The Story Behind Springsteen’s Unreleased “Dancing in the Dark” Video

Before the “Dancing in the Dark” video we all know, Bruce Springsteen made another failed attempt at the video with director of photography Daniel Pearl.

In the mid-1980s, I anticipated the first showing of Bruce Springsteen’s video for “Dancing in the Dark” on MTV to support his Born in the U.S.A. album. The rock icon and my favorite artist was entering the modern music video era.

While Springsteen years earlier had released a music video for “Atlantic City” as part of his previous album Nebraska, that video was a grainy black and white video of scenes around Atlantic City with no sign of the artist. The new video for “Dancing in the Dark” featured the legendary live performer in a concert setting, directed by Brian De Palma. While it was obviously staged, right down to his invitation to an audience member (a young pre-Friends Courteney Cox) to join him on stage, it was exciting to be able to repeatedly watch Springsteen perform on TV.

But the video for “Dancing in the Dark” almost looked quite different. There was initially a failed attempt to create a video of Springsteen . . . actually dancing in the dark.

Springsteen Walks Out of Video Shoot

As originally recounted in “The Golden Age of Music Video,” before director Brian De Palma became involved in helping Springsteen with the video that was ultimately released, Springsteen made another attempt at a video with director Jeff Stein and cinematographer Daniel Pearl.

Pearl was already on his way to his legendary career as director of photography, having already shot the landmark videos for Michael Jackson’s “Billie Jean” and The Police’s “Every Breath You Take.” But this encounter with Springsteen would not have such success.

Stein, the director, told Pearl that the concept for “Dancing in the Dark” was to have Springsteen dancing in a dark room. Pearl did not think it was much of a concept but began his work when Springsteen arrived. (Stein later explained that he also thought at the time that Sprinsteen should have been shot in a concert setting.)

Pearl immediately noticed Springsteen’s new look: “Big sideburns, he’s pumped, rippling muscles in his arms, good muscle definition, he’s wearing a wife beater sleeveless shirt, sharkskin pants, and black pointy-toe shoes and basically, that’s the New Jersey, sort-of early ‘60s thing going on, right? But very manly, right? So I lit him very hard – hard edge lights for his rippling muscles, and just really chiseled him with light.”

But Springsteen did not like the lighting and asked about using a silk lighting filter to soften the look. Pearl responded that such lighting was for a woman like Stevie Nicks and Springsteen was “manly.” Springsteen was not convinced, but the director asked Springsteen to follow Pearl’s way for a shoot and if he still didn’t like it they could shoot it again with the softer lighting.

And so they did a few takes, producing the following video, including Clarence Clemons at the end.

After a few takes, Springsteen went to the green room for a break, but then he disappeared and never returned for more shoots. He took off, apparently with Clemons, without telling anyone, possibly unhappy with how things were going.

Pearl blamed himself for Springsteen’s disappearance, and in later years director Stein, without saying much about the shoot, claimed that it was Pearl’s fault that Springsteen left.

The New “Dancing in the Dark” Video With Brian De Palma

Subsequently, Springsteen went to movie director Brian De Palma, who created the legendary concert video for “Dancing in the Dark.” In Springsteen’s autobiography, Born to Run, he makes little note of the earlier attempt to make a video for the song, only saying, “We had a false start a week or two previous with another director, so Brian’s come to make sure justice is done to waht will turn out to be my greatest hit.” (p. 325)

De Palma shot the video at the Saint Paul Civic Center in Saint Paul, Minnesota, on June 28 and 29, 1984 (the second date was the opening of the Born in the U.S.A. tour).

Bruce still danced, but this time he had an audience and performed before calling up the young actress Courteny Cox from the audience to dance with him in the video. Watching it today, you may see Springsteen using some of the same moves he tried out in the Stein-Pearl video. As Springsteen notes in his autobiography, “We would make many videos in the future — I’d even come to enjoy them — but none would ever elicit the same knee-slapping guffaws and righteous, rolling laughter from my kids as me doing my Jersey James Brown in “Dancing in the Dark.” (“Dad . .. you look ridiculous!” (p. 325.)

Others did not find the video ridiculous. The song went to number two on the charts, held out of the top spot by Prince’s “When Doves Cry.” The new music video went on to win the MTV Video Music Award for Best Stage Performance in September 1985 and was nominated for Best Overall Performance.

Hurt Feelings and a Reunion: “Human Touch” & “Better Days”

As for the cinematographer of the first “Dancing in the Dark” video attempt, Daniel Pearl, he refused to work with Springsteen through the 1980s after his encounter with the fleeing artist. Even while he often was doing cinematography for director Meiert Avis, Pearl declined the work when Avis was directing Springsteen.

