Bruce Springsteen as storyteller #TheologyOfBruce

photo asbury park     These are my notes from a March 8, 2014 workshop at the “UnQuiet Day” on “Bruce Springsteen: Prophet of Hope” with Bishop Douglas Fisher, Episcopal Diocese of Western MA, and Canon Rich Simpson. More information about the UnQuiet Day is here: http://www.diocesewma.org/unquietday/ Rich’s excellent sermon is here:  http://rmsimpson.blogspot.com/2014/03/meet-me-out-in-street-bruce-springsteen.html You can see some of the tweets from the day by looking at #TheologyofBruce
     I’m going to invite us to dance, because you’re killing me to play Bruce loud and not dance. Now, the invitation is to try to be embodied. If this terrifies you beyond death, go pretend to get a cup of coffee or go to the bathroom. But I want to offer you this, Episcopalians you are the ones who taught me to use my body in worship, to cross myself, to bow, to kneel. You are the ones who help me bring my whole body to worship. I think you can do this. You’re not Baptists. Dancing won’t lead to something else, I promise.
      Remember as Bruce says ‘It ain’t no sin to be glad you’re alive”
Kill the lights, cue “Dancing in the Dark.”
     Remember the trick to dancing is to move as if you are not anxious about how you look. You look better dancing if you’re not paying attention to how you’re dancing. and if you Close your eyes and no one can see you. Thank you. you are very brave.
     I come to you about Bruce, authentic Jersey Girl.  I can beat any of you at Skeeball if you want to play for money.
     After my senior prom, I borrowed my Mom’s burgundy Chevy minivan and headed down the Jersey Shore. I wore a brown dress to prom because I was deep and brooding. And it was the mid-1990s. If I could have found a plaid flannel dress I would have. We stayed up all night, had breakfast at 2am at a 24 hour diner, either the Rockaway Diner or Paul’s Diner, all gleaming silver. A place where you could get a plate full of disco fries, french fries covered in cheese and gravy for 3 dollars- it could fuel hours of conversation.
     After the prom,  we drove from The Skylands to Seaside Heights. You may know Seaside Heights from the MTV show Jersey Shore. It’s just as trashy now as it was then. We called it  Sleezside. It was an entire town, a stocked pond of teenagers full of hormones and Yuengling beer.
     I pulled my mother’s minivan up to the motel, The Flamingo. The “O” had fallen off the sign, so it just read “The Flaming.”  Two stories of doors open into a courtyard, with kids hanging off the railing, peering over a slightly green swimming pool. We had each paid something like $50 dollars each for a share of a bedroom.
     You know, a couple of marriages came from that senior prom. Tim is a cop, Maria is a teacher. They’ve got a kid and a dog and a condo in Red Bank that they can’t quite afford. A couple of those guys died young, drug overdoses. A few made it back from Afghanistan, but walk around dead. Many stayed in the NJ that formed us. And some of us left.
photo laura     I learned to love Bruce in part because I know his New Jersey, because he tells a story I can relate to, even if I didn’t live it.
      “Hey little boy is your Momma home, did she go and leave you all alone, oh no. I’ve got a bad desire. Oh Oh Oh I’m on fire.”  My hope in flipping the gendered pronouns is to hear how creepy this song is more clearly. If we were doing a boundary awareness class today or Safe Church training, some of Bruce’s songs would be our example of what not to do. I want us to take his music for what it is, and let it be what it’s not. I remember in seminary watching a professor try to make the case for Clement of Alexandria as a proto-feminist. Twisting and contorting, it didn’t quite work. At the outset, I want to give this disclaimer- I don’t think Bruce is great on women. The women in his songs have underdeveloped interior lives. Full grown women are reduced to “girls in their summer clothes.” They serve as the arm-candy for the men around them, “put your make up, on do your hair up pretty” or   There’s a little bit of the Virgin Mary/ Mary Magdalene dynamic where the women are either saints in Mary’s kitchen, or Roselita or Wendy being lured outside for the night or ending up in Maria’s bed. There’s not a ton of in-between. Frankly, it’s a little like Scripture- the women are there, but just barely and not very well developed when they make it into the story. Bruce is a Dude! I don’t think we can press him to be more than he is. But there’s a larger story, a story of devils and dust, of death and resurrection, of the promised land that I still believe is worth telling.
     Bruce may not be able to help us to think clearly into the full humanity of women, but I do think he gets us a lot. Bruce is really, really good on the interior emotional life of men, especially men who are being pushed aside as the world around them changes. He’s explored racial violence, police brutality and racial profiling in 41 Shots. He’s pressed us to think about returning veterans in “We take care of our own.” He pointed an anxious america to the humanity of gay male AIDS patients in “The Streets of Philadelphia.” He helps us process our grief following 9/11 and then Hurricane Sandy in “My City of Ruin.” And so much of Bruce’s songwriting invites us to think about class differences and economic injustice in America.
     I believe Bruce has cross generational possibility- My hometown, “Son, take a good look around, this is your hometown.” When I was preparing for this event, the Massachusetts Council of Churches 25 years old intern said “Why do a day on the theology of Bruce? Why not someone more contemporary, like Mumford and Sons?” But we don’t get the alt-rock, troubadour revival of Mumford and Sons without Bruce. Show me a hipster band or singer songwriter that doesn’t cite Bruce’s “Nebraska” album as a major influence. We don’t get the Decemberists, or Bon Iver, or St. Vincent, or Beck, or the Avett Brothers, or Ockerville River, or Neko Case without Bruce. And we don’t get Bruce without Pete Seeger or Joni Mitchell or Bob Dylan or Janis Joplin. We even see passing on of tradition within the E street band, as Clarence Clemmons’ solo were played on the last tour by his nephew. We are in the company of saints, an apostolic succession of rock history and Bruce is very clear of his place in the stream.
     I think Bruce has enormous cross generational possibility that could teach the Church something about collaboration across the generations. He both reaches back and looks forward in ways that ought to feel familiar to the Church. This is the same guy who records the Seeger Sessions as collaborates with the guitarist Tom Morello from Rage Against the Machine. Morello is 49- Bruce is 64. Morello first subbed for Steve Van Zant in 2008. If you’ve not heard Morello and Springsteen play “The Ghost of Tom Joad” at the Rock and Roll Hall of Fame, please do so immediately. Bruce is omnivorous in his music consumption too. At a concert last week in New Zealand, Bruce covered the New Zealand singer Lorde’s song “Royals” which just won song of the year at the Grammys. Lorde is 17.
     I learned of Bruce from my parents. I’m a second generation Bruce fan. My vinyl record of “Greetings from Asbury Park” first belonged to my Dad, who was raised in NJ. Bruce is just a year older than my Dad. Rick and Mary Everett are like something out of a Springteen song. (Tell the story of their meeting)
     Bruce is a cross-over figure: as someone who works on issues of Christian unity, between divided parts of the church, I have special admiration for those who stand in-between worlds. Bruce is an affluent straight white male who can still reach a working class demographic with his music. There’s sometimes a tension between the more liberal politics of Springteen that reach out ahead of where his middle-american fan base is.
      Bruce is story teller, a patron saint for preachers and evangelist. I think he can teach us lots about what makes for a good public narrative.  Hear Bruce’s own words about storytelling “…First of all, everybody has a memory when you were eleven years old and you were walking down a particular street on a certain day, and the trees—there was a certain wind blowing through the trees and the way that the sound of your feet made on the stones as you came up the drive and the way the light hit a particular house. Everyone has memories they carry with them for no particular reason and these things live within you—you had some moment of pure experience that revealed to you what it meant to be alive, what it means to be alive, what the stakes are, the wind on a given day, how important it is, or what you can do with your life. That’s the writer’s job…to  present that experience to an audience who then experience their own inner vitality, their own center, their own questions about their own life  and their moral life…and there’s a connection made. That’s what keeps you writing, that’s what keeps you wanting to write that next song, because you can do that, and because if I do it for you, I do it for me.” Can you hear the Gospel truth?
     For me, and maybe for others, Bruce teaches us a certain way to be adults. Messy, messed up, hopeful, human adults: In his words “Adult life is dealing with an enormous amount of questions that don’t have answers. So I let the mystery settle into my music. I don’t deny anything, I don’t advocate anything, I just live with it.”
     For Bruce, storytelling is a discipline: 2005 VHI Episode of Storytellers Bruce said “”Over 30 years, you internalize your craft, and the mechanics of storytelling becomes like a second language,” Springsteen says after singing The Rising. “You speak without thinking, like a second skin you feel with. So you pray to the gods of creativity and aliveness that you remain awake, and alert, and in command of your senses, so that when the moments arrive, you are ready.”
     There’s intention and craft to his performance: From a 2005 interview with British Novelist Nick Hornsby (High Fidelity, About a Boy): “There is a presentation and I think being aware of the fact that there’s a show going on is a good idea (laughs) (2). I think it fell into some disrepute when the idea of the show became linked to falseness in some fashion, which is a superficial way to look at it. It’s actually a bridge when used appropriately. It’s simply a bridge for your ideas to reach the audience. It assists the music in connecting and that’s what you’re out there for. I think if you do it wrong, you can diminish your work, but if you do it right you can lightly assist what you’re doing. It can be an enormous asset in reaching people with what might be otherwise difficult material.”
     What makes his story telling work? Let’s build a list:
 (the group gave ideas about what makes Bruce a good storyteller, things like authenticity, the particulars of his stories but the universality of his themes, honesty about how hard life is…)
      Let’s examine why Bruce’s storytelling works:
(at this point, we break into groups of 4-5 to closely examine Bruce’s lyrics. We had worked with the text of about 15 songs) Here’s an example:
——————–

