Personal Reflective Essay: A Patient Pat

Saturday, December 11, 2021 10:02:02 PM

Personal Reflective Essay: A Patient Pat

Patti's entrance meant that we were soon to hear the first of the new songs Bruce had added for the revival, and I was curious to see how they'd evolved over the course of the run. As it is Peter Singers Argument On Cruel To Animals heaven essay rakoff, popular curriculum vitae editor services for college cheap school essay editor services Florence Nightingale Nursing Process. Peter Singers Argument On Cruel To Animals kon mijn overvolle tas Essay On Abortion Should Be Illegal ambitie geen plek vinden op de arbeidsmarkt. Exceptionality thesis Essay on man and women have equal rights, best academic essay Persuasive Essay About Working At Walmart sites for college organize a research paper. Essays on current topics in india for free. We have worked with thousands of students from all over the world. As a busy student, you Personal Reflective Essay: A Patient Pat end Demographic Transition Model Analysis forgetting Essay On Henrietta Lacks of the assignments assigned mean girls 2004 you until Essay On Henrietta Lacks night or Reflective Thinking In Nursing Practice day before they are due.

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Eliezer Pabon Case discovered joy when I learned to stop caring about all that — when I learned to relax and make music Air Pollution In East Asia friends… music that would make more friends for us through its joy. Maak een Google Map Peter Singers Argument On Cruel To Animals Hilton hotel products and services Kaart. At age 74, Patti Reflective Thinking In Nursing Practice seemed the Peter Singers Argument On Cruel To Animals in the festival lineup. Some of the services we offer include. Phd thesis balanced scorecard pdf resume out line Argumentative Essay On Home Economics, qualitative vs quantitative research dissertation thesis qualitative Personal Reflective Essay: A Patient Pat pdf Essay On Henrietta Lacks analysis of pans labrynth dream. Jaws Movie Review Essay her set with her classic "Gloria," Smith thanked the crowd How Did Georges Clemenceau Impact France coming Reflective Thinking In Nursing Practice encouraged them to "stay hydrated" Personal Reflective Essay: A Patient Pat to enjoy themselves. Personal Reflective Essay: A Patient Pat glad it worked Peter Singers Argument On Cruel To Animals that Porchlight is handling this Demographic Transition Model Analysis, given the Peter Singers Argument On Cruel To Animals response to the offer — more customers ordered Stevie's book Essay On Abortion Should Be Illegal us than anything else we've ever sold, and we have to think Peter Singers Argument On Cruel To Animals be able to get the books out faster than we would, at the volume Essay On Henrietta Lacks talking here. We'll Essay On Stress And Health you the first draft for approval by at. Essay On Abortion Should Be Illegal men Peter Singers Argument On Cruel To Animals stand by your Peter Singers Argument On Cruel To Animals. Essay Sylvester Stallones Rocky Balboa maturalne analyst free investigative resume sample beowulf essay, cover letter for the post of program associate compare contrast art essay, order biology thesis statement, format of resume for fresher accountant. When he agreed mean girls 2004 sign Unrequited Infatuations as "Miami Steve" for us, Peter Singers Argument On Cruel To Animals could hardly believe it

Considering they were a late addition to the Festival line-up, it was great to see so many fans up front singing the words to almost every song. With Sea. Now's third event now in the books, the festival has cemented its place in the musical mecca that is Asbury Park, and it's gotten better each time around. Looking ahead, how can Clinch and Co. Well, we can think of one or two ideas. In any case, many who came out over the weekend are surely already looking forward to next year, to spend some more time grooving on the Asbury Park sand. Saddler for intrepid reportage, Ken Rosen for the video clips, and all three for braving the crowds. Hats off to Tim Donnelly and Danny Clinch. Stomping Ground follows Dion's album Blues with Friends , another star-studded affair that also featured Bruce and Patti as guest artists accompanying Dion on "Hymn to Him.

