Because the Night” wasn’t one of the songs Bruce rehearsed at the Paramount Theater rehearsal shows prior to the Darkness tour.

It didn’t get added to the setlist until May 30 at the Boston Music Hall, about a month in. Patti’s single entered the Billboard Hot chart on April 8, down towards the bottom at It creeped up the chart week by week, and by the end of May right before the Boston shows it was at But the song went away from the Darkness tour following its debut, and it didn’t return until the West Coast a month later — specifically, the Berkeley show on July 1.

On that very day, “Because the Night” had reached 13, its peak on the chart. At the time, of course, no one knew where it would go from there, and given that no one involved expected it to ever get that high which equaled radio airplay and record sales for both the album and the single — Easter reached 20 on the Billboard album charts there was likely a lot of scrambling.

Turner asks him about the song, at first confusing it with “Prove It All Night” “Luckily, I wrote that one myself,” Bruce corrects her, giggling. She asks him about when he heard it, and he replies: “I was real excited because we were riding through the Midwest and it came on the radio.

I said, ‘Is that AM radio? From Berkeley on, “Because the Night” was a regular in the Darkness set, and the song evolved as the band played it live. Boston was both a Springsteen and a Patti Smith stronghold and still is , so it’s not surprising that the audience knew it, and it was a smart addition, even if the lyrics are, shall we say, conceptual at best.

Patti once described the lyrics on the tape Jimmy Iovine brought her as “genius mumbling. The crowd claps in response to the intro, and Bruce dedicates it to a fan: “This is for my man, right down here. This was one of my first Springsteen bootlegs, so this is the Springsteen version of “Because the Night” that was seared into my brain forever.

There is no mumbling; he has the lyrics, and he has transformed the song into the kind of smoldering era intensity anyone with a pulse knows and loves albeit for a variety of different reasons — Happy Pride! Jon Landau in The Defiant Ones Dre, where they cut to Landau throwing up his arms in frustration as the song plays in the background, as once again his client gives away yet another big hit to someone else. On the Darkness tour, Bruce had reclaimed “Because the Night” for himself.

I fully appreciate the searing machismo of the Springsteen rendition, and the fact that you can listen to any live version from any tour and admire the way Bruce can temper the flame level of each performance. But I always annoyed my friends because I insisted on singing Patti’s lyrics when it was performed at Springsteen shows, and I still do. The lock screen on my phone is an image I took at the Beacon Theater in — Bruce and Patti walking hand-in-hand offstage after performing “Because the Night” together for only the third time — and I’m delighted when either of them perform it at their own shows.

It’s a pretty great shared piece of history to be able to appreciate on a regular basis, and I’m grateful for the opportunity both as a fan and as a historian of both artists. Visit carynrose. Paul, Madison, Cleveland, and Los Angeles.

There is no Tower Records now. That was a significant percentage of our sales. Among those interviewed for the documentary was Bruce Springsteen. That’s where the final connection was made. That audience you dreamt of is walking through the door, right now. And you could stand there and watch that happen. There are your listeners. And the place also served as a kind of ‘lost boys club. One reason All Things Must Pass works so well is because it is fast, tight, and to the point.

But a pop culture business that lasted approximately 40 years surely has many more stories to tell, right? The new episode is a one-hour discussion about working at Tower, Erik’s greatest concerts attended any guess which Springsteen show he cites? Zimmerman tells Flannigan how the idea for his podcast came about while listening to the Springsteen podcast None But the Brave , and Flannigan shares the impetus for Juicy Sonic Magic his concert taping experiment, short film, and Record Store Day project for The National in honor of concert taper Mike Millard.

Besides being a music fanatic’s dream, Tower Records was the workplace for a lot of major Bruce Springsteen fans. Long before the email and the internet, managers at Tower who were Springsteen fans would make long-distance phone calls to one another when Bruce would drop in to shop, sometimes with famous friends. In the biography Petty, by Warren Zanes, a shopping trip taken by Springsteen and Tom Petty to the Sunset Strip Tower Records was described in some detail: Around the time he drove the car off the lot, he got a call from Bruce Springsteen.

Petty had seen Springsteen at the Roxy, in the months before Born to Run was released, and liked what he saw, recognized a fellow traveler. Petty didn’t know the man, but Springsteen wasn’t shy in the way Petty was. The guy from New Jersey put in the call, just to hang out, one rock and roller to another. Petty picked him up at the Sunset Marquis. They went down Sunset Boulevard to the water, stopping at Tower Records on the way, picking up half a dozen eight-tracks. They drove until they’d listened to every song on every one of them.

