Sunday, October 27, 2019

Padres and Tigers and Cubs, Oh My!!!

IT WAS THE MEAL NO ONE ORDERED, a freakish mix up in fate's kitchen that swapped the expected meat and potatoes for a Big Mac and Domino's Pizza.

It was Major League Baseball's 1984 post-season, which appeared destined to feature two storied franchises, the Detroit Tigers and Chicago Cubs, in a rematch of the immediately post-World War II 1945 World Series.

But destiny had other plans, turning a bull into a goat and momentarily making a guy best known for his bubble gum blowing prowess into a hero.


The Cubs had been absent from the Fall Classic for four decades, biding their time playing day games only at their antique ballpark at the corner of Clark and Addison. The boys from Michigan and Trumbull hadn't fared much better, appearing only in the 1968 series where they upset the favored St. Louis Cardinals and ace Bob Gibson.

Their aggregate 78 prior seasons had yielded a grand total of two first-place finishes, one pennant and one championship, all by the Tigers.

But this was 1984. War was peace, ignorance was strength, slavery was freedom and the Cubs were contenders. Actually that last part wasn't Orwellian doublespeak, but literal truth. They were, in fact, National League East champs.

Led by budding superstar second-baseman Ryne Sandberg and pitcher Rick Sutcliffe, who reeled off a 16-1 record after being acquired in mid-June, the Cubs were for real, winning their division by 6.5 games over the second-place New York Mets.

Sandberg, 24, won the NL Most Valuable Player, Silver Slugger and Gold Glove awards. The Cubs won 96 games, their most since '45.

From Sport Magazine's April '81 baseball preview
Impressive as Chicago was, the Tigers were better. Detroit broke from the gate with a 35-5 record -- the best 40-game start in baseball history -- and led the American League East from wire to wire,  one of just five big league clubs to ever do such a thing. They finished 104-58.

Their top player was former Cubs reliever Willie Hernandez, who had compiled a 1-9 record and 4.42 ERA hurling for the northsiders in 1980. Sport Magazine's '81 baseball preview warned "it was time to get the married Cubs off the field" when he came on to pitch. The article threw Sutcliffe under the bus too.

Four seasons later, nobody was making fun of Rick or Willie anymore. Sutcliffe won the NL Cy Young award based on his virtually unbeatable two-thirds of a season. Hernandez, with nine wins and 32 saves -- more than in his previous seven seasons combined -- copped the AL's Cy Young and its MVP award too.

Detroit was also bolstered by local hero Kirk Gibson, who'd starred in football and baseball for Michigan State. Drafted in both sports, he chose the Tigers over football's St. Louis Cardinals.

But the Tigers/Cubs betrothal wasn't assured. There was the formality of league championship play, pitting Detroit against the Kansas City Royals and Chicago against the San Diego Padres making their first ever post-season appearance.

Willie Hernandez and Kirk Gibson
The Royals, who won just 84 games in '84, provided no obstacle. A mere speed bump on the Tigers' expressway, they were outscored by an aggregate 14-4, and swept 3 games to none.

The Padres proved to be more problematic.

After years of languishing as also-rans, they'd hired former A's skipper Dick Williams, acquired a handful of veterans cast off by winning teams -- ex-Yankees Graig Nettles and Goose Gossage, plus former Los Angeles Dodger Steve Garvey -- and developed a nucleus of young, talented pitchers plus one superlative hitter, '84 NL batting champ Tony Gwynn.

Chicago countered with Garvey's ex-Dodgers teammate Ron Cey, spark plug Bob Dernier and veteran Gary Matthews, whose acquisition near the end of spring training pushed left fielder Leon "Bull" Durham to first base and Bill Buckner out of town.

The Cubs won the first two games of the still best-of-five NL Championship series at Wrigley, sending the Padres back to San Diego on the brink of elimination.

There, Chicago took a 1-0 lead in game 3. After that it was all Padres. The friars scored seven unanswered runs for their first ever post-season victory, extending the series.