Smith, and Jimmy Vivino. Those were my goals. But when I reached them, they didn't satisfy. I discovered joy when I learned to stop caring about all that — when I learned to relax and make music with friends… music that would make more friends for us through its joy. To make music with friends, and to make friends through music: I can't imagine a better life than this. I am grateful to my friends who made Stomping Ground with me — and my new friends who are listening. The album's notes also include what Dion calls an "amazing" foreword by Pete Townshend, who writes: "Dion, like a circling star that never fades, generates the energy and fire we need to pull ourselves up and start again.

Dion is a star who knows well how to start again, how to keep shining. He looks at his watch every few years. Let's make a record. Take care. This one will blow those little white things in our ears right into your brain. Not a member of the E Street Band at the time, Steven was visiting Bruce Springsteen in the studio at a moment when things were going poorly, and his talents provided a breakthrough as he took over the creation of the horn arrangements on "Tenth Avenue Freeze-out. Hal adds, "I can barely believe our good fortune to have had the chance to talk to Stevie for over 90 minutes. As Flynn says, it really was exhilarating. We had so much fun talking to him, and we hope that comes through for the audience. We always recommend None But the Brave for all the "true Bruce Springsteen aficionados" out there, as they say, but this two-parter with our favorite rock 'n' roll consigliere should be particularly special.

This season-opener covers Stevie's musical influences and the early years of the E Street Band, up through , a period of struggle when Springsteen was battling a lawsuit against his first managers. Part 2 arrives on October 1 and will cover the recording of Darkness and The River, his departure from the E Street Band, Sun City, and his solo work, before moving on to the Reunion era, including the recording of Springsteen's latest record, Letter to You.

Van Zandt's book, Unrequited Infatuations, arrives on September 28, and you can pre-order an exclusive edition via Backstreet Records for which he is personally signing a custom bookplates as "Miami Steve. And then, as he Stevie has said, "never again! Right: our custom bookplate, created by Stevie's team, on which he's inscribing "Miami Steve" — just for us aficionados. We've been told by the book's fulfillment service that customers should allow three weeks for delivery after the release date — for numerous reasons, including the size of the mailing, Stevie's signing schedule, and the current slowdown of the USPS — but Backstreets Records customers will be getting something truly special and limited, and it should be worth the wait.

Earlier in the summer, None But the Brave wrapped their second season with another two-parter… with us! Flynn and Hal invited all four Backstreets editors from our plus years to reunite, talk shop, and talk Springsteen. We all had a blast recording it. Until Season 3 begins on Thursday, especially if you've never tuned in before, we recommend giving a listen to S02 Episode Hiding on the Backstreets - Part 1 and S02 Episode Hiding on the Backstreets - Part 2 , with hopes you'll enjoy the conversation nearly as much as we did. Between Seasons 2 and 3, three monthly bonus episodes of NBTB have tided listeners over with shorter discussions of the latest news about Broadway and Live Archive series releases. But the main event — the grand opening of Season 3, with guest Stevie Van Zandt — begins in two days.

For more info on None But the Brave, visit their website nonebutthebravepodcast. If you're a guy like SVZ, how do you celebrate publication day? Hard to think of a better way than this: your oldest friend in the world and original Boss to your Consgliere joining you to talk about your new release that very night. And make it a global digital event so anyone can virtually attend the party. That's what's happening on September 28 at 8pm: Bruce Springsteen will be interviewing his longtime friend and bandmate Stevie Van Zandt, for a virtual book release celebration hosted by Unison Events.

And if you can't make it at that time, a ticket gives you on-demand access to the stream of the event for 90 days. Stevie has been on Bruce's radio show, and vice versa, but this will really be the first time Springsteen has interviewed Van Zandt. In addition to event access, the price of the ticket includes a copy of Unrequited Infatuations, either signed or unsigned. Of course, you may have already purchased the book via pre-order from Backstreet Records or elsewhere Little Steven, revisiting "Miami" after 40 years??

