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Friday, November 02, 2012

Springsteen and The E Street Band Close Hurricane Sandy Benefit w/ Land of Hope and Dreams

by Gregg Chadwick

 

NBC broadcast a fundraiser tonight to raise money for hurricane relief for the communities hit hardest by Hurricane Sandy. (If you are on the West Coast the event will be re-broadcast across NBC and its affiliated networks including MSNBC starting at 8pm.)
To donate, visit RedCross.org or iTunes.com/redcross; call 1-800-HELPNOW or 1-800-RED-CROSS; or text "REDCROSS" to 90999 to make a $10 donation.

The telethon, Hurricane Sandy: Coming Together, was hosted by newscaster Matt Lauer and included poignant performances by Staten Island's Christina Aguilera, New Jersey's Jon Bon Jovi, and Long Island's Billy Joel, as well as Steven Tyler with members of Aerosmith, and Sting. 

 Bruce Springsteen and the E Street Band closed the event with a powerful rendition of Land and Hope and Dreams from his most recent album Wrecking Ball. Bruce dedicated the song: "We're gonna send this out to the people of NY and NJ, and to all those who put their lives on the line with their service this week. This is Land of Hope and Dreams." Then he and the band tore into a crisp five-and-a-half minute rock n' roll train ride across the desolated Jersey shore. A powerful performance that spoke more of rebuilding and moving on than it did of sadness and reflection.  

If you have not read my piece on this song, which I  wrote in March upon the album's release, I have re-posted it below:


Land of Hope and Dreams
(Song by Song Review of Bruce Springsteen's New Album - Wrecking Ball)

People get ready, there's a train a-comin'
You don't need no baggage, you just get on board
All you need is faith to hear the diesels hummin'
Don't need no ticket, you just thank the Lord
-Curtis Mayfield, People Get Ready


Central Railroad of New Jersey Steam 4-6-2, Jersey City, New Jersey, February 06, 1954 


My grandfather on my mother's side spent his working life as a train engineer on the Jersey Central Line. That itself sounds like a Springsteen lyric and explains part of my great love for Land of Hope and Dreams.  Bruce Springsteen and the E Street Band first performed the song during the reunion tour in 1999, a live version was released on  Live in New York City in 2001 and also on The Essential Bruce Springsteen in 2003.  



The version of Land of Hope and Dreams featured on Wrecking Ball is the first studio recording of the song and poignantly includes one of the last recorded performances by E Street Band saxophonist Clarence Clemons, who died in June 2011. 

The inclusion of this song at this point in this album is cathartic. Up to now, hope has been yearned for in Wrecking Ball, but fear and doubt have threatened to overwhelm the lives of those living in the songs. 

The album version of the song begins with a soloist from The Victorious Gospel Choir spiritualizing an echo of Curtis Mayfield's People Get Ready:

Oh, Oh, Oh, This Train

The full choir joins in with banjo and organ accompaniment:

Don't you want to ride?
This train, this train, this train,
Get onboard, Get onboard, Get onboard

An August Dream

Gregg Chadwick
An August Dream
20"x36" oil on linen 2011

Curtis Mayfield's People Get Ready was directly inspired by the Civil Rights March on Washington in August 1963 and Martin Luther King Jr.'s I Have A Dream speech which was given from the steps of the Lincoln Memorial at the event.

By using the metaphor of the train of salvation, Mayfield's inspiring song continues a tradition of American folk music that began with African American Spirituals referencing the Gospel Train and the Underground Railroad that was then continued by Woody Guthrie and Johnny Cash.  As Juan Williams writes for NPR:

"The train that is coming in the song speaks to a chance for redemption -- the long-sought chance to rise above racism, to stand apart from despair and any desire for retaliation -- an end to the cycle of pain."

The amazing thing that speaks to the depth of Springsteen's inspiration is that we are only 30 seconds into the studio version of Land of Hope and Dreams and this much history has been evoked. 

