Bruce Springsteen : Live In New York City

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Bruce Springsteen : Live In New York City Review

Q: What transforms a guy who formerly shrugged off Springteen into a die hard fanatic in one lighting-bolt of an electric moment?

A: THIS!

All of a sudden, I "get it."

Let me set the scene: I came home, dogged and tired, from work. I turned on the TV which, thanks to my roommate at the time, was tuned to MTV (I mention my roommate was watching because I despise MTV, both for what it has become and its contribution to; scratch that; its LEADERSHIP of, all that has become wrong with pop music today). And to add insult ot injury, who's video was on? Creed. Without getting off on a rant of what is probably a hundred reasons why, I'll simply say I hate f**king Creed! For the purpose of the story I do have to mention perhaps the biggest reason why: they are laughably fake in their stupid posturing and are poor performers at that. Their standard riffs and the laughable b.s. that is their overly-rightous lyrics simply enhance this disgusting sherade. So I let out a sigh of contempt, because I can't do a thing about their stupifying success, and move forward to HBO to see if I can catch a movie; and what's on? Bruce Springsteen and the E-Street Band Live in New York. Towards the end of a song (later I would come to know and love it as "Out In the Street") Bruce was prancing around the stage as the crowd chanted a chorus of, "Oh-oh-oh-oh!" I watched for a minute, smiled at the fun he and his band, whoever these guys are, were having, and decided to move on. Then a funny thing happened. All of a sudden there was a close-up of Bruce's sweaty face. His face red, he stood at the mic and shouted, "New York City!" The crowd screamed. He yelled it again. They screamed louder, drums thudering in the background. One more time: "New York City!!!" The crowd reached near meltdown. "Lets Go! One! Two!" A crisp piano plays the opening notes to "Tenth Avenue Freeze-Out," as the audience "sings" along to the melody. Bruce walks the stage, throwing his arms in the air, pointing at every section of the audience, an I-Mean-Business look on his face. I gotta see what happens. After a long work-up, he jumps off the piano he has now taken to, runs back to his mic, and again: "One, two, three, four!!!" The band busts full-force into the song and I am feeling something very exciting. As I watch Bruce rip through this song with more vigor, passion and flat-out rock chops than maybe anyone I've ever seen, I think to myself, now this is how it should be! This is ow its done! THIS is why I hate Creed and all their ilk! I flip back to MTV for a split second. Creed is still on (it must have been more than just one video - treat!). I flip back to Bruce. And back to Creed again. The difference is staggering. I'm flipping thinking, "rock star, douche bag. Rock star, douche bag." Back to Springsteen one last time and I say there. How could it get better. He hadn't introduced the band yet. After the band intro I was giddy with excitment from all the energy the was radiating out of Bruce, his band, the obvious love and comrodere between them; and the audience for that matter, and myself. The song is coming to a close, still at full force and Bruce, obviously tired, but somehow more vitalized than when he started, throws up his hand and yells, "Save me somebody!"

Amazing!

As it turns out, Bruce saved me. I finally understood why he is so popular. I never got the whole "Church of Springsteen" thing and never thought his biggest songs I heard growing up were anything so special. I liked them fine, but I like a lot of songs and artists. I only regard a handfull as beign something more; something special. Turns out I never gave Bruce enough of a chance.

My loss.

Since 2000 when this all went down I have become a die hard Boss fan. I have all the albums, I've been fortunate enough to see him a few times (thanks to "The Rising" and its tour coming right on the heels of my new found love and respect for the Boss as a performer and his lyrics), I've found quite a few songs that have inspired me in one way or another, I've gotten others into him and, God help me, I even karaoke his stuff. I consider myself on board with those who have been with him as far back as they can remember, because I feel like I have been too.

"Tenth Avenue," which is roughly 3 songs from the end of the HBO version, was what drew me in. The concert would soon be over and, obviously, I had fallen hard. Both for Springsteen and this live performance. I was kicking myself for not coming to this realization sooner, but I could not wait to right this terrible wrong. I rushed out and picked up the DVD and watched it over and over. At the same time I bought the cd version and listened to it over and over. This, other than previously purchasing "Greatest His" in '95 when I was 16 (even as a non-die hard Bruce fan I knew then that it was severly lacking in many a great songs; I just didn't realize how many), was my main introduction to the Boss. Years later, I wouldn't have the introduction any other way. Knowing what I now know about Bruce, his songs in various versions, and his live performances, the stuff captured here ranks among his best. At least in terms putting someone-new-to-Bruce's jaw on the floor.

So after going back and listening to all Bruce's stuff, falling in love with much of it, and driving everyone crazy who doesn't share my fascination with him (although most who watch this and have heard some of the stuff I told them they just had to hear, do see what I'm talking about; even if it doesn't convert them the way it did me, they can see there is so much more to Bruce than they ever thought and now understand why he is a legen to so many), I can honestly say that "Live in NYC" improves on many of Bruce's best works. And that's not an easy thing.