A back-and-forth affair, game 4 was knotted at 5 in the bottom of the 9th when Garvey stunned the visitors with a walk-off two-run homer off future Hall of Fame reliever Lee Smith, tying the series at two games a piece.

An answered prayer: playing for a pennant
Chicago's date with Detroit and destiny suddenly seemed less assured.

The next day in San Diego. Bull Durham and Cubs catcher Jody Davis homered early, staking Chicago and Sutcliffe to a 3-0 lead. The Padres tallied twice in the 6th to pull within a run, 3-2.

Then San Diego's Carmelo Martinez opened the bottom of the 7th with a walk. A sacrifice moved him to second, bring lefty-hitting Tim Flannery to the plate with one out.

Chicago was eight outs away from the World Series. What happened next is etched in Cubs lore between Leo Durocher's black cat of 1969 and the unlucky fan who reached for a foul ball at the 2003 NLCS and opened the gates of hell.

Flannery hammered a ground ball toward the Bull that shot under his glove, through his legs and into right field. Martinez scored, tying the game. Then second-baseman Alan Wiggins singled. Gwynn followed with a bad-hop hit past Sandburg scoring Flannery and Wiggins. A Garvey rap plated Gwynn.

When the dust settled San Diego held a 6-3 lead. Six Cubs outs later, the Padres were NL pennant winners headed for a showdown with Motown.

The visual contrast between the clubs couldn't have been greater. Detroit, with its olde English "D" logo, classic uniforms and pre-war rust-belt city ballpark vs. San Diego, with their contemporary brown and white uniforms trimmed with orange and yellow. Hailing from sunny southern California, they didn't even exist the last time the Tigers won a pennant.

The Padres and Tigers had two things in common. Each had a Hall-bound manager, the Padres' Williams and the Tigers' Sparky Anderson. The other thing was fast food. Detroit's owner was Tom Monaghan, founder of Domino's Pizza. San Diego's owner for a decade was Ray Kroc, the man who made McDonald's famous.

He died in January of '84 and in tribute, the team added his initials RAK to the left sleeves of their jerseys.

The official program had a fold-out cover
evoking that other fall classic, Election Day.
In game 1, Tigers ace Jack Morris surrendered two runs in the bottom of the first inning, but muffled the Big Mac attack the rest of the way as Detroit clawed back a 3-2 victory.

Game 2, however, belonged to the Padres, who won 5-3, and one man in particular, utility player Kurt Bevacqua, who in 80 regular season at bats hit just .200 with one homer and nine RBIs.

Playing for six teams over 14 seasons, his greatest claim to fame had been winning the 1975 Topps/ Bazooka bubble gum blowing contest, his feat immortalized on cardboard.

Now, the journeyman turned superman, slamming a decisive three-run homer in the bottom of the 5th, one of two he'd hit while leading San Diego with a .412 average in the series. Tied at 1 game apiece, the series shifted to Detroit

It wouldn't return to San Diego for 14 years. The Tigers pounced on Padres starters in each of the three games at the ballpark formerly known as Navin Field and Briggs Stadium, never trailing in any one of them.

Gibson slugged a pair of homers in game 5, Detroit catcher Lance Parrish added one too. San Diego had briefly tied the game, 3-3, in the fourth But Detroit gradually pulled away for an 8-4 win, making official what had been apparent since April, they were the best team in baseball, at least in 1984.

The Tigers' future Hall of Fame shortstop, Alan Trammell, was the series MVP. He'd led all hitters with a .450 average, drilled two home runs and had six RBI.

But, for all their heroics, neither the Padres, Tigers or Cubs returned to the post-season in 1985. Kansas City's Royals did, advancing from an afterthought to World Champions, downing the cross-state St. Louis Cardinals in seven games.

Follow me on Twitter @paperboyarchive

Saturday, October 26, 2019

It Was a Styx Concert. You Got a Problem With That?

"DON'T LOOK NOW, but here come the '80's!"

Reaganomics, big hair, tight jeans and MTV. We'd been warned. By Styx. Driving home their point in a minute and a half, the arena rockers and power ballad pioneers committed a half-dozen rock and roll cliches on side 2, track 1 of their ninth studio album, Cornerstone.