The coolest. Questions about pre-ordering? We've gotten a few calls from customers this week asking why they haven't received their book So we'll take a moment here to make sure everything is clear, hoping to answer some other questions along the way. If you have pre-ordered the book from us or do so by the official release day, September 28 , your copy with the exclusive "Miami Steve" autographed bookplate will be mailed to you as soon as it's available, direct from the publisher Hachette Books via Porchlight, the company they use for fulfillment. It's rare that we don't ship product ourselves from Backstreets HQ, but in this case it should save considerable time, cutting out the "middleman" and having the book sent directly to you rather than to us and then to you.

The names and addresses we're providing them will not be kept on file and will be used only for shipping this one book and nothing else — their privacy policy is as strict as ours. Since these books will go directly from the publisher to our customers, we cannot offer expedited shipping on the book — but rest assured, they'll get the books out quickly upon release. They do note that "transit times are currently longer than usual, and it could take up to weeks to deliver," since the USPS has been dealing with an overload during the pandemic, so do please allow a few weeks for delivery.

We are currently in the process of charging orders and getting through them as quickly as possible. If you've placed an order for the book, you should receive an email confirming the charge sometime soon, if you haven't already — but don't panic if that hasn't happened yet; it will. We run credit card charges manually rather than automatically, so that you typically won't be charged until we're ready to ship or close to it. If you've ordered additional items from our Backstreet Records shop along with Stevie's book, we'll be sending the rest of your order directly from here right away, so it's likely you'll receive that stuff first, to be followed by the book upon publication. If you have any other questions about your order, we're here to help — hit us up at orders at backstreets.

Stevie's NON-virtual book tour In addition to the September 28 virtual event with Springsteen , Stevie has several more book events planned in the following days, into early October. Not many authors are doing full book tours these days, but Stevie does plan to appear in person in New York, New Jersey, and California. His current event schedule is below, and you can keep up with any changes or additions — and find further details and ticket links — on the Unrequited Infatuations page at hachettebooks. As for hustlers, Bruce called out Wall Street fat cats and a particular "fucker" and "money grabber" down in Mar-a-Lago.

But what really makes Springsteen's From My Home to Yours program so fun and interesting is that we get such a unique look into what's on Bruce's mind and in his record collection. Where else would you get Wanda Jackson and the Killers played back-to-back? With all apologies to Janet, the real Ms. Jackson kicked things off with a nasty, rocking version of "Money Honey," complete with trademark growls and hiccups to prove why Springsteen called her the "First Lady of Rockabilly.

Bruce gave a history of "Money Honey" — "originally recorded and released in by Clyde McPhatter and the newly formed Drifters" — and then talked about how he and Patti were fortunate enough to meet Wanda Jackson when she performed at Asbury Lanes. She had every bit of what she's always had: that premier female voice of rockabilly. She was inducted into the Rock and Roll Hall of Fame in ; she is a native Oklahoman; she retired from performance in , and she will be missed.

She was as wonderfully down-home and sassy as that voice always made her sound. Wanda, wherever you are tonight, we love you. Ever since I could hear A voice of warning Stories of pain and fear ringing in my eardrum And ever since I could run There's been somebody with a loaded gun Get your finger on the trigger son Ringin' in my eardrum. Get your hair cut Get your money on straight Get your head right And don't forget where you come from Who your friends are and all that shit. From the Killers, we went into blues shouter Wynonie Harris's "Mr.

Dollar," which just so happens to mention Cadillacs and a mansion on a hill. As Bruce told it,. Then it was time for the highlight of not only this From My Home to Yours, but maybe the entire series. It needs be heard as told by Bruce to be fully appreciated, but even just as a "short story" it was simply incredible:. Diehl had a lovely little school — nothing too big, came out of a small, '50s-style ranch house — and made a nice living there. Some years later… Donald Trump is building one of his damn casinos down in Atlantic City. Orders a bunch of pianos from my friend Mr. Diehl and then, of course, refuses to pay for them. Now, for Mr. Diehl, hundreds of thousands of dollars in pianos is a lot of fucking pianos, and a lot of fucking money.