I suggest that you put on a pair of headphones and listen to the song with the music up loud because at this point the musical train thunders in with rumbling guitar, drums, mandolin and swirling keyboards. Every time I listen to this moment in Land of Hope and Dreams, I remember a photo of me as a little kid standing next to my grandpa Desch as he guides a Jersey Central steam engine down the tracks. It was in the 1960's, but the photo is in black and white tones that give the image a timeless quality that hovers somewhere between memory and dream. 

Springsteen urges us onboard:

Grab your ticket and your suitcase
Thunder's rolling down this track
You don't know where you're goin' now
But you know you won't be back
Darlin' if you're weary
Lay your head upon my chest
We'll take what we can carry
And we'll leave the rest

Well, Big Wheels roll through fields
Where sunlight streams
Meet me in a land of hope and dreams



JMW Turner
Rain, Steam, and Speed - The Great Western Railway
36"x48" oil on canvas 1844
National Gallery, London


I will provide for you
And I'll stand by your side

I also think of my Dad's parents and the time we took a road trip deep into the South during the Civil Rights era. At a road stop somewhere along I95, in Georgia I think, my Grandma Chadwick saw me staring at a crude racist, epithet scrawled on a sign. She put her arm around me and said to me "Don't mind about those words. Those words aren't true. God loves everyone one of us - equally."
It was one of the first, and one of the best lessons about civil rights and equality that I have ever learned. 

As Springsteen sings:



You'll need a good companion now for
This part of the ride
Leave behind your sorrows
Let this day be the last
Well, Tomorrow there'll be sunshine


And all this darkness past


I think of the more recent past and how much I needed to hear this song when I saw Springsteen and The E Street Band on the Reunion Tour in 1999. I took BART in from San Francisco to Oakland with a copy under my arm of Eric Alterman's recently published, It Ain't No Sin to be Glad You're Alive: The Promise of Bruce SpringsteenOn the train over, I read the epilogue about a new song that Springsteen had written which was the initial live version of Land of Hope and Dreams. A relationship that I had thought was real was ending and I found myself in a place similar to the despair found in Michelle Moore's rap in Springsteen's Rocky Ground. I needed to get on board. That night in Oakland, my faith was rewarded in Land of Hope and Dreams. I was one with the crowd and the band carried us along.



Clarence Clemons and Bruce Springsteen
from the Born to Run cover shoot
June 1975
photo by Eric Meola


The next time I heard the E Street Band play Land of Hope and Dreams, the whole country needed the spirit that Springsteen's music at its best can provide. The Rising, with its call to national unity after the horrors of the September 11 attacks had been released in July 2002 and a month later I stood close to the stage by Clarence Clemons throughout the entire concert in San Jose. I had met Clarence at a private dot com gig in San Francisco a few years before and warmly remembered the giant hug he had given me after the event. In San Jose, during the bands homage to Amadou Diallo - "American Skin", Clarence Clemons' face was streaked with tears as he intoned the refrain "41 shots". The music roared that night. The crowd around knew the words to every song and sang them as if their lives depended on it. And maybe they did? 



That August night in San Jose, the concert ended with a gospel fueled, steel engined, crowd propelling version of Land of Hope and Dreams. Now as I listen to the recorded version, with my headphones on and the music up loud, I can still see Clarence but the tears are mine as I listen to his last sax solo. 

This Train
Dreams will not be thwarted
This Train
Faith will be rewarded
This Train
Hear the steel wheels singin'
This Train
Bells of freedom ringin'

As Clarence Clemon's last recorded solo fades, Springsteen slides into Curtis Mayfield's People Get Ready. As the train pulls into the final station, The Victorious Gospel Choir joins in with a musical epitaph for the Big Man.




All lyrics from Land of Hope and Dreams -  Copyright © Bruce Springsteen (ASCAP)

Debris In Belmar, New Jersey After Hurrican Sandy Inscribed With Lyric From Bruce Springsteen's Song Sandy
Photo Courtesy Backstreets Magazine




To donate, visit RedCross.org or iTunes.com/redcross; call 1-800-HELPNOW or 1-800-RED-CROSS; or text "REDCROSS" to 90999 to make a $10 donation.