Prog-rock synthesizer intro? Check! Portentous power chords? Check! Segue into Steve Miller-like rhythmic guitar beat?  Check! Check! Shouts of "Yeah! Yeah!"? Double check! And then... notice of the imminent arrival of a new decade.

80s artifact -- Styx' Cornerstone
Songs that date-drop invariably don't age well. They can't. Think of the line "Now you find yourself in '82," from Asia's Heat of the Moment, or the atypically upbeat Joe Jackson telling us, "It's not so easy. It's '84 now" in Happy Ending.

Date-stamping a song is the ultimate guarantee that the song in years hence will sound... well, dated. And so it is that Styx' song Borrowed Time is rooted in 1979.

By the time Cornerstone was released 40 years ago this month, Chicago-based Styx had already embarked on a tour they'd dubbed The Grand Decathalon. On Oct. 25, the quintet of Dennis DeYoung, Tommy Shaw,  James Young and brothers John and Chuck Panozzo arrived at the Nassau Veterans Memorial Coliseum in Uniondale, Long Island for a two-night stand.

They'd have an opening act called The Good Rats and in the audience on their second night me and my best bud. I was 14, about seven miles from home and seeing my first ever rock concert.

Rock concerts. The very idea seemed dangerous. Would there be sex? Drugs? Violence? Woodstock? Altamont? These reference points were still reasonably current, all within the past 10 years. Of course, this was a Styx concert and at least two sets of suburban parents saw it as safe enough to let their kids go alone.

Alas, they were right. These were Styx, not Stones, although I recall DeYoung wearing a Chicago Cubs jersey.

40 years ago this week, at the Nassau Coliseum
Cornerstone was still so new, so untested that it's possible none of its nine songs even made the set list if the previous night's version --which drew heavily from the band's past two albums -- is any indication. That one included Styx' first hit, Lady, but not their biggest one, Cornerstone's Babe.

Ah, Babe, the schmaltzy, syrupy granddaddy of power ballads, written by DeYoung for his wife Suzanne, recorded as a demo and -- according to legend -- included on the album at the insistence of his bandmates. It topped the Billboard Hot 100 on Dec. 8, 1979 and perched there for two of its 19 weeks on the charts.

And they didn't even play it.

They did work in other crowd pleasers, including Never Say Never, a pop song with a French chorus, ne dites jamais jamais, and the future Eric Cartman tour-de-force, Come Sail Away.

We rocked. We rolled. We waited for a ride home from our parents. Cornerstone soared to number 2 on Billboard's Hot 100 album chart, charted two more singles -- Borrowed Time and  Why Me? -- and ultimately went triple platinum. It even got nominated for a Grammy!

But about Babe...

Babe would almost come to define the band, and not for the better, even as it was typical radio fodder in an era that saw Air Supply score five top five singles in the next year and a half and spawn imitators like SneakerBabe wasn't even the only power ballad on Cornerstone.

Five out of Chicago, but bound for where?
But, Styx prior album, Pieces of Eight, featured a pair of genuine arena rockers, Blue Collar Man and Renegade. Styx wasn't likely to inspire anyone to don a leather jacket, grow their hair long and jump on a Harley, but they were approaching respectability. Borrowed Time was made in that vein.

Babe, the band's only chart-topper ever, overwhelmed all of that, blowing whatever hard rock cred  they had and becoming a point of introduction to a different kind of band, one that became increasingly, fatally, theatrical and thematic.

To be sure, Cornerstone's intricate packaging indicated the band harbored deeper, as yet unrealized ambitions, The album cover, suggesting the discovery of a buried artifact, wrapped around another album cover appearing to be that same artifact. Oh so meta.

It was silvery. It was spacey. It showed five beings emanating from North America and headed for the sky. Where were they going? In subsequent albums we'd find out for better and then worse: back to Chicago, for Paradise Theater and then to the future!.