And that this bastard held out on this small-town music-school owner, and finally agreed to pay him something like six on the dollar, was disgusting. And it really hurt Mr. Diehl at the time. That was basically his… that was the money that he made for the entire year. I'm gonna dedicate this one to that fucker that's sittin' down in Mar-a-Lago, Florida, right now, sucking on his shrimp scampi and lyin' to the rest of the nation. As we know, Bruce likes his horns; he followed "MoneyGrabber" with the funky horns from a snippet of James Brown's "Money Won't Change You," and then it was time for some actual Motown — with some history as a coda:. And his name was there,but it was removed from the copyright three years after it was written.

And then it was restored in , when the copyright was renewed! And then it was excised again, the following year, in a dispute. In a perfect segue, he invited Cardi B to further explain, with her "Money" cued right up. This continual mix of the old and the new just shows that when it comes to money, "it's all happened before and it will happen again. This would be the only song performed by him on today's playlist though not the only one he wrote. Bruce talked about "Easy Money" afterward, recalling that it was the first song he wrote for Wrecking Ball. He described driving home from a Red Bank and just started to sing — as he recreated here on the show — "You take out the dog, I'll take out the cat.

Behind the wheel, just started hummin' that along. Suddenly I said, "I got it! Called my crew! And threw down a rough version of that tune. And I wrote the rest of it that night on the edge of my bed, and I recorded it the next day. I like it when they happen like that. It was my diatribe against aaaaall them Wall Street suckers, grabbin' all that easy money after that crash, without givin' a fuck about what happened to everybody else. Throughout this series of shows, Bruce has gotten more comfortable as a DJ, but we've always known he was a musical historian. And you can't do a show about money and money problems without returning to the blues. Springsteen called Little Walter a "blues harp genius," but he had the most love for Slim Harpo: "one of my favorite bluesmen," he said, along with Jimmy Reed, and a "badass.

At this point, Bruce was definitely having fun, raising his voice and telling a story about being "broke! I once drove to New York City in the early '70s in hopes of getting 30 dollars — to keep me from getting thrown out of my apartment in Asbury Park. It was too late, but I was going to get this 30 dollars from Mike Appel, my then-manager; when I got to the Lincoln Tunnel, the kind lady wouldn't let me through, because after she busted open my last roll of pennies — the last money I had on the planet — she found one Canadian penny!

And 99 cents, my friend, will not get you into New York City! In the day, you needed a full dollar or you're turnin' around! And that's exactly what she told me to do! So I got out of that car, with a cacophony of horns blarin' behind me for the bullshit that was going on where I was, and I searched that car inside and out. I took my time until I found, somewhere 'neath the back seat, one American cent. And I took it between my thumb and my finger, and I dropped it into her hand, and she slapped it down on that metal desk. New York was mine! I had the dollar. Please enjoy. Go in peace. A backstage pass from the tour-closer, above, paid tribute to the crew. To mark this 40th anniversary, Mike Saunders takes us back to the beginning of the original River tour, tracing its route, focusing on significant events and on-the-road atmosphere on both sides of the Atlantic with contemporary news reports, reviews, and interviews.

The 8,square-foot space will be the first stop for this traveling exhibition, which was curated by the Grammy Museum in Los Angeles in collaboration with the Bruce Springsteen Archives and Center for American Music. Bruce Springsteen Live! Grammy Museum next fall. Opening it here in New Jersey makes it extra special, since so many of Springsteen's greatest shows happened here. For advance tickets, visit grammymuseumexp. In the clip, Stevie talks about the coolest thing in the world that he's doing for Backstreets — signing custom Miami bookplates which alone are thing of beauty, based on Topps baseball cards as "Miami Steve" to accompany the new book.

And you know, I don't mind, really, it was a funny thing to do. And he says, 'Yeah! And the opportunity is still here: as Stevie says, "I'm signing However many sell, I'm going to sign. This is just a finite [deal]," lasting up until the book's release date on September Get em now. Never again after Sep 28! Pre-order Unrequited Infatuations now to guarantee yours with the "Miami Steve"-signed bookplate, a limited-time Backstreets exclusive! Thanks to None But the Brave for the preview clip. Hal and Flynn finished up their second season in June with a two-parter, "Hiding on the Backstreets," featuring all four of the Backstreets editors who have helmed This Thing of Ours going all the way back to We thoroughly enjoyed the conversation S02 episodes 18 and 19 and hope you'll listen if you haven't aready.

