Bruce Springsteen Plays Surprise Two-Hour Bar Show In New Jersey | News Entertainment

Bruce Springsteen Plays Surprise Two-Hour Bar Show In New Jersey

19 Jul 2015 | Author: | No comments yet »

A Bruce Springsteen surprise at the Wonder Bar.

Just three songs into Joe Grushecky’s set at Asbury Park, New Jersey’s Wonder Bar Saturday night, Bruce Springsteen came onstage and stuck around for a blazing fifteen-song, two-hour set. ASBURY PARK, N.J. (AP) — Patrons of a Jersey Shore bar had a night to remember when Bruce Springsteen gave a surprise show that lasted for nearly two hours.More than two hours of rock ‘n’ roll from Bruce Springsteen, Joe Grushecky, Eddie Manion and Grushecky’s Houserockers in a packed and steamy Wonder Bar on the city’s Ocean Avenue on Saturday, July 18.

Kicking off with “Never Enough Time,” the longtime friends tore through ‘”Adam Raised A Cain,” “Atlantic City,” “Because The Night,” “Code of Silence” and many others before wrapping up with “Light of Day.” Here’s a fan-shot video of “Darkness On The Edge of Town.” Springsteen’s appearance was unannounced, but hardly shocking considering he plays a “surprise” set with Grushecky most every year at the annual Light of Day benefit concert just a few steps down the boardwalk at the Paramount Theater. He concluded the show with “Light of Day,” which he dedicated to the huge crowd of people watching from the sidewalk outside the venue because they couldn’t get in to the packed bar. (TM and © Copyright 2015 CBS Radio Inc. and its relevant subsidiaries. Springsteen and Grushecky seamlessly traded solos on “Never Be Enough Time” an the two traded lead vocals on “Chain Smoking.” Manion, a member of the E Street Band who often plays with Grushecky, punched up the evening with his sax solos and his sax undertones on “Atlantic City” gave the song a rollicking Seeger Sessions feel. The relationship has done little to impress the students in Grushecky’s classes. “Rock and roll is not a big thing with them,” he told Rolling Stone in 2011. “It’s a population that’s very hardcore, and tough to work with. When Springsteen started washing the dishes, the phone rang, he became distracted and he left the water running, which flooded their downstairs neighbors.

Hopefully I don’t have too many years left and I can retire soon.” Springsteen, who is heavily rumored to be working on a new album, has kept a very low profile this year, though he did make a brief appearance this month at a Brian Wilson concert in Holmdel, New Jersey. When the Boss spoke-sang the intro of his 1982 hit “Atlantic City, ” he paused after the line: “but maybe everything that dies someday comes back.” Joe Grushecky and Eddie Manion will perform with a meet-and-greet starting 7 p.m. But there’s a scene late in the movie when, caught kissing another character, his ex-con-turned-insect-controlling-good-guy Scott Lang starts to faux-blame the deed on his partner before gracefully skirting away.

There’s also a childlike quality in his performances, too – few things in contemporary comedy are more glorious than seeing Rudd cutting loose and indulging in goofy accents. Some of his roles are Ruddier than other, however, so we’ve broken down his best-known parts (and some turns in a few under-the-radar gems), picked out their signature moments and rated them according to their sheer Ruddiness — the leading-man charm, the character-actor chops and the comedian’s ability to crack us up. (Never mind whether the movies are good, bad or ugly; we’re just looking at how much the role sticks to the actor’s strengths.) Ruddy or not, here we come. Rudd is the love interest in Amy Heckerling’s update of Jane Austen’s Emma, set in a Beverly Hills high school — though for much of the film, we don’t know he’s the resident Mr. But here’s where his casting pays dividends: The actor is so inherently likable that his innate decency shines through, despite Cher’s initial annoyance at him.

Most Rudd-ian Moment: This was very early on in his career, so he hadn’t quite developed into “Paul Rudd” yet, but his classic kiss with Silverstone is a perfect example of what makes him special. As Andy, a hunky, spacy counselor, Rudd spends most of this hilarious spoof of Seventies and Eighties summer-camp movies making out with his fellow actresses.

