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Clemons, Bruce Bridged Rock's Racial Divide

E Street Band opposites overcame a segregated genre

By Matt Cantor,  Newser Staff

Posted Jun 24, 2011 1:59 PM CDT

(Newser) – When America lost Clarence Clemons, it "lost an ideal." In the pairing of "Southern Baptist black" with "Jersey Shore white," Bruce Springsteen and Clemons gave life to "a cultural example of how the divides of race can come together over music," writes Timothy Egan in the New York Times. The two of them “projected a kind of joy that made it easy to believe that this mess of a country could get along." Rock once had many African-American stars—Fats Domino, Little Richard, Jimi Hendrix—but "whites basically stole the genre," observes Egan.

And when British bands and California surfer boys began to dominate the scene, rock's "black, bluesy edge" fell by the wayside. The result? These days, “the most segregated place in America on a given night can be a stadium rock concert—on stage, and in the audience.” But “playing off of Clemons, Springsteen could always turn one of his concerts into a spiritual revival from the Church of Rock ’n’ Roll. It was a nod to the roots of the music, as well as the 6-foot-4 sideman,” Egan writes. “And for someone from a homogenous background, it was transformative.”

Clarence Clemons.
Clarence Clemons.   (Getty Images)
Bruce Springsteen and Clarence Clemons and the E Street Band perform at the Los Angeles Sports Arena on April 16, 2009.
Bruce Springsteen and Clarence Clemons and the E Street Band perform at the Los Angeles Sports Arena on April 16, 2009.   (Getty Images)
Nils Lofgren, Clarence Clemons, and Bruce Springsteen perform during the first show of the 'Bruce Springsteen & the E Street Band' 2002-2003 world tour at the Continental Airlines Arena, August 7, 2002.
Nils Lofgren, Clarence Clemons, and Bruce Springsteen perform during the first show of the 'Bruce Springsteen & the E Street Band' 2002-2003 world tour at the Continental Airlines Arena, August 7, 2002....   (Getty Images)
Keyboardist Danny Federici, left, plays nearby while Big Man Clarence Clemons plays saxophone alongside Bruce Springsteen, right, as Springsteen performs with the E Street Band.
Keyboardist Danny Federici, left, plays nearby while "Big Man" Clarence Clemons plays saxophone alongside Bruce Springsteen, right, as Springsteen performs with the E Street Band.   (AP Photo/Mel Evans, FILE)
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The Big Man and the Boss — opposites in look and style, Southern Baptist black and Jersey Shore white — projected a kind of joy that made it easy to believe that this mess of a country could get along. - Timothy Egan

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COMMENTS
Showing 3 of 16 comments
Ultraworld
Jun 25, 2011 6:05 PM CDT
He played the saxophone.
gomer99
Jun 24, 2011 8:30 PM CDT
I don't know how old Cantor and Egan are, but, apparently they are of the pretentious slant that every generation has that thinks it invented sex, music, and........integration. Research Sam Phillips of Sun Records, the black Gospel groups, Jerry Lee Lewis, Bo Diddley, Chuck Berry, and even Elvis to see the "coming together" of the races with music as the catalyst.  And music as the "cultural example of how the divides of race can come together" seems to overlook the integration of the US military in the 40's, which provides a model of how a complete society can do it.
Bambi
Jun 24, 2011 4:13 PM CDT
I'm with guvner on this. The E Street Band and Bruce Springsteen have always been a big Americana pose, and nothing to get sentimental about. Those saxophone breaks in Springsteen's material are a superficial rock/fusion cliche that has roots in classic R&B, but Springsteen and Clemens' take follows not from the roots of this form, but from the revival of it by such as Van Morrison and Pink Floyd (on Dark Side of the Moon). It's very typical of Springsteen's pretentious fans to think the interracial element is symbolic of some high-minded authenticity. Clemens was the hackneyed sideman and the professional relationship between Springsteen and Clemens was not equal. The dynamic between black sideman exploited for their 'soul' influence by a white 'boss' is all a little too familiar. It may not have been a 'look how down I am', as was Sting and Paul Simon's dabbling in mixed race bands, but it was just a continuation of a familiar power dynamic. Little Richard and Fats Domino were R&B artists that are given credit for influencing rock 'n' roll, but are not themselves rock n roll artists. Only a few black artists made rock 'n' roll as front players, and these would be of course aforementioned Hendrix and Alvin Lee (Love), let's not forget Phil Lynott (Thin Lizzy), Mother's Finest (Remember them?), and early Parliament/Funkadelic (almost). For some insight into Springsteen's contrivances as a roots artist, check out recordings of his prior band, 'Steelmill'. The aspiring phoniness is palpable. It's one thing to be amateur or out of tune, but it's quite another to be professional and in-tune, but a fake. Check it out, I'm sure there's some material on YouTube. Make sure to have a plastic-lined bag by your side.

More Newser Stories

E Street Rocker Danny Federici Is Dead at 58

'Big Man' Clarence Clemons Dead at 69

Springsteen Gives Update on Clemons

E Street Saxman Clarence Clemons Suffers Stroke

Springsteen Makes 'Magic' Again


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