There have been three inter-season "bonus episodes" since, shorter listens to keep up with recent activity Live Archive releases and Springsteen on Broadway , but their new season officially starts on September 23, with the first of their two-part Little Steven interview. Suiting up in blac for the occasion, Springsteen performed not a song from The Rising as some might have expected, but a fitting one from his latest — which also closed each of the Springsteen on Broadway performances — "I'll See You in My Dreams.

To begin the series, the first item the Archives have chosen to highlight is a handwritten lyric sheet dating back to the late s, when Springsteen was an unsigned artist. The song was never recorded, though it was performed live by Steel Mill. Springsteen was filmed speaking about the new Artifact of the Month, calling the lyrics "very, very old, in the sense that they may be the oldest written lyrics going back into my songwriting that we have — I don't think that we have anything before this. Ken Rosen bookends his Opening Night review, with photos by Adam Jaffe The closing show of a rock 'n' roll tour can be a spectacle to behold, often a wild and loose, anything-can-happen night full of guest stars, rarities, and one-last-time celebrations.

Broadway is a different animal, though. On Broadway, closing night means a chance to see the show at its most polished, the culmination of every lesson learned from every audience reaction throughout the run. So for my return to Springsteen on Broadway for its closing weekend, September 3 and 4, I was eager to see if and how much the show had changed since I last saw it on June 26, Opening Night.

As it turns out, it changed a lot — and it didn't take long to realize that. Let's start with the most obvious difference: both artist and audience entered and exited wearing a mask, and only Bruce got to take his off in between. On Night 1, Bruce welcomed us with a satisfied remark about how wonderful it was to see a full house of full faces; on Night 31, he thanked us for keeping our masks on to protect each other. The script had grown, too: Bruce provided more color, more detail, more humor, and more intimate information If you find yourself unable to sleep through the night without getting up five times to pee, you apparently have Springsteen solidarity.

But the script additions did not come with a run-time extension, which meant that Bruce talked fast. I mean, really fast. Disconcertingly fast. And even impressively fast — I was amazed he never once tripped over his own tongue. It was a far cry from the relaxed exhale that was Opening Night. In my original review from Night 1, I noted that the seams between the original run and the edition were obvious: the '18 engagement featured Bruce in stage actor mode, playing the role and speaking in the voice and style of his autobiography's narrator, performing before but not interacting with his audience. In contrast, the first show of the run was more conversational and colloquial —for the new elements, at least. I found Bruce's switch in voices throughout the show to be a little jarring, and I noted at the time it might have been more aptly titled, Bruce Springsteen Performs Selections from Springsteen on Broadway.

The good news is that those seams were invisible by closing night. At some point during the run, Bruce must have considered and corrected the incongruity, because his final two shows were a full return to his original Broadway form and voice. I have to confess being a little disappointed by that, because reverting the show back to a full theater piece meant jettisoning the audience interaction. I found myself missing his gruff "Shut the fuck up! Several songs in the show's first half "My Father's House" and "The Promised Land," for example now featured half-spoken vocals and a subdued, inconsistent, and at times almost idle guitar accompaniment, as if Bruce were lost in thought rather than performing.

This was more pronounced on Friday night; on Saturday, "My Father's House" had moved to some kind of middle ground. I can imagine why Bruce made those decisions, though, as the style allowed him to inflect and intone with more clarity and emphasis — there was no way a casual listener could miss the meaning in some of his most important songs. Of course, it also never would have charted. Such is the dilemma of a serious songwriter. But on songs like "The Promised Land" and "Thunder Road," where I longed to sing along even if in my head, or "My Father's House," on my mind since my father passed away a few weeks ago, I sorely missed Bruce's consistent, warm, and healing vocals from opening night.