-- Follow me on Twitter @paperboyarchive

Sunday, October 6, 2019

Shoot the Moon -- The 1969 National League Playoffs

EVERYONE WAS SHOOTING FOR THE MOON in 1969, the Americans, the Russians and even the Atlanta Braves, at least metaphorically.

 The team from The Launching Pad
Fifty years ago this weekend, Major League Baseball's first franchise based in the American southeast fought for the National League pennant. They did it while claiming the entire region as their own, just four seasons after moving from Milwaukee.

It wasn't the first time relocation had rejuvenated the peripatetic Braves, one of the N.L.'s founding franchises.

Sixteen years earlier, as attendance tanked in Boston, the moribund 64-win team relocated to the good land, won 28 more games in their 1953 debut and then, four years later, a championship.

The 1969 edition won 93 games, finishing first in the newly-created NL Western Division. Their roster was studded with stars: future home run king Hank Aaron, his fellow future Hall of Famer Orlando Cepeda plus slugger Rico Carty and former New York Yankees' mainstay Clete Boyer. Leading their pitching staff was a 23-game winner, knuckleballer Phil Niekro.

Stoked to plant their pennant, they produced a gorgeous 80-page playoff program -- full of articles, photos, rosters and stats -- wrapped by a moon landing-themed cover that declared, "One step for the Braves. One giant leap for the Southeast."


The first ever NL West champions (from the Braves' 1969 NLCS program).


But to reach their figurative moon, they needed to step past the New York Mets.

After languishing in last or next-to-last place for the first seven years of their existence and merely a .500 ball club as late as June 2, New York's NL franchise caught fire in the summer, overtaking the first place Chicago Cubs on Sept. 10 and then winning the Eastern Division by eight games. They finished at 100-62.

Leading their charge was brash power pitcher Tom Seaver, a 25-game winner who would have been Braves property had they not violated the rules for signing college players in 1966.

Three years after his Braves contract was voided, Seaver was not merely the best pitcher in baseball, but leading a staff that included 17-game-winner Jerry Koosman, rookie Gary Gentry and down the depth chart, a young fireballer named Nolan Ryan.

The Mets' NLCS program, an adaptive reuse of their
regular season scorecard with minimal new content,
offered for just a single home game for 25 cents.
Their lineup was a mashup of platoon players expertly deployed by Manager Gil Hodges, but led by left-fielder Cleon Jones, who'd hit .340, sterling center-fielder Tommie Agee and hard-hitting first-baseman Donn Clendenon.

"Good pitching will always stop good hitting, and vice versa," baseball sage Casey Stengel reportedly once said. The best-of-five Mets/Braves NLCS was a vice versa kind of series, where good pitching largely took a back seat to good hitting and somehow, the Mets had more of that too.

On Oct. 4, the series opened in Atlanta, in a bullring of a ballpark that came to be known as The Launching Pad. Seaver vs. Niekro. The traded punches until the eight inning when, with the Braves nursing a 5-4 lead, when the Mets' erupted for five runs, helped by a pair of Atlanta errors. Game 1 to the New Yorkers, 9-5.

Game 2 the next day saw the Mets jump out to a 8-0 lead en route to an 11-6 romp. The Braves headed to New York, their moon landing in jeopardy.

Foreshadowing from the Braves program
There, the Braves rapped out five hits and a walk in the first three innings off New York's starter, Gentry, one of them a two run homer by Aaron, his third blast of the series.

With two on and no outs in third, Hodges pulled Gentry in favor of Ryan, who sandwiched an intentional walk around two strikeouts and ended the inning on Braves catcher Bob Didier's fly out.

Atlanta would never seriously threaten again, while the Mets got homers from Agee and infielders Ken Boswell and Wayne Garrett.

Ryan pitched seven innings, striking out seven while allowing two runs to earn the win, one of just two post-season victories in his 27 year Hall of Fame career. Aaron wouldn't appear in the playoffs again. He retired as a Milwaukee Brewer after the 1976 season with the most homers in major league history: 755.