I've read some people complain about a relative lack of hits and standards here, but what is here is as good as anything he has ever done. To see the setlist does not do the quality justice since Bruce improves on so much and does so much differently. Emotionally, every song benefits from his live energy. Besides "Tenth Ave..." standouts include "Atlantic City," which completely reinvents the song. Bruce's vocals are so tight, so emotive, they send chills. Ditto "Youngstown" and "Lost In the Flood." All three of these songs best their album versions here. Only the DVD contains performances of "Backstreets" and "Darknes On the Edge Of Town," and its a damn shame there wasn't room for them on the CD because they too fall into the better-live category. Again, its the emotion in both the vocal quality as well as the all around playing; from Bruce's guitar work to the band's playing as a whole. I've been trying to get these audio versions ("Darkness" apears on the "Waiting on a Sunny Day" single along with "Thunder Road" and "Born to Run" from these NYC shows; but "Backstreets" remains MIA). "Light of Day" works in the same vein as "Tenth Avenue...," with Bruce takin' us to church and baptising us with his gospel of rock n' roll. It is an energetic, frenzied moment that will get you on your feet as if a you were just hit with 1,000 volts of electricity. Most concerts should be so lucky as to have one moment such as this. This show has (at least) two.

And I can't begin to explain his guitar chops on "Prove It All Night" and "Murder Inc." He is phenomenal to watch work that axe. Both the DVD and CD give all the guitar solos a big, blistering, stand out sound. You've never heard Bruce like this in the studio (this guitar-hero-greatness extends on an equal, and maybe larger, scale on the Barcelona DVD, if only because there are more chances for him bust it out on that set).

For that legendary E-Street comrodere, you can't beat "Tenth Ave..." here, but "Two Hearts," the super-chardged, cut-lose fun of "Ramrod," the block party that is "Out in the Street," and the emotional bond of "If I Should Fall Behind," are all a thing of beauty to behold - especially during this reunion phase. This crew needs eachother. Just look at Bruce's "Plugged" from his E-Street departure days - they are not the same apart. Yes, Bruce is a solo artist and the songs are his, but he is never better than when he is with his brothers (and first lady) at his side. Together they make his songs theirs - and ours. This is a band - not Bruce and some backing band. They are not replaceable. Even "E-Steet Shuffle," which plays over the end credits, sounds so good and so fun, I wish we could see the performance and I wish it were included on the CD.

So maybe there was a reason I had to stomach Creed after all. Oh yeah, and as far as this item, if I didn't mention it; get it! Both the DVD and CD.

It may just change your life.

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U.N. Fever (Institutional Use)

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Price: $99.00    

Product Description

U.N. Fever follows three teams of college students - The City College of New York, Freie Universitaet Berlin, and Pace University in Pleasantville NY -- as they prepare to compete in an international Model U.N. competition. These passionate young people are among our future world leaders. They seek real-life solutions to today's global crises. The film peers into their lives as they undergo the dramas, breakdowns and triumphs of what will turn out to be a life-altering experience. This is a character-led story leaving audiences feeling hopeful about the next generation and its commitment to world peace, human rights and justice.

An excellent way to introduce your students to the exuberance and value of Model U.N. participation.

This product is manufactured on demand using DVD-R recordable media. Amazon.com's standard return policy will apply.

U.N. Fever (Institutional Use) Review

As a high school Model U.N. instructor I thought this would be a great way to introduce MUN to new students. In fact, the product description says the same thing. And I quote: "An excellent way to introduce your students to the exuberance and value of Model U.N. participation." So I bought the DVD and watched it first (luckily). The language is terrible. It's a reality show for MUN partipants. Not entirely a bad thing but when they started using the occasional expletive I began to be worried. THEN the insructor starts using the f-word! (multiple times) Very tacky and not a good reflection on the MUN program. Save your money.

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Forbidden Planet - Special Edition [Import anglais]

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Forbidden Planet - Special Edition [Import anglais] Review

Forbidden Planet is an incredible movie and no Sci-Fi fan should be without it. The transfer on the 50th Anniversary and Ultimate Collector's Editions is incredible. I've never seen the film look so bright, crisp and vibrant. The included documentaries and bonus footage are very entertaining and not to be missed.

A word of warning though, the Ultimate Collector's Edition is a bit of a rip off. The included Robby the Robot toy was the main reason I bought this set and it's much smaller (and less detailed) than the images lead you to believe. I haven't opened mine, but it looks like it's not even articulated. Definitely not worth the extra money I had to pay. The lobby card reporductions are nice, as is the tin case, but unless you plan to display these it's hard to justify the added cost.

Be smart, skip the Ultimate Collector's Edition and buy the 50th Anniversary Edition. You'll get just the exact same transfer and bonus material without the cheap toy and lobby cards.