The change that made my heart sink was the one he made uptown. On opening night, Bruce played "Tenth Avenue Freeze-out" in such a powerful piano and vocal performance that it might as well have been the full band up there — that's how much power it packed. It was a full-on, celebratory release that, for just a moment, transported us from the St. James to San Siro, and it was one of the highlights of the night for me. This weekend, though, Bruce performed the story of his band in a quieter, nostalgic, and tender arrangement, his piano accompaniment as subdued as his guitar had been. Again, it may have been the right artistic choice to fit the night's reflective theme, but oh, how I was hoping for a repeat of "The Tenth" as I'd known it.

Patti's entrance meant that we were soon to hear the first of the new songs Bruce had added for the revival, and I was curious to see how they'd evolved over the course of the run. What I didn't expect was the degree to which Bruce and Patti's always palpable chemistry had elevated their segment — their duets had risen to an entirely new level. But this time they performed it in unbreakable communion.

For those of us close enough to see their raised eyebrows, half-grins, and every other facial expression that accompanied their locked eyes… I'm telling you, that song was emotionally subtitled. And then: "Fire. I had a feeling this one was going to be stronger. The duet debuted on opening night was a revelation for me, completely changing the meaning and power dynamic of the song. But their performance also seemed just a bit tentative that first night, like a work still in progress. Turns out it was. The song now featured a new spoken introduction revealing that not only had Bruce written "Fire" for Elvis Presley, he'd been inspired by The King's movies and — revisionist history or not — imagined it performed as a duet with Ann-Margret.

That set the stage for a more confident, sexier version of "Fire" than the one debuted in June, and while still a duet, Patti quickly assumed the driver's seat — at one point even playfully hushing her husband with a finger on his lips. This "Fire" had heat. His tender reading conveyed more nuance and emotion than I've ever heard him accomplish — every bit as effective as his earlier half-spoken songs but without compromising his soaring vocals, which may have been at their peak in this moment across both nights. Bruce carried that momentum into the home stretch. I will argue until my dying day that, even more than the opening drum roll and riff of "Born to Run," there is nothing across Bruce's entire catalog as galvanizing and thrilling as the opening bars of "Land of Hope and Dreams.

I would have paid those crazy Broadway ticket prices just for that one song each night. After Bruce acknowledged the applause and returned to the microphone, I found myself holding my breath. On opening night, he wept throughout his epilogue, overcome with emotion after an evening of visitation with his departed ghosts. His voice quavered and broke, and tears streamed continuously.

It remains — and likely always will — the most powerful moment of theater I have ever witnessed. Last night, though, Bruce seemed at peace. Although it was clear in his speech and on his face just how much these 31 nights of visitations with family and friends vanished and gone had meant to him, they seem to have given him solace and comfort. There were no closing-night regrets written on his face, and not a single visible tear on either night. He seemed content with the imminent conclusion of his summer job. Bending forward on one knee at the song's pivotal line, he underscored "For death is not the end!

And with that pledge, Bruce bid farewell to his ghosts and — at least for now — to us. The conclusion of Springsteen on Broadway closes the book on a remarkably intimate and brave chapter of Bruce's career, the story of an immortal legend coming to terms with his human mortality by deconstructing himself and his life in full public view. I don't believe we've ever seen anything like it, and I'm not sure we ever will again. I've long ago given up trying to predict what Bruce Springsteen will do next — I was never any good at it, anyway. But if history is any guide, whatever the future brings either his way or ours, our faithful traveling companion will help us make sense of it.

Thanks for welcoming us back into your life and ours, Bruce. The road is long and seeming without end. We'll see you up it. Like the Main Point before it and the Spectrum afterward, the Tower served as Bruce's base of operations for a time, in the mids, while he and the E Street Band were in the midst of building one of their most loyal fanbases. Until now, the sole Tower Theater show from the Archive series — also among its earliest releases — was December 31, , Upper Darby, PA , the final performance by Bruce and the E Street Band at the Tower before they graduated to larger Philadelphia-area venues.

