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When Taylor Swift writes songs the usual response is to go to Dylanologist levels of reading and interpretation to figure out who’s the subject of the veiled song. Which relationship went bad? Who’s the new significant other? Swift has both acknowledged the semi-autobiographical nature of many of her songs, while also noting the taxing nature of having the songs so intently scrutinized for every little clue.
Here’s a little article I pulled from a digital copy of The Indian, May 28, 1970: The Indian, May 28, 1970 What really drew my attention to the article was the blending of traditional identity with contemporary rock music, then I decided to see if they ever managed to get that record made.
It’s appropriate that political reporter Dave Weigel has released The Show That Never Ends: The Rise and Downfall of Prog Rock in 2017. Just after we’ve finished one of the most divisive elections (and the Democratic party continues to hold a primary fight for some reason) we get a survey of the most divisive subgenre of rock music.
Lovely New York Times profile of Bruce Springsteen and Joe DePugh, the inspiration for the “big baseball player” in “Glory Days.“ The Times also has a profile of Clarence “Big Man” Clemons and his time as an offensive lineman at Maryland State University.
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