On Oct. 6, 1969, the Mets captured the NL pennant before a raucous crowd at Shea Stadium in Queens. Ten days later, they'd stun the Baltimore Orioles and the world by taking the World Series 4 games to 1. The moon belonged to them.

-- Follow me on Twitter @paperboyarchive

Wednesday, September 4, 2019

No place for MAD in a World Gone Ever Madder

FOR THE SNOB, THE HIGHBROW and those who feigned ignorance, it was easy to dismiss MAD Magazine as silly, sophomoric trash, supermarket checkout line fodder a harried mom might quickly yank from her kid's grubby hands and stuff right back into the rack where it came from.

The end of the line, styled as a throw-back,
and, at $5.99, no longer really "cheap."
As one of those grubby kids, I knew better.

MAD was the key to unlocking the truth about the adult universe, the hypocrisy, the vanity and inherent cynicism of every day life. Each issue was a cleverly disguised instruction manual, teaching kids how to see through, if not actually defeat, the bullshit being shoveled their way every day.

Every goddamned day.

MAD was dynamite. Now it's done.

After 64 years, America's greatest purveyor of subversive satirical shtick has published its final issue of new material. From here on in, it'll be all re-packaged greatest hits collections not unlike the quarterly Super Specials MAD churned out when I was a kid, only more so. Immortality through re-runs.

The cause of death: Obsolescence.

MAD outlived its usefulness, done in by a world crazier than the one it lampooned, superseded by TV bridezillas, bachelors and bachelorettes, by real housewives and teen moms, by Survivor, The Apprentice and by a social media landscape more shameless and self-referential than its editors ever imagined.

A Super Special reprint
MAD was born in the ultra-self-congratulatory, self-serious 1950s, a time of sock hops and the red menace, of Disneyland and fall-out shelters, of American chest-thumping over beating the Axis powers and making the world safe for suburbia and shopping malls.

It sprung from the skull of publisher William M. Gaines and legendary artist Harvey Kurtzman as a full color comic book, something I only ever glimpsed as reprints packaged with those Super Specials.

That incarnation lasted just 23 issues before being transformed into the glossy-cover black and white illustrated magazine we came to know and love.

My dad got that first issue of the new MAD while serving in the U.S. Army and kept it long enough to give it to me together with a half dozen more issues of similar vintage, proving this type of MADness too could be hereditary.

Where it began: dad's July '55 issue
There was a lot of mocking of Madison Avenue (those other Mad Men) in that first outing, their gray flannel-suited false earnestness, plus jibes at mid-century modernity, television, professional wrestling (as if it needed to be mocked) and America's as-yet-unrealized space program.

In time, the magazine would turn its sights on Elvis Presley, Walt Disney and, unavoidably, politics, producing for its December 1956 issue a cover both timeless and iconic.

About 25 years later, I started reading MAD and, in 1976, became a subscriber.

I was 11 years old and wouldn't miss an issue for the next four years, spending lots of time with the so-called "usual gang of idiots" -- Al Jaffee, the father of the fold-in, purveyor of Snappy Answers to Stupid Questions; Dave Berg's The Lighter Side...Antonio Prohias' Cold War-inspired Spy vs. Spy and Don Martin's epic onomatopoetic sound effects.
December '56, October '80

SHTOINK!!!

They repeatedly spoofed Star Trek and Star Wars which meant a great deal to an unrepentant geek like me. I remain forever grateful.

MAD was great fun.

Behind the humor, there were serious messages from the editors: they hated hypocrisy and war, drugs, poverty, bigotry, pollution and politicians.

Their send-up of The French Connection was titled What's the ConnectionIn it, Gene Hackman's "Cockeye" Doyle is an unabashed bigot telling every minority he's encounters -- real or imagined -- to go back to where they came from. That lesson stayed with me. Even as a kid, I got the point that that was wrong.

MAD taught generations of kids to think critically about what they were being told and sold by the establishment. Its writers' unsubtle message: People are generally full of crap.

They were of course right. For a time the formula worked and MAD had a little media empire going, one filled with paperback books, phonograph records and even a TV show.

