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Jackson Browne asked if this was still the Garden State Arts Center — part of the epic Running on Empty was recorded here, and he opened his set with "You Love the Thunder" as a tribute to that night 40 years ago.

Other standouts with his fantastic band were "The Pretender" and my personal favorite "Redneck Friend," which I had not hear Browne sing in years "Honey you shake, I'll rattle, we'll roll on down the line Jackson was joined by Steven for his classic "I Am a Patriot," adding some very timely lyrics about racism, bigotry, and current events.

You could see the joy in their strut, revisiting this epic song together as on the Vote for Change tour. And then it was time for Bruce to make one more Jersey Jump on stage, for a nearly nine-minute performance of "Take it Easy" into "Our Lady of the Well," justr as it's sequenced on the For Everyman album.

After hanging back on "Our Lady of the Well," Springsteen the guitar-slinger threw in some sizzling riffs to finish off one of the least laid back evenings I've spent.

A Workshop, Springsteen's first run-through of Springsteen on Broadway set for a small group friends and family at Monmouth University.

He mentioned that the last time they'd played together, at Hyde Park in London, they'd had the plug pulled on them by the authorities, so this time he hoped they'd be able to finish their song.

After playing it once, they made a snap and wise decision to play it again. Afterwards, as Bruce left the stage — grin still plastered to his face — he could be seen wiping a tear from his eye.

An emotional night for all involved — especially the very lucky audience. It was such an unlikely occurrence that it seemed not only improbable but well nigh impossible that Bruce Springsteen would make an unannounced appearance on an Asbury Park stage on two successive nights.

It was unlikely even in the mid-'80s, when he was out and about on what seemed like a weekly basis.

And we have a new album. Yeah," he smirked, "I only do this every 20 or 30 years. But against all odds, there he was again for the encore.

After the outstanding full set from the Disciples, Stevie called out, "Where's my brother from another mother?

Trademark Fender guitar in hand, Bruce joined his old friend at center stage and helped close the show with two songs. There were many songs in the set that Springsteen could've guested on, but really, there was only one that would do for this type of an evening: It's difficult to overstate the emotional impact of the song on fans of the Jersey Shore music scene; like "I Don't Want to Go Home," it is, in a sense, every bit a part of their shared past as it is for its performers.

On Saturday night, even if it were just Van Zandt by himself at the mic, the song would have packed a powerful punch. But with these two lifelong friends and music partners sharing the mic at center stage, the performance became one for the ages.

What to close with, then? How about a Chuck Berry song? How about "Bye Bye Johnny"? How about Bruce taking the second verse, which more or less tells the story of his own life:.

She remembered taking money out from gathering crop And buying Johnny's guitar at a broker shop As long as he would play it by the railroad side And wouldn't get in trouble he was satisfied But never thought that there would come a day like this When she would have to give her son a goodbye kiss At the song's conclusion, a beaming Bruce leaned into the mic and shouted "Little Steven and the Disciples of Soul!

The audience stood and clamored for several moments, but to no avail; there would be no encore. Van Zandt and his new Disciples will be performing many shows in the coming months, but there will be few to match what happened at the Paramount Theatre.

Friday night, a sold-out Paramount Theatre bore witness not just to the world premiere of Just Before the Dawn: Riot, Redemption, Rock 'n' Roll , but the long-awaited onstage reunion of many of the key figures in the history of Asbury Park's legendary Upstage club.

While many of the musicians in attendance have appeared onstage together in various capacities over the years — many still live in the area — such gatherings have become increasingly rare.

And the appearance of Asbury's unofficial "holy trinity" of Southside Johnny Lyon, Steven Van Zandt, and a surprise unbilled Bruce onstage together is also not something even longtime area residents have seen often.

Yet, here they were, gathered in celebration of their unique shared history in the short-lived venue on Cookman Avenue. As per usual for film premieres, many people associated with the film were in attendance for the Asbury Park Music and Film Festival event.

The documentary itself was well-received, as the audience greeted the appearance of familiar figures onscreen with warm applause.