The Stones’ 12 x 5 was among the tapes. When “Congratulations” came on, Springsteen raised his arms to the heavens and said, “You can take me now! He liked knowing another man out there who went to the same church. We had been hanging out and talking each evening with Dwight Yoakam, Los Lobos, and many other very cool performers who performed at the convention.

Tim walks up shaking his head back and forth. The one day I’m not working. As we’re talking, I look over at the Springsteen display and there’s a gentleman in his 50s with a woman standing back watching the customers grabbing copies of the CD for purchase. We went over and introduced ourselves to Jon Landau and his wife Barbara.

I remember saying to Jon, “I saw the article about all the video footage you bought for future [Springsteen] projects. A lot! While DelMonte Street: The Oral History of Tower Records podcast is very much an “inside baseball” affair, it wistfully recalls the days when people could walk into a temple dedicated to music, movies, books, and all things pop culture, able to pick up the hits along with deep, deep catalogue unavailable almost anywhere else.

The days when you could walk into a store and hear something incredibly melodic or savage playing on the sound system that radio wouldn’t touch, or flip though thousands of LPs or CDs and pick out an album based solely on what the cover looked like — or Springsteen’s latest import single. Those were the days.

Sir Paul McCartney. The full set is now available on bbciplayer! Macca topped the bill at the high-profile Glastonbury , the oldest headliner in the festival’s history, and he brought a few friends to help carry that weight.

Glastonbury pic. Tickets go on sale this Wednesday, June 29 at 10am via ticketmaster. Note: for approximately 50 percent more than a regular ticket, a Golden Circle ticket “guarantees access to the golden circle area right in front of the stage” for Springsteen’s set.

Hey, nilslofgren. Guess which song popped up just now? Yep, this one, always a favorite. Introducing his guest as “a friend of mine… a local boy” “I think you’ve guessed him! Springsteen wished his host a happy birthday first thing — McCartney will turn 80 on Saturday — and introduced their first song together: “Here’s to 80 more years of Glory Days! Bruce returned to the stage for the concert’s finale, an extended jam on Abbey Road’ s “The End,” and he acquitted himself well in a four-way guitar duel.

When the band’s final bows came, Springsteen was still there, hands in the air and clasped with Sir Paul’s — and beaming. This wasn’t his first time or even second or third , but you have to imagine that playing with a Beatle never gets old.

Between the excitement in the crowd and on stage, MetLife might have been able to generate its own electricity not that it was necessary — the power stayed on all night. And for those with an eye on the future, Springsteen demonstrated once again that he’s in fighting shape for his own stadium tour. Here’s to more Glory Days! Full 4K video: – June 17, These short, engaging books are characterized by great writing and compelling arguments that will inspire you to listen to your favorite artists in new ways and spark your interest in artists you missed.

Patti Smith is lauded as a significant and groundbreaking artist, but recognition of her musical significance has receded a bit in light of her literary success. Reading Why Patti Smith Matters is like listening to Smith’s rich catalogue with a good friend as your guide. Rose is an engaging, knowledgeable, and compelling writer. Of course, she’s known to Backstreets readers for her reviews and reporting as a Contributing Writer, and for her book-length travelogue of the tour, Raise Your Hand: Adventures of an American Springsteen Fan in Europe.

She is a careful researcher, one who writes with passion and always pays close attention to detail, all while balancing fandom and critique. Rose weaves her personal story of discovering Smith’s music as a teenager through the chapters as well, describing what appealed to her about Smith’s music and how unusual the sound was for its time.

Rose is especially incisive about the gender politics of rock criticism and rock history, and how sexism has played a role in how Smith was characterized throughout her career. Throughout the book, she does a great job in drawing from interviews, album and concert reviews that situate Smith in historical context.

A special treat for Springsteen fans is that Rose conducted a new interview with Bruce about how “Because the Night” came about. His comments about Smith’s impact on the song’s development are fascinating, a new twist on the story. A recurring theme of the book is that Patti Smith sees herself as a “worker.

In this carefully researched, wise book Caryn Rose showcases her own “worker” cred. It makes for a useful and fun read. He plays ten times better than me, and he still wanders over to hear my solos when I play. I guess he’s checkin’ to see if I’m getting’ any better. This celebration of all things Lofgren couldn’t have come along at a better time, either, as we’re wishing Nils the speediest of full recoveries following his recent tussle with COVID One last shot at Stevie’s memoir, and at the return of Miami Steve When Stevie Van Zandt signed bookplates for us as last fall — signing as “Miami Steve,” just for us — he signed an extra stack to ensure we’d be able to take care of any and all damaged or lost orders.