But in the early 1990s, that changed. Pearl was working for Avis on a shoot for a band when they went to New Orleans where he expected to continue the shoot. While working at the new location with Avis, though, a surprise walked in. It was Springsteen.

Pearl assumed Springsteen was just visiting the director, and so he tried to ignore Springsteen. Pearl later explained: “I’m not going to talk to him [Springsteen]. So we’re shooting another take and as we finished the take, I get tapped on the shoulder by Springsteen, and he goes, ‘Daniel, the circle becomes complete.’ He says, ‘You were right on how you wanted to light me. I was wrong. This is my song. We’re shooting here now, and this is the only way we could get you to do it. I want to apologize because you were right.’”

The two men buried the hatchet and created the video for “Human Touch.”

Pearl later correctly noted, it “is a great video in a lot of ways.”

In the interview, Pearl does not discuss it, but soon after the filming of the “Human Touch” video, he again worked with director Amis to make the video for Springsteen’s song “Better Days.”

This video was recorded on a soundstage in Los Angeles, with the song appearing as part of a double A-side with “Human Touch.”

These songs appeared on two early 1990s albums Springsteen made without the E Street Band, Human Touch and Lucky Town. Because of the new band, some fans disparage these two albums, which were released at the same time. But I love these albums and listen to them often.

One of the things I like about these Springsteen videos created by Pearl and Amis is that like much of the two albums, they capture a confident and happy version of Springsteen, with a genuine smile coming through that did not necessarily appear in some of his more “serious” videos from the previous decade.

Of course Springsteen smiles in the two “Dancing in the Dark” videos, and there are wry smiles at the end of the videos for “Glory Days” and “I’m On Fire.” But the smiles appearing in the early 1990s videos for “Human Touch” and in particular “Better Days” capture a more mature man, a new husband and father, confident, and maybe a little less nervous about being filmed for a music video.

And maybe there was also a little joy about making amends with a cinematographer he once walked out on.

And that is how a failed video for “Dancing in the Dark” led to a reunion and the videos for “Human Touch” and “Better Days.”

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Trying to Make Sense of the Short Life of Justin Townes Earle (Book Review)

In “What Do You Do When You’re Lonesome,” author Jonathan Bernstein recounts the life, music, and struggles of singer-songwriter Justin Townes Earle who died in 2020 at the age of 38.

In What Do You Do When You’re Lonesome, Jonathan Bernstein traces the life of Justin Townes Earle. The book offers no easy answers for how Earle created great music or how he came to die alone in Nashville at age 38 on August 20, 2020 through an accidental overdose from cocaine laced with fentany. But Bernstein importantly leaves us with a portrait of a troubled man that provides further insight into his musical legacy.

While Bernstein makes no attempts to tie together all of the strands of Earle’s life and music, he provides the reader with a detailed description of Earle’s ups and downs and his music. While he does not delve deep into the recording or writing process, his interviews with others helps bring some insight into the influences and life experiences that helped form the too-short record of a musical life.

The book traces Justin Townes Earle‘s life from childhood through his early musical associations through his solo career and through his struggles with addiction.

Three Themes Running Through the Book

Fathers and Sons. The themes running through the book include Earle’s troubled relationship with his father, musical legend Steve Earle, as well as the son’s devotion to his mother Carol Ann Hunter Earle. Bernstein tries to present an objective perspective of the father-son dynamic, noting it was more complicated than the son often described, with the father — who declined to be interviewed for the book — attempting to play a larger role in the son’s life after the father became sober. But the parental relationships, and Justin’s perception of them, played a large role in his music (which include albums entitled “Single Mothers” and “Absent Fathers”) and in his life choices. Bernstein recounts how near the end of Earle’s life, he sometimes broke down while performing songs like “Mama’s Eyes,” which begins “I am my father’s son. . . .”

Addiction. Another theme running through the book is Justin Townes Earle’s struggles with addiction to alcohol and drugs. Bernstein does a good job of recognizing the story in the context of music history, recognizing “the Myth” believed by many that great music only comes out of addiction and trauma. Although I knew of Earle’s addictions, the book surprised me with the reporting of the persistence of them, so much that the repetition of the problems make you wish you could reach out to Earle. I was surprised to learn that his accidental death was not the result of a short relapse but a long continuing spiral, perhaps a little aided by the isolation during those early days of the Covid pandemic. The addictions often helped make him difficult toward others, such as an eventual break with one-time friend Jason Isbell. But at the same time, as recounted by Steve Earle’s ex-wife Allison Moorer, he was loved and lovable.

