Passover: Moses and the Price You Pay

ten commandments In popular culture, most references to Moses focus on the high points of his life.  These include him leading the Israelites to freedom by parting the Red Sea and his trip to Mount Sinai to bring forth the ten commandments.  But in the final scene of the film The Ten Commandments (1956), the film ends with a less celebratory scene.  The movie ends with Charlton Heston’s Moses left behind, paying for what seems like a minor transgression.

I remember watching the movie as a kid, seeing the low-key ending as a letdown after the excitement of the action of the parting of the Red Sea. I also found it confusing because the entire movie shows Moses as special to God and then all of a sudden God is punishing him.

Perhaps my confusion about the ending of the movie is one of the reasons I immediately fell in love with Bruce Springsteen’s “The Price You Pay.” Springsteen captures the tragic sadness of that moment in his song from The River (1980).

Little girl down on the strand,
With that pretty little baby in your hands,
Do you remember the story of the Promised Land?
How he crossed the desert sands,
And could not enter the chosen land,
On the banks of the river he stayed,
To face the price you pay.

Similarly, in “Adam Raised a Cain,” he explains that the notion of sin and punishment is so deep that paying for our own sins is not enough:  “You’re born into this life paying / For the sins of somebody else’s past.”

But Springsteen, who both embraces and rebels against his Catholic upbringing in his songs, does not let the story of “The Price You Pay” end there. Although there is nothing Springsteen can do about the story of Moses (or Cain and Able), in “The Price You Pay” the singer rebels against the rules that say we must always be paying for sins.

But just across the county line, a stranger passing through put up a sign
That counts the men fallen away to the price you pay;
And girl before the end of the day,
I’m gonna tear it down and throw it away.

In some ways, “The Price You Pay” is a sequel to Springsteen’s “The Promised Land” from Darkness on the Edge of Town (1978).  In that song, the singer sang of faith in a promised land and a coming twister that will “blow away the dreams that break your heart.”

The idea of escape from punishment for sin is present in much of Springsteen’s music. In “The Price You Pay,” though, he connects the past and present in a way where the present-day hero is not crushed by old rules.  Instead, he rises up and rebel not only for himself, but for the sinners of the past, including Moses.  It may be nothing more than tearing down a sign, but he rejects the notion that life is about paying for sin.

Whether or not you celebrate one of the holidays this month, may you have a year free from the haunting of past sins. And at the same time may you tear down the sign and forgive others for their burdens.

What do you think is the meaning behind “The Price You Pay”? Leave your two cents in the comments.

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    Happy Birthday Eleanora Fagan (i.e., Billie Holiday)!

    complete billie holiday On April 7 in 1915, Eleanora Fagan was born in Philadelphia, Pennsylvania. As a young 13-year-old girl, Eleanora learned songs and began singing while working in a brothel. After getting arrested and serving time in a workhouse, the girl began seeking a singing career and adopted her new first name from the actress Billie Dove and her last name from a jazz guitarist who was her father, Clarence Halliday (although that name later transformed into “Holiday”).

    By 1946, Billie Holiday was so well-known for her singing that she appeared in the film New Orleans with Louis Armstrong, where she sang “The Blues are Brewin’.”

    After a lifetime of facing racism, drug abuse, drinking, and abusive men, Holiday died in 1959 suffering from liver and heart disease. She was only 44. While she was in the hospital dying, police raided her room and arrested her for drug possession. Despite her troubled life, she had a unique influence on American music, much like Louis Armstrong. Thanks Eleanora.

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    Time After Time: From Alt-Rock American Idol to Miles Davis

    This week on American Idol, Colton Dixon did a good job covering Cyndi Lauper’s “Time After Time” from She’s So Unusual (1983).

    After he sang, he graciously noted that he did not deserve all the credit for his reinterpretation because he took much of it from the band Quietdrive. If you’re not familiar with the group, the band is an alt-rock group from Minneapolis that formed in 2002 and has released several albums. Here is their interpretation of “Time After Time,” which was in the soundtrack for the 2006 film, John Tucker Must Die.