Now that all of those orders have been accounted for and issues resolved, we can offer these remaining Miami Steve-signed copies of his New York Times Best Seller Unrequited Infatuations. In stock and shipping directly from Backstreet Records — available now Van Zandt’s hand-signed “Miami Steve” autograph is on a full-color, custom bookplate based on the beloved series of Topps baseball cards featuring Miami-era SVZ in all his flowered shirt splendor. The bookplate comes adhered to the half-title page of his memoir, the hardcover edition.

While this final batch lasts! Order the Backstreets exclusive Unrequited Infatiations. Just unveiled today, these new shirts are exclusively available from Fulfill formerly the Foodbank of Monmouth and Ocean Counties , and net proceeds will directly fund their work to help the hungry. The unisex T-shirt features the quote in a typeface you may recognize from the Rising era; on the racerback tank top it’s even more recognizable: Springsteen’s handwriting.

Check them both out and order now at fulfillnj. For every shirt sold, more than 50 meals will be made available to those in need. It’s a challenge we can overcome, if we do it all together. As usual, they’ve got some very cool Springsteen-related items on the block, and the auction is being run online, so anyone can take part. The most popular item up for bids — because what’s more exciting right now than thoughts of the Tour?

Bidding is hot already. See all the auction items here. Bidding is open now, to close on June 15 at pm ET. From pm, the event features live music, an open bar, and light bites, in addition to the auction.

Tickets are still available to the public, and all proceeds benefit the KACF. Though Hammond was an immediate believer, and demos providing proof-of-concept to label president Clive Davis were recorded at Columbia the very next day, it was still more than a month before Springsteen would officially sign to the label.

His record contract with Columbia was finalized on June 9, — 50 years ago today. Columbia celebrates the milestone with a wonderful “explainer video” above that packs a whole lot of Boss history into three-and-a-half minutes.

As you’ll hear: “It’s probably not hyperbole to say that what happened 50 years ago changed popular music. Help is based on a series of interviews that Black poet, playwright, and professor Rankine and her colleagues conducted with white people.

These conversations are bolstered by verbatim quotes about race from politicians, celebrities, and other public figures, from Abraham Lincoln to Eddie Murphy as well as W. As Rankine herself says, “Help is a play that engages questions and attitudes around the state of our democracy, given its commitment to anti-Black racism. Bruce’s song could be heard as a white character discussed with the Black narrator April Matthis — pointedly the only person of color in the cast — how he thought his childhood town wasn’t racist until he remembered the fighting that went on between the Black and white kids.

Later in the play, after the narrator says that the Commodores are her favorite group, a white man responds, “I love Springsteen. Is this a problem?

Had I made the problem or was I given the problem? Help is concerned with systemic problems in society that have garnered broader attention in recent years. That Bruce’s music was used as a kind of measurement of issues of race and popular culture was quite remarkable in this context, as the only other unidentified music-related quote came from Toshi Reagon and BigLovely.

I was also reminded of seeing the E Street Band perform “American Skin” at Shea Stadium on October 1, , when many fans, including police officers, stood up and turned their backs to Bruce because the song condemned police brutality. Had they not been listening to what he’s been saying since the s? So I Asked. I made a mental note to check out the Springsteen song [the white man] loved. I had to wonder what the playwright thought when she first heard the reference to Baltimore at the beginning of “Hungry Heart.

In , on the day of the Baltimore funeral for Freddie Gray, Rankine delivered a lecture at Harvard that began with a poem she had written for the year-old Gray , who was killed in police custody in the city. Bruce’s inspiration for “American Skin,” the unarmed Amadou Diallo, was 23 in when he died in that hail of police bullets at the hands of four New York City police officers in the Bronx.

There are not many direct connections between the year-old, Jamaica-born Rankine and the year-old Jersey native Springsteen, although, in Literary Hub’s list of “The Biggest Literary Stories of the Year,” Bruce’s Born to Run memoir came in at 36, just behind the announcement of Rankine’s plans to start the Racial Imaginary Institute, which came in at Help had a four-week run this spring, closing at The Shed on April 10, with no performances currently scheduled elsewhere, but keep an eye out for it; it would be a shame if it doesn’t move on to other theaters.

It’s an uncomfortable, unforgiving, but necessary work written specifically for white audiences, set in an airport terminal where people take off and arrive but don’t necessarily reshape their views as they travel around the country and the world. Contrary to calling out the worst in them as the system does, we must see the good in them that they do not see in themselves.

Our work must enable them to find new meaning in their lives and provide relief from their brokenness and fragmentation. Help is not an attack on whiteness; it is a declaration that the status quo must change, something Springsteen has been well aware of throughout his career.