The Artist. The third major theme in the book is his ability to make wonderful music through it all, from before he started releasing records, through his debut EP Yuma in 2007 through the eighth and final album released in his lifetime, The Saint of Lost Causes, released in May 2019. Bernstein explains how his music career had its own ups and downs, with the reception of some albums being a disappointment. Near the end of his life, in addition to all his other challenges, he faced what felt like declining relevancy. He found his albums released after 2012 were surpassed in popularity by newer “Americana” artists building upon some of the foundations Earle helped create with his earlier albums.

No Clear Answers

Bernstein recognizes that a person is made up of more than the parts of their lives, and he makes no attempt to tie everything together in a nice bow at the end. But the portrait allows the reader to see the themes and connections, such as the fact that despite the complicated father-son dynamic, Justin Townes Earle’s first recording, the outstanding “Time You Waste,” was released as an extra track on his father’s 2003 album, Just An American Boy.

One may still wonder about Earle’s life and wonder why he was so troubled. It is normal to want more answers. A biographer can never really know everything about a subject. How can one truly know another’s heart and their thoughts? And unless someone is filmed 24/7 since the day they were born, we only know what they and others choose to tell us.

For example, near the end of the book, Bernstein recounts Earle telling an audience about problems in his childhood, includng that he was “abused.” We know that Earle often exagerated his life story, but up to that point, we had not heard that word in the book. Was Earle making it up or just referring to his issues about being abandoned by his father? Or was he referring to something that we might not know about? We can only wonder based on what we know about Earle.

Anyone interested in the music of Justin Townes Earle will be interested in this authorized biography and learn a lot about the singer-songwriter. But, like me, some readers may not find the book an extremely enjoyable read, learning that one of their favorite artists faced so many demons and made so many bad choices.

And it is even sadder to think about all we lost with Earle’s future. Bernstein recounts some of the ideas Earle was considering around the time of his death, such as producing a documentary about John Prine and perhaps finally doing an album with his father.

Then again, I think over time, getting through the sadness presented in the book will make me appreciate Earle’s music that much more. He created such light while facing such darkness in his own life.

What Do You Do When You’re Lonesome: The Authorized Biography of Justin Townes Earle is available at your local bookstore and at Amazon. Note: I “read” this book by listening to the Audible version read by John Pirhalla, who does a great job giving voice to the story.

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A Vietnam Movie About the Continuing Effects of the War: “The Last Full Measure” (Missed Movies)

The 2019 film “The Last Full Measure” failed to be a box office hit, but if you are looking for a lesser known film about the after effects of the Vietnam War featuring some of America’s great actors, check out this movie. You might enjoy it if your expectations are not too high.

In light of the fact that The Last Full Measure (2019) grossed only $3 million versus a $20 million budget, most people probably have not seen this film, making it s a movie you might have missed. Should you check it out?

There are some reasons the movie did not attract a large audience. When the film was released, it already was about a war that took place nearly fifty years earlier. The director Todd Robinson was not well known, and at times the production might seem like a TV movie rather than a feature film, with the starring role by a lesser known actor at the time, Sebastian Stan. While featuring some battle scenes, the movie is not really an action story about a battle, and viewers will already know who lived and died at the beginning. Further, the generic title of the film probably did not attract many viewers. Using an Abraham Lincoln quote from The Gettysburg Address that evokes the Civil War only confuses a potential viewer and tells them nothing about what the movie is about. Such a title could be slapped on any war movie (and is also the title of an earlier book about Vietnam). Finally, one reason that reviews were mixed might be that the title and the image on the poster seem to promise a movie set during a fight, most of the film takes place in Washington, D.C., years after the war has ended.

But The Last Full Measure, which took nearly 20 years to make from inception to final editing, is worth your time for two main reasons: First it is a rare film about the aftermath effects of war, doing for the Vietnam War in some ways what The Best Years of Our Lives (1946) did for World War II. Second, it features a number of great performances by many great actors. Even though they come and go, and most of them do not appear together for most of the film, there are wonderful appearances by Christopher Plumber, Peter Fonda, William Hurt, Ed Harris, Samuel L. Jackson, Diane Lane, Amy Madigan, and John Savage (whose appearance near the end connects the film back to one of the early great Vietnam War films, The Deer Hunter (1978)).

The Last Full Measure is based on a true story of the campaign to get a Medal of Honor for William H. Pitsenbarger, a U.S. Air Force Pararescueman during the Vietnam War. The film includes flashbacks to the battle where Pitsenbarger heroically saved many men. But the majority of the movie is set around the year 2000 where a Washington, D.C. official (Sebastian Stan) is assigned to investigate whether Pitsenbarger should get the Medal of Honor.