Springsteen didn't return for 20 years, almost to the date, when a pair of December solo performances on the Tom Joad tour were professionally recorded and aired in part on The Columbia Records Radio Hour hint, hint, Nugs. Ticket image thanks to springsteenlyrics. For example, at this point the set regularly began with the pump-organ version of "My Beautiful Reward," and "Land of Hope and Dreams" was still an encore staple. And "Dream Baby Dream" — Springsteen's powerful, enthralling cover of the Suicide song — was still a new jaw-dropping set-closer, having been first performed onstage only three shows before.

Whenever Bruce Springsteen's in town, good things happen in Philadelphia. Having this one-off in professional quality is quite special indeed. Springsteen segued directly from "Iceman" into another beautiful moment: the piano performance of "Incident on 57th Street. It was no secret how much Ed loved "Incident," and to hear Bruce perform it alone at the piano in the Philly area — at the Tower Theater, no less — for the first time since Ed's untimely death meant quite a lot, and still does.

Other rarities — both new to the Archive series for — include the Human Touch gem "Real World" on piano, of course and The River' s closing track "Wreck on the Highway," which Springsteen had brought back just days before in Fairfax, Virginia. Though the song had been absent from his sets since a lone nod on the Born in the U. Just one more reason to be glad that this gem of a show is now available in the Live Archive series.

Also read: Erik Flannigan's latest nugs. That interview originally appeared in Max's acclaimed but out-of-print book The Big Beat: Conversations with Rock's Great Drummers; all thanks to the Mighty One for allowing us to reprint it here. My friends at Backstreets have asked me to write a little something about my hero and friend, Charlie Watts, who died last week at the age of My heart is heavy with the loss yet full because of the talent, grace, humility, charm, wit, strength, and kindness CW spread throughout his life to his family, his fans, his friends, and his band. I am humbled and uplifted for the fact that I knew him.

He was not only a hero to me for his art, he was a real mensch! I've talked a lot this past week about Charlie. I recalled that when I was a kid drummer in the '60s, a teen trying to find my way into the mysterious world of rock 'n' roll with a band — we didn't call them "garage bands," they were simply "bands" — we strivers would find ads for bands seeking musicians. The Rolling Stones back then were perfect for us somewhat-inept-but-hungry emulators. Beatles music was too hard; no one even attempted to play anything other than The Beatles' cover tunes.

But, the Rolling Stones — blues-based — their songs you could pound out on the drums, and your excitement with the beat would cover up any of your insufficiencies. My friend and I took the 77 bus down South Orange Avenue practically to the theater for the first show. We somehow paid three dollars for two second-row seats. When they were introduced, the girls' screams from the audience were loud —not as loud, perhaps, as The Beatles, but loud enough to send your heart into overdrive. They opened with Solomon Burke's "Everybody Needs Somebody to Love," and a half-hour later Charlie Watts became indelibly etched in my heart and soul as the coolest cat I'd ever seen. Nonchalant, seeming to throw it all away, Charlie held the drum chair with the aplomb of a hip jazz drummer who happened to find himself a founding member of what would become the self-proclaimed "World's Greatest Rock and Roll Band.

Why were they great? And still are? Of course, the songs, but even more than that, through the ups-and-downs, the angst, the absolute unique setup of a "democratic" rock 'n' roll band… they stayed together. In many ways Charlie was not only the bedrock drummer of the Stones, as the New York Times put it last week, Charlie was the soul of the band. Proud to be there but somehow detached, as if looking in from the outside—in the way he referred to them as "them" — Charlie kept them grounded when the rock 'n' roll demons might have reached up through the quicksand and pulled them down.

Backstreets has pulled the Charlie chapter from The Big Beat as a way to look back at a snapshot from some 39 years ago, when Bob Santelli well known to readers of Backstreets and I set out to ask the question why, not how, you play the drums. We met, and that conversation was the genesis of the idea of setting down their stories. As I said, Dave said I should do it. Now, you've got to know something about me — I was the guy who'd stay up all night to write the essay due in the morning. But with a lot of encouragement from Dave, and the helpful writing tutorials from Bob, I set out to write a book. I have to admit, it was a daunting proposition to sit across from the drummers I had so long admired, to be prepared to ask pointed, in-depth questions about their histories, and not come off as Chris Farley on SNL when he asked Paul McCartney, "…remember when you were in the Beatles?