There was an idealism in our partnership; I always felt our audience looked at us and saw the America that they wanted to see and wanted to believe in.

And this became the biggest story I ever told. I’ve never written a song that told a bigger story than Clarence and I standing next to each other on any of the 1, nights that we played.

He lent his power to my story, to the story that we told together, which was about the distance between the American Dream and the American reality. As he has been telling those stories, somewhere along the way, he seems to have found a fan in Claudia Rankine. I hope, in return, he has read some of her writings — as we all should. You can read his full review of Help here. Despite it being a Sunday night and the band’s second performance at the venue, the energy in the stadium was was high.

From the moment I found my seats in the nosebleeds, there were rumblings of Bruce Springsteen showing up. I scoffed at this, remembering the Taylor Swift concert at the same venue seven years ago where my dad, Phil a lifelong Bruce fan and Jersey boy , promised me Bruce would show up for a surprise performance.

Bruce didn’t take the stage that night, leaving my chagrined dad to listen to Taylor Swift and Nick Jonas with no respite. As my boyfriend and I worked our way to the floor to be closer to the action, the crowd started shouting “Broooce,” the telltale sign that The Boss was in the house. I looked around in disbelief, but we moved closer to the C-stage anyway — a smaller stage located in the middle of the floor, separate from their A and B stages — on the off-chance that Bruce had actually showed up.

A few moments later, the chanting reached a fever pitch as Chris Martin actually introduced the night’s guest with a grin: “I have a tattoo on my arm, because this person is my hero. Bruce Springsteen! As Bruce greeted the crowd “Hello, New Jersey! Bruce remarked on Martin’s ink as he introduced their first song together: “Chris has had this song tattooed on his arm for a while, so I guess I gotta sing it! After the song, the rest of the band stepped down from the C-stage, leaving just the Coldplayer singer on keyboards and Bruce on guitar for a beautiful, slowed down version of “Dancing in the Dark.

C’mon, Chris! Growing up listening to my dad’s music constantly, I had an appreciation for Bruce but didn’t quite grasp his immense talent. Seeing Bruce perform live for the first time only confirmed that what my dad had been telling me for years was true: Bruce is truly an icon with the ability to engage and unite any crowd. As he left, people around me kept repeating, “Broooce!

By the spring of , he and the E Street Band played a markedly different show than eight months prior, its length shorter, its contents refined. Even the tempos at which they played individual songs shifted. London was a place of change unto itself. Springsteen had made his U. Let the music have the final word on both counts. Here, less than six years later, he had eluded those ghosts.

Nearing the end of a six-night run at Wembley Arena, with The River buoyed by a small armada of singles and a 12″ EP pressed especially for this U. He sounds assured in each element of this song concert, exemplary of the high-intensity, relatively compact performances he had crafted that year, which helped mint loyal audiences from Barcelona to Stockholm. With a tilt toward the rockers, London June 4, presents ten River tracks, from “The Ties That Bind” to “Ramrod,” and “Jackson Cage,” too, played in response to a perfectly-timed request shouted from the audience.

In the back half of the set, Springsteen hums along to “Racing in the Street,” filling a space as if charmed like anyone else hearing it , then pairs it with a typically impassioned version of “Backstreets.

Overall, five different song selections complement the following night’s performance, itself a previous Live Archive release [right] in Springsteen’s muse had wandered well beyond the confines of his expansive double album — itself a response to precisely the same creative restlessness that caused him to mothball its single-disc predecessor. For his first formal tour outside North America, Springsteen became an ambassador of sorts, bringing plenty of his own music and a bevy of covers, too, from traditional folk and Cajun numbers to Stax, Elvis Presley, and John Fogerty.

The show in Europe was celebratory, but Springsteen picked up on the openness of his new audiences and experimented broadly as the tour continued, going so far as to add a new verse to Creedence Clearwater Revival’s “Run Through the Jungle” though even he may have been surprised by its punch — he performed it only three times on the tour, in The Netherlands and Sweden.

Whether tried out or brought in for the long haul, never had his choices in covers sounded more deliberate. Wembley Arena in , photographed by Gary Desmond. Landing in the U. K, with Pete Townshend watching admiringly — and no doubt eager to pass the torch — Springsteen laid out his own State of the Union, articulating a vision and honoring his forebears as he continued crafting covers like a caretaker.

The former ditched its initial ’round-the-campfire pleasantries; in London, it stood as a stark reminder of inclusiveness. It sits out this night, but resumes its duties the next. Those cover songs evolved organically. But “Trapped,” heard here shortly after its May 29 debut at Wembley, came in as if it had been stage-ready and waiting all along: in topic and arrangement, the reinvention of the Jimmy Cliff original is perhaps the single number that sounds like a Bruce Springsteen song he never wrote.