While much of the movie, including Pitsenbarger’s heroics, are true, many of the characters are fictionalized to varying degrees. The official’s story is very loosely based upon a real person and many of the vets are fictionalized versions of the veterans who worked to get Pitsenbarger the medal. But those differences do not take away from what the movie is really about. (For more on a comparison of the movie with the true story, check out this article from History vs. Hollywood.)

And what is the movie really about? It is about the effects of war on the survivors, beautifully portrayed by some great actors. I do not want to ruin the film for anyone who has not seen it, but only to suggest you give it a try. Is it a great war movie? No. But if you go in with modest expectations to see a movie about the effects of war on those touched by it, you might be pleasantly surprised that this movie you may never have heard of is a pretty good movie that you missed. You’ll see why so many great actors were attracted to these roles showing characters we rarely have seen on screen.

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RIP: A Brief Encounter with Glen Hansard

Glen Hansard, who died on July 29, 2026, created a beautiful body of music and film, as the author remembers a brief encounter with the artist.

Almost two decades ago, my future wife and I made our first trip to Ireland, a place where we each had ancestors. As part of my preparation, I rewatched the recent movie Once (2007), starring Glen Hansard and Markéta Irglová as two struggling musicians in Dublin. Although Hansard, born April 21, 1970, was already known by many for his work with The Frames, like many in the U.S., I first fully discovered him from Once (although had seen his work in movie The Commitments previously). From Once, a sweet love story with a beautiful ending, he won an Oscar for the song “Falling Slowly,” which he wrote with Markéta Irglová, his co-star and Swell Season partner.

Anyway, as we boarded our airplane to Ireland from New York City, who ended up next to me in line but Glen Hansard, waiting to board with a guitar on his back. I made a brief joke about hoping he was being treated well, and we exchanged brief pleasantries. It was a brief encounter, but a nice one, and started off making the trip a little extra special. I last saw him at the airport in Dublin near the baggage claim, walking through the airport with his guitar on his back, much like he looked the last time we see him in Once.

That brings us to the sad news this morning that Hansard died in a motorcycle crash in Dublin early this morning, July 29, 2026, at the age of 56. He leaves behind his wife, a young child, friends, family, and many fans. His distinctive voice lost to us, but his music (and film work) will live on.

In addition to his wonderful original work, Hansard was known also as a great interpreter (including some great Springsteen covers) and duet partner. Even after he became famous, he was often caught busking on the streets of Dublin.

He seemed to truly love music and brought that joy to his listeners. Below he sings Van Morrison’s “Into the Mystic” with Irglová.

“Yeah, when that fog horn blows / I will be coming home.” RIP.

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Margo Price Meets the Moment Through Woody Guthrie’s “Deportee” (With Help From Joan Baez and Memphis Mariachi)

Margo Price’s new EP “Days of Unrest” includes several timely protest songs, including Woody Guthrie’s “Deportee (Plane Wreck at Los Gatos).”

Margo Price has released a 9-track EP entitled Days of Unrest, featuring five timely covers of protest songs as well as three original instrumentals as well as Price’s song “Can’t Stand Still.” The protest songs include the Mexican folk song “De Colores,” Bob Dylan’s “Maggie’s Farm,” Blaze Foley’s “Oval Room,” and Woody Guthrie’s “Deportee (Plane Wreck at Los Gatos).” On the Guthrie song, Joan Baez joins Price and the Memphis Mariachi.

We previously have written about how Guthrie was inspired to write “Deportee” by a 1948 plane crash that killed 28 undocumented immigrants. In the case of the album, Price sings “Deportee” as part of a statement about our current times and treatment of immigrants in the U.S. These are songs have meant a lot to her for a long time (such as playing “Deportee” at Farm Aid 40), as her embrace of protest music is not something new for Price.

Margo Price recently explained to Salon about her choice to include “Deportee,” a song she has been singing for some time, on Days of Unrest: “[I]t needs to be sung and we cannot look away from what is happening right now. We cannot act like this is normal. I mean, I think a lot of people think that I’m radical because I’m talking about this stuff. But I think 20-30 years from now, we’re going to say, ‘Why are more people not concerned about the way that folks are being treated right now. It’s inhumane.”

Check out Price’s cover of “Deportee” with Joan Baez in the official lyric video, which includes current events.

Part of the proceeds from sales of Days of Unrest will go to The Florence Immigrant and Refugee Rights Project, which helps immigrants facing detention and deportation. The members of Memphis Mariachi are José Patiño, Eniel Pineda, Alejandro Quijano, Martín Granados, José Pérez, and Juan Viamontes.

Days of Unrest is available at Amazon and other locations. Leave your two cents in the comments.