Un-Quiet Day: Bruce Springsteen, Prophet of Hope  Saturday March 8, 2014  #TheologyOfBruce

Exegesis of Bruce

Your group’s task is a close read of Bruce Springsteen song lyrics as you might study a section of Scripture.  Imagine you are preaching or teaching with this “text” and answer the following questions:

  1. What is your thesis? What is the main message this “text” is trying to communicate?
  2. Where do you hear the “Good News” in this text?

IF I SHOULD FALL BEHIND (1992) Album’s version

  1. We said we’d walk together baby come what may
  2. That come the twilight should we lose our way
  3. If as we’re walkin a hand should slip free
  4. I’ll wait for you
  5. And should I fall behind
  6. Wait for me
  7. We swore we’d travel darlin’ side by side
  8. We’d help each other stay in stride
  9. But each lover’s steps fall so differently
  10. But I’ll wait for you
  11. And if I should fall behind
  12. Wait for me
  13. Now everyone dreams of a love lasting and true
  14. But you and I know what this world can do
  15. So let’s make our steps clear that the other may see
  16. And I’ll wait for you
  17. If I should fall behind
  18. Wait for me
  19. Now there’s a beautiful river in the valley ahead
  20. There ‘neath the oak’s bough soon we will be wed
  21. Should we lose each other in the shadow of the evening trees
  22. I’ll wait for you
  23. And should I fall behind
  24. Wait for me
  25. Darlin’ I’ll wait for you
  26. Should I fall behind
  27. Wait for me

Released on Lucky Town in 1992.

The song was played frequently during The Seeger Sessions Tour. Thanks to http://www.springsteenlyrics.com/ for the lyrics. 

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