Sunday, April 01, 2012

Image and Music


by Gregg Chadwick


In response to Spring for Music's Round Two query in the 2012 Great Blogger

Challenge:

We live in an aggressively visual age; images dominate the popular culture. 
But which art form has the most to say about contemporary culture, and why?




Tokyo Streets
photo by Gregg Chadwick 




The dense visual language of the Tokyo cityscape immediately came to mind when I considered Spring for Music's second query in the 2012 Great Blogger Challenge.
The visual cacophony of signs and images that line the streets of the city's shopping districts provide a visual metaphor for the images that threaten to overload us each day as we turn on our computers and televisions. But do images themselves say more than other art forms about contemporary culture? The uncertainty and ambiguity often found in our 21st century lives calls for a rich cultural exploration that images may only hint at.   

When presented with an image, most people begin a process, which is often involuntary, of decoding. The mystery of the moment is often disregarded as we search for meaning as we engage in a kind of mental translation. Who or what is depicted? Should the viewer smile or cry? Would I like to possess this thing, person, moment? 

Perhaps if we look through a few photographs we can get a sense of  the problem at hand. The photo below is often confusing to individual viewers. What is happening here? Is it a sort of photoshopped collage? Without text or a caption it is difficult to pull meaning from the image.  




Context helps in the understanding of the image. I took the photo at the Ghibli Museum outside Tokyo, where the life and work of the amazing Japanese animator Hayao Miyazaki is celebrated. 

It is true that we are bombarded daily by imagery. What is often missed is that this phenomenon is nothing new. For example, Lucas Cranach's copy of Hieronymous Bosch's Altarpiece with the Last Judgement provides a cornucopia of beatific and horrific imagery all at once.



Lucas Cranach
Altarpiece with the Last Judgement 
(copy of Hieronymus Bosch's triptych)

  c.1524
Gemäldegalerie, Berlin 
photo by Gregg Chadwick


A closer look at a detail of Cranach's painting presents symbolic messages that simultaneously dazzle the eye and imply a sonic landscape for the ear.





Lucas Cranach
Altarpiece with the Last Judgement (detail) 
(copy of Hieronymus Bosch's triptych)

  c.1524
Gemäldegalerie, Berlin 
photo by Gregg Chadwick



While images tend to be viewed individually or with a small group, the experience of music may be more communal. Composing is often a solitary process, but performance usually involves a give and take between musician and audience.  






Image and Music in Venice, Italy
photo by Gregg Chadwick



In this communal aspect, music has a lot to say about contemporary culture. 

Music has the ability to move us to a communal expression of hope in the face of trouble and, for at least a moment, a rush of joy. This musical rush is akin to the shared glory that spectators feel as their team triumphs on the sporting field. The philosophers Hubert Dreyfus, from UC Berkeley, and Sean Kelly, from Harvard, speak of this Homeric feeling of wonder and gratitude in their marvelous book, All Things Shining:
'There are moments in sport - either in the playing of them or in the witnessing of them - during which something so overpowering happens that it wells up before you as a palpable presence and carries you along as on a powerful wave. At that moment there is no question of ironic distance from the event. That is the moment when the sacred shines."
Like the fans at a Giants football game, the crowd at a concert also gets swept up in a joyous, sacred expression of shared hopes and dreams that hard times cannot defeat.
U2 has used their music to reflect upon contemporary global events. Drawing on the troubles in Northern Ireland, they addressed the contemporary issues in Iran. Audiences responded.


U2 performing Sunday Bloody Sunday during their 360 degrees world tour at the Rose Bowl on October 25th, 2009.