But that’s part of the joke: Even at this early stage of his career, the man was gaining a reputation as a professional nice guy, and watching him go over-the-top playing a jerk is actually sort of adorable. It’s one of the better early examples of the indie version of the Rudd effect — he adds nice touches throughout without ever overshadowing the modest proceedings. Neil LaBute’s caustic look at gender dynamics finds Rudd falling for a beautiful grad student (Rachel Weisz), then winds up (spoiler alert!) becoming the subject of her duplicitous art project/social experiment.

It’s a comedy of manners that then turns into a humiliation-driven satire, which in turn becomes a dead-serious (and controversial) volley of symbolic gunfire in the battle between the sexes. After some awkward back-and-forth, he actually joins her in decrying the “shoddy craftsmanship” of the artwork, particularly in regards to how the sculptor has covered the subject’s penis. Yep, it’s made with bits of real panther, so you know it’s good.” One of titular virgin’s fellow workers at the store SmartTech, Rudd is hilarious as Dave, a petulant, wounded man getting over a bad break-up years ago in the worst way possible.

The film is a surprisingly sweet romantic comedy in the guise of a sex romp – Steve Carell’s hapless Andy is initially just trying to get laid, then actually winds up finding a mature, happy relationship – and David’s character embodies that in his own twisted way: He is at once a swooning romantic and a profane cynic. And not just sex, but love, and relationships, and laughing, and cuddling…and all that shit?” In both of these Judd Apatow dramadies, Rudd plays the married, seemingly stable Pete, who offers a counterpoint to Seth Rogen’s stoner Ben. His performance utilizes both his comic charm and his more sincere side; he actually gets many of the film’s more poignant moments, helping ground it in human experience and regret. Along with his wife Debbie (Leslie Mann), Pete takes center stage in the filmmaker’s more straight-faced follow-up, which has the couple confronting their entrance into middle-age and trying to find ways to improve their marriage. It’s an interesting example of Rudd’s ability to blend into both seriousness and zaniness while playing the same character in two tonally very different movies — and yet still fit right in.

My hard-ons are still in analog, this shit’s digital!” A great line, but what makes this a supreme Paul Rudd moment is actually his wife’s response: “I don’t want a turbo penis. I like your medium soft one.” As a disgraced energy drink salesman who has to mentor an awkward, troubled teen (played by Christopher Mintz-Plasse) due to a court agreement, Rudd overcomes his hostility about his predicament and embraces his nerdy mentee’s fondness for fantasy and roleplay. He then gives an incomprehensible and offensive speech to a middle school auditorium, and proceeds to wreck the company truck as he tries to flee from getting towed. The movie turns on our changing opinion of Segel’s character — going from admiration, to suspicion, to pity — and Rudd makes an ideal audience surrogate.

Ned chickens out at having to sleep with the man, and immediately feels super-guilty and terrible about it. “Maybe I should have just…tried harder,” he laments the following day. Each is tempted by this lifestyle in his or her own way — but when his wife falls for the free-love-preaching leader of the commune (played by an impossibly game Justin Theroux), Rudd has to learn to fight for her. The two men are opposites: One wants to listen to German language lessons on their shared cassette player or enjoy the silence; the other younger man wants to rock out, have sex, and get drunk. The film makes deft use of Rudd’s sensitive persona but this time, instead of gentle comedy, it finds something brittle – a man determined to live inside his own mind.

Although he’s known mainly for his outrageous comedies at this point, Rudd has continued to do smaller, more character-driven indies throughout his career – including films like Diggers (2006) and All Is Bright (2013). He then goes up some (pretend) stairs and (pretend) open the door to her bedroom, then (pretend) apologetically retreating after finding out he’s (pretend) interrupted her during a (pretend) phone call. 2015 may not bring everything that Back to the Future II promised it would: flying cars, self-lacing shoes, we don’t see ’em happening over the next 12 months. (Then again, don’t bet against Nike.) But this year will definitely pack plenty of punch when it comes to cultural happenings. Mad Max will roar back out of the apocalypse while Mad Men rides off into the sunset, rock’s Antichrist Superstar and hip-hop’s Yeezus will rise again.

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