Bruce Springsteen unveiled his 16th studio album, Working on a Dream, on Tuesday. Rolling Stone gives the album five stars and calls it "the richest of the three great rock albums Springsteen has made this decade." In 2005, Stephen Metcalf examined Springsteen's legacy and explained why he still loves the Boss. The piece is reprinted below.
In his early live shows, Bruce Springsteen had a habit of rattling off, while the band vamped softly in the background, some thoroughly implausible story from his youth. This he punctuated with a shy, wheezing laugh that let you know he didn't for a second buy into his own bullshit. Back then, in the early 1970s, Bruce was still a regional act, touring the dive bars and dive colleges of the Atlantic coast, playing any venue that would have him. As a matter of routine, a Springsteen show would kick off with audience members throwing gifts onto the stage. Not bras and panties, mind you, but gifts—something thoughtful, not too expensive. Bruce was one of their own, after all, a scrawny little dirtbag from the shore, a minor celebrity of what the great George Trow once called "the disappearing middle distance." By 1978, and the release of Darkness on the Edge of Town, the endearing Jersey wharf rat in Springsteen had been refined away. In its place was a majestic American simpleton with a generic heartland twang, obsessed with cars, Mary, the Man, and the bitterness between fathers and sons. Springsteen has been augmenting and refining that persona for so long now that it's hard to recall its status, not only as an invention, but an invention whose origin wasn't even Bruce Springsteen. For all the po-faced mythic resonance that now accompanies Bruce's every move, we can thank Jon Landau, the ex-Rolling Stone critic who, after catching a typically seismic Springsteen set in 1974, famously wrote, "I saw rock and roll future, and its name is Bruce Springsteen."
Well, Bruce Springsteen was Jon Landau's future. Over the next couple of years, Landau insinuated himself into Bruce's artistic life and consciousness (while remaining on the Rolling Stone masthead) until he became Springsteen's producer, manager, and full-service Svengali. Unlike the down-on-their-luck Springsteens of Freehold, N.J., Landau hailed from the well-appointed suburbs of Boston and had earned an honors degree in history from Brandeis. He filled his new protégé's head with an American Studies syllabus heavy on John Ford, Steinbeck, and Flannery O'Connor. At the same time that he intellectualized Bruce, he anti-intellectualized him. Rock music was transcendent, Landau believed, because it was primitive, not because it could be avant-garde. The White Album and Hendrix and the Velvet Underground had robbed rock of its power, which lay buried in the pre-Beatles era with Del Shannon and the Ronettes. Bruce's musical vocabulary accordingly shrank. By Darkness on the Edge of Town, gone were the West Side Story-esque jazz suites of The Wild, the Innocent, and the E Street Shuffle. In their place were tight, guitar-driven intro-verse-chorus-verse-bridge-chorus songs. Springsteen's image similarly transformed. On the cover of Darkness, he looks strangely like the sallower cousin of Pacino's Sonny Wortzik, the already quite sallow anti-hero of Dog Day Afternoon. The message was clear: Springsteen himself was one of the unbeautiful losers, flitting along the ghostly fringes of suburban respectability.
Thirty years later, and largely thanks to Landau, Springsteen is no longer a musician. He's a belief system. And, like any belief system worth its salt, he brooks no in-between. You're either in or you're out. This has solidified Bruce's standing with his base, for whom he remains a god of total rock authenticity. But it's killed him with everyone else. To a legion of devout nonbelievers—they're not saying Bruuuce, they're booing—Bruce is more a phenomenon akin to Dianetics or Tinkerbell than "the new Dylan," as the Columbia Records promotions machine once hyped him. And so we've reached a strange juncture. About America's last rock star, it's either Pentecostal enthusiasm or total disdain.
To walk back from this impasse, we need to see Springsteen's persona for what it really is: Jon Landau's middle-class fantasy of white, working-class authenticity. Does it derogate Springsteen to claim that he is, in essence, a white minstrel act? Not at all. Only by peeling back all the layers of awful heartland authenticity and rediscovering the old Jersey bullshitter underneath can we begin to grasp the actual charms of the man and his music. A glimpse of this old bullshitter was recently on display when Springsteen inducted U2 into the Rock 'n' Roll Hall of Fame on March 14. Springsteen had recently caught the new iPod commercial featuring the Irish rockers. "Now personally, I live an insanely expensive lifestyle that my wife barely tolerates," the old BSer confided to the audience of industry heavyweights, adding,
Now, I burn money, and that calls for huge amounts of cash flow. But, I also have a ludicrous image of myself that keeps me from truly cashing in. You can see my problem. Woe is me. So the next morning, I call up Jon Landau … and I say, "Did you see that iPod thing?" and he says, "Yes." And he says, "And I hear they didn't take any money." And I said, "They didn't take any money?" and he says, "No." I said, "Smart, wily Irish guys. Anybody—anybody—can do an ad and take the money. But to do the ad and not take the money … that's smart. That's wily." I say, "Jon, I want you to call up Bill Gates or whoever is behind this thing and float this: a red, white and blue iPod signed by Bruce 'The Boss' Springsteen. Now remember, no matter how much money he offers, don't take it!"
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Beautiful, sexy, and fascinatingly mean.