Moreover, like “War” at the end of the Born in the U. Framed by a brooding keyboard that countered a ticking-of-the-clock guitar part, and set off, finally, by the biggest saxophone solo of the s, it was transcendent in the first person and made the most of E Street muscle. Springsteen later contributed a recording of “Trapped” to We Are the World, which FM radio picked up; it spent three weeks at 1 on the Mainstream Rock Airplay Chart in the spring of ‘ Its ethereal, monochrome arrangement featured a motif that recalled The Beatles’ “Mr.

Moonlight,” which carries the tension and effectively recasts the lyrical optimism as a cautionary tale — not the excited sprint up the driveway at Graceland, but the chastened, dead-of-night walk back down. Later in the tour, Springsteen would connect the dots about forces that shaped his father’s life.

Here, he merely wonders how a young Elvis who “seemed so sure of himself” could have gone astray. When Springsteen took the stage at Hammersmith Odeon, relatively few had seen “rock and roll future.

By , however, Springsteen stood in a different place, appearing, as Greil Marcus wrote in New West that February, “at once as the anointed successor to Elvis Presley and as an impostor who expects to be asked for his stage pass; his show is, among other things, an argument about the nature of rock ‘n’ roll after twenty-five years.

A tradition that made its way to Tupelo, then on to Freehold, and finally, to Wembley. The stuff, in other words, of dreams. Also Read: Erik Flannigan’s latest nugs. He had been candid about the darkness and isolation he experienced following the ’81 River Tour part of the recipe for Nebraska , and in , at the pair of Christic Institute concerts, Bruce talked openly before “My Father’s House” on the first night, and before “The Wish” on the second about seeing a psychiatrist. Both disclosures got laughs — and of course there’s plenty of humor in the telling — but both nights emphasized that those stories were true.

It was a bold admission at the time; well before Metallica’s So me Kind of Monster , therapy just wasn’t a subject many rock musicians tended to chat about, certainly not on stage — “it’s against all that macho posturing you have to do,” as Bruce said about the lack of “mother songs” in rock ‘n’ roll. But to many Springsteen fans, it was compelling and clear that “doing the work” was helping him better understand himself and his art. For a wider audience, James Henke’s Rolling Stone Interview was particularly notable for Springsteen’s discussion of therapy, and what Bruce called “a real intense period of self-examination” circa ” The best thing I did was I got into therapy.

That was really valuable. I crashed into myself and saw a lot of myself as I really was. And I questioned all my motivations. Why am I writing what I’m writing? Why am I saying what I’m saying?

Do I mean it? Am I bullshitting? Am I just trying to be the most popular guy in town? Do I need to be liked that much? I questioned everything I’d ever done, and it was good. You should do that. And then you realize there is no single motivation to anything. You’re doing it for all of those reasons. Bruce also noted Patti Scialfa’s helpful role in the process: “She had a very sure eye for all of my bullshit.

She recognized it. She was able to call me on it. So given that history, it’s less surprising that Springsteen has now written the foreword for a Goop self-help book. Springsteen calls it “a beautiful and important book, particularly for the moment we are in. It helps lead the way to a more powerful and noble society based on the tenets of love, justice, and respect.

For my wife, Patti, and me, Terrence Real has been one of those guides, and this book is a map through those trees. If the dark forest and river of life sound familiar, you’ll surely recognize additional metaphors, ideas, and kernels from his songs in Bruce’s writing here. The more personal element of his Foreword looks back at his own struggles, viewed now from the perspective of a man with “forty years of trying to find my way through the shadowed trees, down to the river of a sustaining life”:.

With help I realized, in early middle age, that I was subject to a legacy that had been passed down from generations in my Italian-Irish family. A long and stubborn stream of mental illness and dysfunction manifested itself in my life as a deep, recurring depression and an emotional paralysis. I had a fear of exposing my inner life to anyone besides twenty thousand complete strangers at your nearest arena.

So how do you transform that legacy? How do you break the chain of trauma and illness whose price is compounded with each successive generation? As Terry says, “Family pathology is like a fire in the woods taking down all in front of it until someone turns to face the flames. And at the end of the day, the way we honor our parents and their efforts is by carrying on their blessings and doing our best to not pass forward their troubles, their faults, to our own children.

Our children’s sins should be their own. It’s only through the hard work of transformation do those of ours who have come before cease to be the ghosts that haunt us and transform into the ancestors we need and love to walk beside us.