As the song Sunday Bloody Sunday opens, U2 scrolls the lyrics from the Rumi poem Azadi. The word Azadi itself simply means Freedom. U2 supported Artists 4 Freedom by using the Rumi poem which provides the lyrics to Dj Spooky and Sussan Deyhim's track, Azadi (The New Complexity). U2's multimedia screens mash together the lyrics to Azadi along with photos of the protestors in Iran and artworks by Shirin Neshat. I too was inspired and painted Neda the day after her murder in Iran.


The Call - ندا -Neda

Gregg Chadwick
The Call - ندا -Neda
36"x48" oil on linen 2009

Bruce Springsteen's most recent album Wrecking Ball is a scathing indictment of the current state of American society. This album weaves together history, politics, and contemporary societal issues to create a powerful musical expression that challenges and then ultimately unites and ignites his audience. The powerful songs on this album have inspired me in relation to image and meaning.




Gregg Chadwick
Call and Echo
24"x18" oil on linen 2011 


Living Colour's version of Springsteen's American Skin (41 Shots) is a heartbreaking song that honors the senseless death of Amadou Diallo at the hands of the NYPD as he reached for his wallet in an attempt to placate a group of undercover cop's demands. More than once, because of this event, I have told my son, "If an officer stops you - Promise me, you always be polite. And that you'll never. never run away. Promise that you'll always keep your hands in sight."


The death of Trayvon Martin has obviously weighed on Bruce Springsteen and his audiences this past week in Tampa, Boston, and Philadelphia. During three consecutive shows, the band played American Skin (41 Shots) and Springsteen released the professionally shot video on his website along with the lyrics to the song. On Wednesday night in Philadelphia, Springsteen dedicated the song with the words, "This is for Trayvon."

Clearly, music creates a dynamic interaction with a live audience that speaks to and of contemporary culture in powerful and life affirming ways.

Friday, March 30, 2012

American Skin: The Tragic Death of Trayvon Martin


by Gregg Chadwick

As a father I can only imagine the pain of Trayvon Martin's parents. My son is 17, the same age as the teenager Trayvon Martin who was pursued and shot over one month ago  in Sanford, Florida by "neighborhood watch" member George Zimmerman, reportedly because Trayvon's hoodie made him look suspicious. My son was accepted into college by my undergrad and graduate alma maters this week and we celebrated over dinner, but we couldn't help but think of Trayvon and his family. In the weeks before his death, Trayvon was planning for college - just a typical junior in high school worrying about his future. A screenshot of Trayvon’s Gmail inbox provided to news sources is heartbreaking. Martin apparently used his Gmail account for his college search, and it’s filled with emails about upcoming SAT tests and scholarship applications. One of the emails reads: “Trayvon, now is the best time to take the SATs!”

Holiday Photo of Trayvon Martin Provided By His Parents
Trayvon was a young man, a minor, who was stalked and followed in a vehicle, by an adult who it must have seemed to Trayvon, was intent on abducting him or worse. Trayvon ran from this fit, athletic man in his late 20's, but couldn't outrun a vehicle and a gun. If the minor in question was a 17 year old girl from Utah who was killed while attempting to fight off  a pursuer, there would not be a nationwide attempt by extremist sites to label the victim culpable for her own death. Have we as a nation not learned to mourn for our children? 
George Zimmerman killed an unarmed minor in cold blood after stalking him and chasing him down.  I spoke this week with my 17 year old son about how John F. Timoney , former Miami police chief, Philadelphia police commissioner and deputy police commissioner in New York City wrote how unjust it is under Florida's "Stand Your Ground" law, that George Zimmerman has not been charged with a crime in the shooting death of an unarmed minor, even though Trayvon Martin made a 911 call moments before his death seeking the Sanford police's help to stop the gun toting Zimmerman.* 

Vigilante Fighter/Bomber On Display at Sanford/Orlando International Airport
photo by Brendan Gallagher


One of Trayvon Martin's emails included the results of a career aptitude test which indicated Trayvon's interest in aeronautics. There is a plane displayed at the Sanford/Orlando airport, not far from Trayvon's home, which in a cruel twist of fate is called the Vigilante. Maybe as a society we honor the dusty trope of the gunslinging cowboy too often? Maybe the son of a retired judge is allowed to commit a crime in Sanford, Florida without fear of punishment? Since when is it OK for a 28 year old man to shoot and kill an unarmed minor because he looked threatening?  