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Star Trek: Deep Space Nine

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Star Trek: Deep Space Nine Review

bMost series go out like the roach in those old Raid commericals on their backs with legs sticking up in the air. DS9 was an exception to the rule. Pedigree is sometimes telling and, in the case of DS9, it was the grandson of a science fiction film classic; Roddenberry clearly based his characters and the situation of the original Star Trek on Forbidden Planet. Next Generation took that formula to the next level. DS9 was the first major departure from the formula--while it's set in Roddenberry's universe creators Michael Pillar and Rick Berman brought in a much darker element. It fit well.

Season 7 tied up most of the loose ends from the previous six years. As Executive Producer and writer Ira Steve Behr noted, DS9 evolved without any clear cut plan in mind beyond the current season. In many respects, that was the to the series' advantage. Jadzia Dax, Worf's wife and fellow officer, is murdered at the conclusion of season six and it appears that the evil spirits of the Pah-wraith have taken control. The Dominion looks like they will actually win the war and Gul Dukat, Sisko's doppleganger and foe,has over the course of seasons 6 and 7 gone completely insane.

Worf must deal with the loss of his mate and his world continues to crumble as the Dax symbiot returns as Ezri Dax (played by the marvelous and beautiful Nicole deBoer) bring back ghosts he'd thought he had put behind him. Sisko has returned to Earth taking a leave of absence from the Federation to work at his father's restaurant. Image In The Sand opens with Sisko trying to uncover the mystery of his mother's death and his visions. An attempt on his life makes him rethink his isolation from the world. Other strong episodes include After Image where Garak has massive anxiety attacks related to his role in helping the Federation overturn the Cardassian Empire. He feels like a traitor even though Cardassia is now just a pawn of the Dominion. Chrysalis focuses on Julian Bashir's love affair with another genetically enhanced individual who, until recently, was in something of a catatonic state. The best episode for me is Treachery, Faith and The Great River. Weyoun one of the genetically engineered overseers of the Jem H'adar betrays the Dominion. He gives information to the Federation in return for asylum. Evidently he's been judged defective and the Dominion has elected to terminate him and replace him with yet another clone.

Inter Arma Enim Silent Leges and Extreme Measures reintroduces Section 31 the secret cell that operates within the Federation. This secret organization will do anything, regardless of ethics or morality, to insure the Federation wins the war against the Dominion. Willian Sadler is superb as Sloan who tries to recruit Bashir in the former. In the latter episode, Bashir must enter the dying man's mind to find a cure for the wasting disease that was introduced to destroy the Founders (the leaders of the Dominion) by Section 31. It threatens the Founders and Odo who was used to introduce the disease to his people.

The grand finale is a marvelous two parter that doesn't provide complete resolution but, like the best novels, leaves enough loose ends to make the series interesting. I don't want to spoil it as there are a number of powerful surprises.

While season 7 didn't quite live up to seasons 4, 5 & 6 it was a strong send off for the series. Unlike The Next Generation (which I still love despite its flaws), on DS9 not everyone got along and the conflicts made the show that much more interesting. Oh, and if you purchase seasons 6 & 7 you'll get $20.00 back from Paramount (a similar promotion was used for Next Gen). A great series (not just a great Star Trek series)rode off into the sunset without ever looking back.

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L'argent

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Price: $40.98   

L'argent Review

This was, as it turned out, Robert Bresson's final film - he died last year, having spent the better part of the century making only fourteen feature films, most of which are truly remarkable. Fairly loosely adapted from a Tolstoy story, it starts off with a middle-class kid passing a forged banknote and ends in axe-murder. Bresson displays commendable artistic nous in avoiding the preachier, more moralistic bits of the original story (it's not one of Tolstoy's better tales) and concentrates instead on the man-made but nevertheless impersonal forces that conspire to drag the oilman Yvon from decent family man to murderer. (The murder itself is one of the most stunning, and yet most discreet sequences in the history of film.) Bresson's usual crawling pace is sped up here, as there are so many stories and sub-plots to get through. Kent Jones, in his excellent study of the film, has observed that while Bresson has a wonderfully acute sense of what young people are like, he falls down a bit when he tries to depict the Paris underworld; but it doesn't matter, as this is a film with its eyes on bigger matters than documentary realism. Bresson was at least 80 when he made L'Argent, and his uncanny sense of rhythm and timing were not at all dulled; the fairly gentle pace of the opening scenes accelerates into hyperspace before the end. L'Argent is about as far from the conventional crime picture is you'll ever get; the opening shot, of the metal screen of an ATM machine sliding shut, establishes the sense of inexorability. There are no Good But Troubled Cops, no Criminal Masterminds. Everybody in the film is humanly inexplicable, inexplicably human. When Yvon, at the film's visceral climax, asks the question "Where's the money?", it was Bresson himself who, in an interview, gave the answer: Everywhere. If only most directors' final films were as good as this. Help other customers find the most helpful reviews� Was this review helpful to you? Yes No Report abuse | PermalinkComment Comment

Most of the consumer Reviews tell that the "L'argent" are high quality item. You can read each testimony from consumers to find out cons and pros from L'argent ...