How do you carry your sins? We just assumed everything could sound huge. We were always pulling things apart. I had a big junkyard of stuff as the year went by. Part of what pop and rock promised was the never ending now.
Right now. You need to be alive right now. For those 3 minutes it was all on. All of a sudden you were lifted up to a higher place of living and experiencing and there was this beautiful and ever present now. I go back to most of my writing before greetings and most of it seems terrible to me. Your writing lots of bad words and bad verses..
Hopefully that increases and develops.. Nothing exists in that space until you go 1,2,3,4 VOOM. You and the audience together manifest an entire world. An entire set of values. An entire way of thinking about your life and the world around you.
An entire set of possibilities. That can never be taken away. Or whatever is in there is sort of gestating. I think what happens is you move in and out of different veins.. I felt like It was something I was going to have work at very hard to do well.
Both are fascinated by the ways that adolescence and memories of adolescence continue to have incredible power for adults. Both are amazing at crafting bridges that take already good songs to another level. And both write songs featuring fictional people whose lives are sketched in via tiny, intimate details that stand in for their whole selves. Both songs continue to stand as touchstones for who the artists were at that point in their lives. But leave this comparison aside for a moment.
Springsteen and Swift each entered the music industry as young wunderkinds with lots to prove. He had been playing in bands all around New Jersey for most of his teens, and signed a record deal with Columbia Records at Springsteen quickly flaunted those expectations, assembling a group of musicians who would go on to be known as the E Street Band, in the name of creating a sound that captured a massive, orchestral blast of rock. She released her debut album, Taylor Swift , when she was just 16, and it featured songs that she had written as a freshman in high school.
Both broke the artists through to even wider acclaim than they had before. Springsteen grew up in a blue-collar family in New Jersey, while Swift is the daughter of a former Merrill Lynch stockbroker who could afford to move the entire family to Nashville, Tennessee, when his daughter showed a talent for songwriting. Swift has no such perspective. Her songs take place largely in a wistful world where money is rarely an object.
And the artists came of age in very different political climates, too. But the political divide has narrowed in recent years. Swift has taken a recent turn toward more political topics — particularly social justice issues involving the mistreatment of women and LGBTQ rights.
That turn stems from her struggles to differentiate herself as an artist in an industry that routinely turns young, beautiful women into disposable products, wringing out of them a few years of hit singles and then tossing them aside. Her embrace of the ways her growing sense of extremely white feminism helped her attain more artistic control over her image has slowly but surely led to a greater understanding of the yawning disparities inherent to the US.
She is more tapped into the ways that power is unequally distributed throughout American society and increasingly speaks out to that effect. And the reasons for that disparity go well beyond any artistic differences or similarities they might possess. The most obvious difference between the reception of Springsteen and Swift is also the most obvious difference between the two of them as people: He is a man, and she is a woman.
All shows sold out virtually immediately. Nebraska an acoustic album that explored as one critic put it, "the lives of those left behind by the American Dream," came along a year later. The album led to an amazing sold-out global stadium tour, stamping the artist in the process as surely the world's greatest rock attraction. In succession came more albums, including the three-CD collection Bruce Springsteen and the E-Street Band: Live , which entered the charts at number 1.
The next album, Tunnel of Love , preceded the break-up of the artist's first marriage. Later, Springsteen married his former back-up singer, Patti Scialfa, with whom he has three children. In , following several years of self-imposed exile from the recording spotlight, Springsteen released a pair of albums, Human Touch and Lucky Town both without the hard-driving back-up of the E-Street Band. The albums entered the charts at number 2 and 3 respectively.
The tour that followed played to virtually all sold-out houses, including 11 sold-out shows at the Meadowlands Arena with a total attendance of , A year later, Springsteen achieved another career high point with his haunting song, "Streets of Philadelphia," the theme to the film, Philadelphia.
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