Sybrina Fulton, mother of slain teenager Trayvon Martin, spoke
at the Million Hoodies March on March 21, 2012 in New York City

(Photo by John Moore/Getty Images) 

I am heartened, though, that Trayvon's family members have been joined by hundreds of protesters nationwide calling for justice in the murder of Trayvon Martin. The tragic death of Trayvon and the subsequent unwillingness of the Sanford police to protect Trayvon's civil rights is yet another reminder that to some, simply being Black in America is a punishable offense. 

 Living Colour's version of Springsteen's American Skin (41 Shots) is a heartbreaking song that honors the senseless death of Amadou Diallo at the hands of the NYPD as he reached for his wallet in an attempt to placate a group of undercover cop's demands. More than once, because of this event, I have told my son, "If an officer stops you - Promise me, you always be polite. And that you'll never. never run away. Promise that you'll always keep your hands in sight."




The death of Trayvon Martin has obviously weighed on Bruce Springsteen and his audiences this past week in Tampa, Boston, and Philadelphia. During three consecutive shows, the band played American Skin (41 Shots) and Springsteen released the professionally shot video on his website along with the lyrics to the song. On Wednesday night in Philadelphia, Springsteen dedicated the song with the words, "This is for Trayvon."

The death of any child is an affront to god and humanity.

Video of Springsteen and the E Street band Performing American Skin (41 Shots)
 at the Tampa Bay Times Forum in Tampa, FL on March 23, 2012.



41 shots
41 shots
41 shots
41 shots
41 shots
41 shots
41 shots
41 shots....
And we'll take that ride
'Cross this bloody river
To the other side
41 shots... cut through the night
You're kneeling over his body in the vestibule
Praying for his life

Is it a gun, is it a knife
Is it a wallet, this is your life
It ain't no secret
It ain't no secret
No secret my friend
You can get killed just for living
In your American skin

41 shots
Lena gets her son ready for school
She says "on these streets, Charles
You've got to understand the rules
If an officer stops you
Promise you'll always be polite,
that you'll never ever run away
Promise Mama you'll keep your hands in sight"

Is it a gun, is it a knife
Is it a wallet, this is your life
It ain't no secret
It ain't no secret
No secret my friend
You can get killed just for living
In your American skin

Is it a gun, is it a knife
Is it in your heart, is it in your eyes
It ain't no secret

41 shots... and we'll take that ride
'Cross this bloody river
To the other side
41 shots... got my boots caked in this mud
We're baptized in these waters and in each other's blood

Is it a gun, is it a knife
Is it a wallet, this is your life
It ain't no secret
It ain't no secret
No secret my friend
You can get killed just for living
In your American skin



Gregg Chadwick
American Beauty
12"x12" oil on linen 2004
Private Collection, Los Angeles

It will take all of our combined efforts to truly honor the life and memory of Trayvon Martin. Please join us in demanding and working toward justice. When you do, ask your friends and family to do the same, and we'll show the world that we will not be silent in the face of this injustice.




Jasiri X drops new video demanding justice for Trayvon Martin
ColorOfChange joined forces with Kevin Powell (activist, award-winning writer, and The Guardian blogger), Akila Worksongs and MoveOn.org to host an event demanding justice for Trayvon Martin. Here's why House of the Lord Church in Brooklyn was packed: Hip-hop artist & activist Jasiri X performed his powerful track, "A Song for Trayvon," live.