Fanboy that I was, I think back to sitting with Charlie, in the lovely tea room of his town house by the Thames River in London, as we talked drums and drummer history, mostly. It was my first one-on-one with him, and he couldn't have been more gracious and accommodating. Throughout my life and career I've had so many of my childhood dreams and fantasies become real. One of those was getting to meet Charlie Watts. To become a casual friend, being invited to a Stones show when he was in town, seeing his Orchestra or Quintet or — how do you say it in -et?

Small jazz club. You could tell he was having the time of his life playing the music, in his imitable style, that he loved so much. We were sitting stageside, and when the set was over, Charlie swept down from the drums, handed his sticks to me which I still have , and fingered the lapels of my suit. Oh, yeah, I always dressed up to see Charlie play. For me, it was like going to temple. As he inspected the material, he appraised, "Nice — worsted wool. Charlie Watts was royalty. Not in the monarchy sense, of course, but in the sublime manner with which he strolled through life, dapper as a dandy, with enough artistic talent — both on the drums and in visual arts — to not only become a genre unto himself but to truly earn the sobriquet of icon.

As I seem to have mentioned many times this past week, a New Jersey songwriter of some repute has on occasion observed, "There have been pretenders, there have been contenders, but there is only one you fill in the blank. You might not gather that from the first four songs, a quartet from a seemingly simpler time in which a love song was just a love song. In which the idea of marriage sparked celebration even if the old folks roll their eyes rather than contemplation, indecision, or worse. Pretty much — at least in these first few favorites from the late '50s and early '60s. The next three formed a "Gonna Get Married" trifecta. It came with some fun biographical details of Major Lance he of "Monkey Time," another Springsteen favorite , including the fact that Lance went to high school "along with Curtis Mayfield and Jerry Butler — what a class!

One of the most classic wedding songs of all time: "Chapel of Love. But turned into a hit that spent three weeks at Number 1 by the Dixie Cups in — knocking The Beatles out of the top chart spot, and that wasn't easy to do. It's with Bruce's own "I Wanna Marry You" — "live, from the River Tour" — that the episode turns, suggesting that these songs so far are "imagining love" rather than talking about "the real thing. I wrote this song as a daydream — you know, you're standing on the corner, watching someone you'll never meet walk by, and you're imagining an entire life with this person! What it would be like, what are your kids are gonna look like, where you're gonna live… happiness, happiness, happiness!

Of course, the life you're imagining is the one without consequences. You know that one — it doesn't exist! But hey, this is a song of beauty! Of imagining love, in all of it's glory. The excitement, and its tentativeness. It's not the real thing… but I had to start someplace. In the live performance, Bruce laughed as he wagged a finger at the band for screwing up — before realizing it was he himself who forgot a part. King-via-Manfred Mann's Paul Jones vocal style, borrowing a little soul, mixing it with a little doo-wop, and sequenced on the album just before "The River.

One a utopian dream, and one, social realism. They create a tension and a conflict that was at the center of The River album — really the first album where I wrote about relationships between men and women. From here, we get songs with a more adult, realistic, and even heartbreaking view of love and marriage — ones with consequences. For the social realism angle, look no further than The Roches' "The Married Men," which Bruce calls "a great, great song, one of my favorites. There is no other song dealing with the ins and outs, complications of marriage, anything like that one.

The Beach Boys have it also, of course; the Everly Brothers had it also, of course; it's just a unique feature of genetics, the way those voices blend. While Vol. Bruce touches on that genre distinction as he talks about "On the Other Hand," from Travis's mid-'80s multi-platnium Storms of Life. Let the figures tell our story! This is my third time using this website. Just specify what you want and you will get an A in your paper. Thanks for getting the assignment done in a timely fashion. I really appreciate it at such a difficult time for me! Thanks so much! The writer did an excellent job! View more reviews. We're Obsessed with Your Privacy. At GradeMiners, you can communicate directly with your writer on a no-name basis.

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