In honor of the 15th anniversary of the The Rising, I listened to Bruce Springsteen’s 9-11 album several times on my recent drive from Mechanicsburg to Princeton and back.
I have written about The Rising several times here at the blog. Here are some of those pieces:
“Rise Up: Springsteen in Pittsburgh” (September 13, 2016)
“Why September 11 is About Vocation” (September 10, 2011 and September 11, 2014)
“Bruce Springsteen’s Spiritual Vision for America” (March 6, 2012)
Many of themes I wrote about–vocation, calling, courage, faith, hope, community, loss and tragedy–continued to resonate with me as a drove down the Pennsylvania Turnpike.
“May your strength give us strength
May your faith give us faith
May your hope give us hope.
May your love give us love.”
Over at Salon, David Masciotra reflects on the 15th anniversary.
Here is a taste:
“The Rising” demonstrated that Springsteen, already an uncontested legend, and his band, already one of the best in rock history, were not merely a classic rock expression of nostalgia. They could adapt to a rapidly changing world and musical landscape, even in the worst of circumstances and with the most brutal of muses, and provide music that sounded and felt built for the present.
Springsteen has often explained that he aspires to write songs with “blues verses and gospel choruses.” “The Rising” maximized that formula. “Lonesome Day” — one of Springsteen’s best songs — rocks with abandon, even while integrating country elements into its introduction and musical break, to describe a scene of devastation. “House is one fire / Viper’s in the grass . . . ” Springsteen sings. The chorus offers a secular prayer of revivification: “It’s alright, it’s alright, it’s alright, yeah!”
The simplicity of Springsteen’s faith claim that somehow, even if it is hard to imagine, everything will turn out alright is another force allowing the record to transcend its historical inspiration. “The Rising,” an anthem of life, death and love giving an awe-filled depiction of how firefighters moved through what Springsteen calls “secular stations of the cross,” soon became the campaign theme for Barack Obama’s campaign. “My City of Ruins,” making great use of music similar to Curtis Mayfield’s “People Get Ready,” describes communal destruction and individual despair before a chorus of “Come on, rise up!” Its message of social uplift caused it to resonate in New Orleans after Hurricane Katrina, and Christchurch, New Zealand, after the city suffered an earthquake in 2011.
Before playing “My City of Ruins” at a benefit for 9/11 survivors and family members in Red Bank, New Jersey, Springsteen said, “This is a song I originally wrote for Asbury Park. You write songs, and you hope that they end up where people need them. So, this is a gift from Asbury Park to New York City.”
The man in the parking lot was right. It seems that people will always need the songs of “The Rising.” When a friend takes her last breath, when a spouse slips away, when a natural disaster leaves a city in ruins, or when the victory of an unqualified, bigoted demagogue turns a national election into a lonesome day, Springsteen’s exploration of human tragedy and triumph — from the funeral of a lover to the house party of a friend — will inspire those in need to drop the needle and pray.
After Springsteen sings “I drop the needle and pray,” near the end of “Mary’s Place,” the Alliance Singers, a New Jersey gospel choir formed in the wake of 9/11 and personally recruited by Springsteen for “The Rising,” shout with church fervor and ecstasy, “Turn it up!”
That’s as good advice as any.
Read the entire piece here.