    “Time After Time” is one of those songs that seems like it has been around forever and lends itself well to covers. I suspect most people are like me and prefer Lauper’s original above all others. I was fortunate to see her perform the song in a small club in Cleveland before “Girls Just Want to Have Fun” took her to superstar status. While she will always be most associated with “Girls,” it is “Time After Time” that probably will always be covered by other artists. Some of the versions of the song are by Eva Cassidy, Matchbox Twenty, and Sarah Mclachlan. One of my favorite interpretations is by Miles Davis.

    “Time After Time” is timeless.

    What is your favorite version of “Time After Time”? Leave your two cents in the comments.

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    “Soul” Songs That Aren’t Soul Music: Hey, Soul Sister

    tran san francisco Happy April Fool’s Day. Today, we consider the prank played by Train’s song, “Hey, Soul Sister,” where upon hearing the title you expect the song to be some type of soul song. Train’s joke is revealed from the moment you hear the strumming of the ukelele and you soon realize instead that “Hey, Soul Sister” is a boy band song. And a darn good one at that.

    I liked Train since they released their first self-titled album in 1998. And when they later released “Drops of Jupiter” in 2001 on the album of the same name, I loved the song even as it was played endlessly on the radio. But then I did not hear about them for years, and suddenly there was this big hit I saw referenced several times before I actually heard it, “Hey, Soul Sister” from Save Me, San Francisco (2009).

    According to Wikipedia, “it is the 8th most downloaded song in history, the most downloaded song of all time for Columbia Records, the top-selling song on iTunes in 2010.” Eighth in history? And I realize that it may not be fair to compare songs that were not released for the first time in the age of the Internet, but if it is the most downloaded song of all time for Columbia, it has been downloaded more times than Bob Dylan’s “Like a Rolling Stone” and Bruce Springsteen’s “Born to Run.” It was huge.

    While “Hey, Soul Sister” is a good song, I must admit I never understood why it became such a gigantic hit for Train. According to Train lead singer Patrick Monahan, who co-wrote the song, he was inspired by imagining what it would be like to attend Burning Man, a party in the desert with naked people running around. But for some reason, I doubt they listen to “Mr. Mister” at Burning Man, so I do not know what he was thinking. Here’s the acoustic ukelele-only version.

    Monahan has an excellent voice, and you cannot help but sing along, but it seems odd that a man of Monahan’s age (40 the year the song was released) sings the cheesy line, “You’re so gangsta, I’m so thug.” Yet, the line works when someone young sings the song, as a young man might be so naive — and sincere — to make such a silly claim to the object of his affection. The rest of the lyrics fit better for a naive young singer too.

    You gave my life direction, a game show love connection we can’t deny;
    I’m so obsessed, my heart is bound to beat right out my untrimmed chest;
    I believe in you, like a virgin, you’re Madonna, and I’m always gonna wanna blow your mind.

    “My untrimmed chest”?

    That is why the song works so much better as a boy band song, and why I never particularly “got” the song until I heard it performed by singers on Glee on one of the few episodes of the TV show I have seen. While I am not a fan of of the boy band era of music, I am not so snooty that I can resist a good pop song. And if you are going to do a boy band song, it should be left to the boy bands. And the song works much better for Darren Criss and the Warblers, who make the hit song their own on Glee.

    Which version do you like? Is there any soul in “Hey, Soul Sister”? Leave your two cents in the comments.

    And who are these people listening to Mr. Mister?

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    You Can Get Killed Just for Living in Your American Skin

    Last Friday, Bruce Springsteen dug his song “American Skin (41 Shots)” from Live In New York City (2000) out of the vault in Tampa, Florida. Without any comment from Springsteen, the reason for the song eventually became clear to the crowd. Although it was written about New York police shooting the unarmed Amadou Diallo in February 1999, the refrain about getting killed just for living in your “American Skin” resonated in Florida, where this February the 17-year-old unarmed Trayvon Martin was killed.

    While everyone is still sorting out what happened in the incident, both liberal and conservative commentators have been doing a lot of yelling. While one may debate whether Springsteen’s decision to bring back “41 Shots” helps with the debate or just adds more confusion to the developing story, when Nils Lofgren’s electric guitar kicks in after the 3-minute mark, there is no question. Even more than the refrain, the building tension and screaming guitars say that despite all of the rhetoric on both sides, it’s a damn tragedy.

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