Here are 5 ways you can support justice for Trayvon Martin:
  1. Download and print a 'Justice for Trayvon' poster for your window or when you attend a local event: http://wearetrayvon.colorofchange.org/resources
  2. Share the petition on Facebook and on Twitter
  3. Add your story and photo to the new 'We are Trayvon Martin' site (scroll down the page to tell your story): http://wearetrayvon.colorofchange.org
  4. Watch hip-hop artist & activist Jasiri X perform his powerful track, 'A Song for Trayvon,' live: http://colorofchange.org/blog/2012/mar/26/jasiri-x-drops-new-video-demanding-justice-trayvon/
  5. Tell 5 friends to join ColorOfChange by texting 'TRAYVON' to 30644


















More at:
*From the New York Times:

Florida’s Disastrous Self-Defense Law

Manama, Bahrain
THE very public controversy surrounding the killing on Feb. 26 of Trayvon Martin, an unarmed 17-year-old, by a crime watch volunteer, George Zimmerman, was predictable.
In fact, I, along with other Florida chiefs of police, said so in a letter to the Legislature in 2005 when we opposed the passage of a law that not only enshrined the doctrine of “your home is your castle” but took this doctrine into the public square and added a new concept called “stand your ground.”
Use-of-force issues arose often during my 41-year policing career. In fact, officer-involved shootings were the No. 1 problem when I became Miami’s police chief in January 2003. But after we put in place new policies and training, officers went 20 months without discharging a single bullet at a person, while arrests increased over 30 percent.
Trying to control shootings by members of a well-trained and disciplined police department is a daunting enough task. Laws like “stand your ground” give citizens unfettered power and discretion with no accountability. It is a recipe for disaster.
At the time the Florida law was working its way through the Legislature, proponents argued that a homeowner should have the absolute right to defend himself and his home against an intruder and should not have to worry about the legal consequences if he killed someone. Proponents also maintained that there should be no judicial review of such a shooting.
But I pointed out at the time that even a police officer is held to account for every single bullet he or she discharges, so why should a private citizen be given more rights when it came to using deadly physical force? I also asked the bill’s sponsor, State Representative Dennis K. Baxley, to point to any case in Florida where a homeowner had been indicted or arrested as a result of “defending his castle.” He could not come up with a single one.
The only thing that is worse than a bad law is an unnecessary law. Clearly, this was the case here.
The second part of the law — “stand your ground” — is the most problematic. Until 2005, in all 50 states, the law on the use of force for civilians was pretty simple. If you found yourself in a situation where you felt threatened but could safely retreat, you had the duty to do so. (A police officer does not have the duty to retreat; that is the distinction between a sworn police officer and the average citizen regarding use of force.)
Police officers are trained to de-escalate highly charged encounters with aggressive people, using deadly force as a last resort. Citizens, on the other hand, may act from emotion and perceived threats. But “stand your ground” gives citizens the right to use force in public if they feel threatened. As the law emphatically states, a citizen has “no duty to retreat and has the right to stand his or her ground.”
During one debate, one of the law’s proponents suggested that if a citizen felt threatened in a public space, he should not have to retreat and should be able to meet force with force. I pointed out that citizens feel threatened all the time, whether it’s from the approach of an aggressive panhandler or squeegee pest or even just walking down a poorly lighted street at night. In tightly congested urban areas, public encounters can be threatening; a look, a physical bump, a leer, someone you think may be following you. This is part of urban life. You learn to navigate threatening settings without resorting to force. Retreating is always the best option.
As Florida police chiefs predicted in 2005, the law has been used to justify killings ranging from drug dealers’ turf battles to road rage incidents. Homicides categorized as justifiable have nearly tripled since the law went into effect.
Back in 2005, the National Rifle Association identified about two dozen states as fertile ground for the passage of laws just like this one. Florida was the first state to pass such a law. Today, at least 20 other states have followed suit.
Gov. Rick Scott of Florida can make all Floridians proud by being the first governor to reject and repeal such misguided laws.
John F. Timoney is a former Miami police chief, Philadelphia police commissioner and deputy police commissioner in New York. He is now senior police adviser to the Bahrain Minister of the Interior.