Peak geek -- October 1976
In 2013, they published Inside MAD, full-color, hard cover coffee table book -- not even its first! -- a gorgeous 256-page collection of its creators' favorite entries -- much which came from the sweet spot of my era, MAD's golden age  -- plus encomiums from Judd ApatowWhoopi GoldbergKen BurnsTodd McFarlane, Ice-TTony HawkMad Men creator Matthew Weiner and others.

MAD influenced all of them too.

Nine issues ago, its publishers attempted a re-launch, resetting the counter to issue 1 from 550, to no avail. The insanity of every day life had rendered MAD passably sane. Now, the magazine has wrapped up its role in educating America's youth, leaving disciples everywhere.

We're still out there, and we can see right through you.

-- Follow me on Twitter @paperboyarchive

Sunday, August 11, 2019

A Baptism in Springsteen's Church of Rock & Roll

I'D HEARD ABOUT EVENTS LIKE THIS, the fanaticism, the ecstasy, the rapture and delirium brought on by four hours of pure joy. Yet I still wasn't ready for what I witnessed that night.

Bruce Springsteen, The Boss, live on stage at the Brendan Byrne Arena in East Rutherford, New Jersey. He was midway through a 10-night stand somewhere in the swamps of Jersey, in the middle of the epic Born in the USA Tour, at the peak of his career.

The official tour program.
And then, right in front of everybody, the biggest star in rock and roll -- still a bachelor at age 34 -- danced with his mother.

Just like that.

It was August 12, 1984 and I was seeing Springsteen live for the very first time. Me, Richie, Wayne and Big Ed had driven across New York City from Long Island to the arena New Jersey's favorite son christened with a concert on its opening night just three years before.

Big Ed remembers: Rich Fields was also a big Springsteen fan. He and I became close one winter when he missed a semester at school recovering from a tumor. Born in the USA was out and a huge success on radio and this new thing called MTV. I had just gotten home from a Mets game, crawled into bed, and then my phone rang at around midnight.

It was Rich, with the news that Springsteen tickets were going on sale in the morning. He suggested I pick him up and we go camp out in front of the ticket store. This was before Ticketmaster and the Internet. We got there, and there were only 25 to 30 people in front of us. I thought that was great, but the process was also excruciatingly slow. I could write a whole article about just the ticket experience. We bonded with lot of people, I even went on a lunch date with a hot blonde from North Woodmere with a Datsun 280ZX, whom I never saw again. Finally around 4 p.m., Rich and I had the tickets.

Eddie and Rich slept outside our local Ticketron outlet. There, for $16 a piece they nabbed four seats in the front row of section 211, the upper level near what would be center ice.
Four hours of jubilation for $16.

The stage was to our left. Though we had seats, I don't recall sitting very much. I do recall the entire tier bouncing to the beat, not just the people, mind you, but the stands themselves.

The dance song was, of course, Dancing in the Dark, a smash hit by a guy who wasn't about dance songs. But this was a new Bruce -- Megastar Bruce, MTV star Bruce -- and he could get away with doing pretty much whatever the hell he damned wanted to do.

"That's my mom!" he shouted.

Big Ed: It was more than a decade before Friends premiered on TV, but half the male Springsteen fans were already in love with Courteney Cox, Bruce's dance partner in the DitD video. Well, I was expecting there to be some hot chick that would come up on stage and dance with Bruce. Instead he pulled his mother Adele on stage for that song.

In June Springsteen released Born in the USA, his seventh LP. Though the name evoked his breakthrough album Born to Run, issued nine years earlier, this was no sequel. The nation had changed and so had The Boss.

The Interval


Between those recordings, Springsteen had an all-out legal war with his original manager that kept him out of the studio and on the road for more than a year. He'd written a surfeit of songs out of which emerged Darkness on the Edge of Town, a searing blue collar crie-de-coeur.

This was a bitter album for post-Watergate, post-Vietnam America, a time of double-digit inflation, gasoline shortages and the national malaise President Jimmy Carter later labeled "a crisis of confidence."

Two years later, Bruce and the E Street Band released The River, a two-disc mix of rock-and-roll rowdiness and melancholy story songs about accidental pregnancy, metaphorical adultery and despair. Among those 20 tracks was a song about a man who'd walked out on his wife and kids, set to a party beat.

Clocking in at a radio-friendly 3:19, the song -- Hungry Heart -- spent 18 weeks on Billboard Hot 100. Topping out at number five, it was Springsteen's first bona fide radio hit. The River LP went to number one on the Billboard 200. [Ridiculously, improbably, 14-year-old me had been offered a ticket to a River tour concert and turned it down, a mistake I'd not make again.]

The original vinyl release.
Most artists would have looked at that hard won success and ordered up more of the same. Bruce Springsteen isn't most artists. What carried over into the next album wasn't the hootenanny of Hungry HeartSherry Darling or Cadillac Ranch, but the loneliness of Stolen CarDrive All Night and the album closer, Wreck on the Highway.

Titled Nebraska, Bruce's 1982 release was bleak, stark and spare, a collection of vinyl-pressed demo tapes featuring The Boss alone on acoustic guitar and harmonica.

The title track was based on the 1958 midwestern killing spree of 19-year-old Charlie Starkweather, accompanied by his 14-year-old girlfriend, Caril Fugate. Her parents were his first victims.

What to expect after that?

The Boss Goes Boom


The answer came in the stadium scale heartland rock of Born in the USA, an LP containing a dozen songs. Seven of them reached the Top 10, including Dancing...Glory DaysI'm on Fire and My Home Town.

Ronald Reagan was president, the national mood was different, and crowding into Springsteen's genre were rockers John Mellencamp and Bob Seger plus Canadian counterpart Bryan Adams.

The Boss's sound was now bigger and bolder, right from the opening title track.

If one ignores the lyrics, Born in the USA the song can easily be mistaken for a patriotic anthem. It's really an indictment of a nation indifferent to a generation of people it sent to fight an ultimately pointless foreign war. It was precursor to the more overtly political music Springsteen would make in the ensuing decades.

Glory Days -- Me and college friend Laura K.
circa 1985. I still have that shirt somewhere.
It opened his show on that August night, a four-hour marathon punctuated by The Boss's trademark stage stories and banter. There were three songs from Nebraska, though not the one about Starkweather, five from the double-album River, four from the first Born and eight from the new Born.

Among the most memorable: Tenth Avenue Freeze Out, the Hungry Heart sing-along and show closing covers Twist and Shout and Do You Love Me?

Big Ed: I am finally at a Springsteen concert and my first event at this new arena named after the former Governor of New Jersey in what Springsteen would refer to as The swamps of Jersey. My memories of the set list are fuzzy, partially because it was a lifetime ago and partially because I would go on to see Springsteen another 13 times over the years.

To me, it was the equivalent of a Jew's Birthright trip to the Holy Land or a Muslim's Hajj to Mecca. I never saw a more enthusiastic crowd in an arena as I did when the band played Born in the USA.

The four of us -- really the 20,000 of us -- danced and sang all night. I've no idea how Bruce and company did that night in and night out. I was exhausted well before he introduced his bandmates during the rousing Rosalita (Come Out Tonight). Little did we know (and who knows if he did) that the newly-added Patti Scialfa would one day be his wife.

Big Ed: It was also our first sighting of Nils Lofgren, who'd replaced Miami Steve Van Zandt. He'd appeared on the Born in the USA album, then left to reinvent himself as Little Steven, fronting a band called The Disciples of Soul. Later he'd return to the E Street Band before reinventing himself again as Silvo on HBO's The Sopranos.

Thirty-five years and a couple of dozen concerts later, some starring The Boss and some not, this first time seeing him live on that summer night remains the best time. It made me a believer in Bruce almighty and the power of his music.
________________________

Thanks to Eddie and Wayne for helping to reconstruct our memories. This entry is dedicated to our friend and fellow concert-goer Richard Fields, who died on Aug. 22 of last year. He was just 54.

-- Follow me on Twitter @paperboyarchive