It's a fairly straightforward doc that employs all the standard techniques — archival film footage, candid interviews, voice-over narration — and audiences looking for a brief history of a familiar place and time with some great music will come away satisfied.

Entertaining as Just Before the Dawn is, however, it barely scratches the surface of its subject. The history of the Upstage and the larger story of Asbury Park's rise and fall are vast and complex topics that don't easily lend themselves to the minute documentary format.

Historians like Daniel Wolff Fourth of July, Asbury Park and Charles and Margaret Horner Classic Urban Harmony have been wise to explore this complicated history not by being all-inclusive, but by honing on particular aspects of the story — a key theme or genre, a particular series of events.

The story of Asbury Park in many ways is a story of America in microcosm, a conundrum that demands a long-form, multi-episode format.

Unfortunately, much of the tale still waits to be told. Their appearance onstage a few minutes after the intermission was no great surprise to many in attendance.

Indeed, no small number of tickets were snatched up in the hours just prior to the event, as word filtered out that a Springsteen appearance was in the offing.

Nonetheless, a thrilled audience leapt to its feet when the curtain drew back to reveal Little Steven and his new Disciples lineup augmented by a certain Freehold native on Gibson guitar and, to his left, former local whiz kid David Sancious and another local bandleader by the name of Southside Johnny.

Southside burst into a Jukes-esque, horn-drenched "Blues is My Business," and the night was off and running on all eight cylinders.

After the Berry tribute, Steven and much of his band departed, leaving Southside joined by Jukes bassist John Conte and ex-Jukes drummer Joe Bellia at the front mic to belt a cover of B.

Dressed in work shirt and jeans, an unassuming Bruce hung back from the center mic for a good portion of the show. On a night celebrating the communal spirit of the Upstage, the frontman role was shared by many, with Asbury Jukes keyboardist and official ringleader Jeff Kazee somehow managing to coordinate the comings and goings of an endless array of musicians and instruments without any apparent mishaps.

The Upstage Jam Band returned with Messrs. Springsteen and Lyon in tow, backing the two of them as Bruce took lead vocals on a version of Little Richard's "Lucille" punctuated by DeSarno and Ryan guitar solos.

Bruce calling for Sancious to play the Hammond B-3 was priceless; "When I first saw him, he was playing the organ," he commented afterward.

He remembered all the words! Bruce left the stage briefly to make way for Jeff Kazee's lead vocal turn on "Fortunate Son" before reemerging to wind down the set.

Southside stepped back to center mic to lead off the Jukes classic "I Don't Wanna Go Home" with a few bars of "Stand by Me," which was followed by a set-closing, all-hands-on-deck jam on yet another Chuck Berry medley, "Johnny B.

Goode" into "Roll Over, Beethoven. It was a rocking, satisfying night of music that reflected the true Upstage spirit, with familiar Asbury Park faces like LaBella and Marc Ribler mixed in with the talent-laden lineup of assorted Disciples, Upstagers and Jukes all generously sharing the limelight.

Even with Bruce and Southside doing the yeoman's share of leads, there was plenty of room for each musician to have a moment or two to shine, just as they had in the old days.

As it did in , the Springsteen tour of Australia and New Zealand finished in an industrialized section of Auckland on a warm summer's night.

Three years ago Born to Run was played in its entirety and "My City of Ruins" was dedicated to the people of Christchurch. On Saturday night the show began with three Born in the U.

Both tour closers sent Kiwis and Aussies and global denizens of E Street Nation into the night with aching feet, strained vocal chords and the usual conjecture about when if?

Bruce and the band would be back again. There was a marked difference Saturday night from the tour finale, however, and it wasn't found on stage.

It was dripping from the eyes and down the cheeks of people throughout Mt Smart Stadium. Women, men, young, old. Tears that fell throughout the night but poured during a final acoustic "Thunder Road.

Tears of joy and sadness like I've never seen at a concert before. We're all getting older; appearances to the contrary the man himself is closing on 70, and the E Street Band has herculean numbers on its odometer.

Does that explain it? After losing so much grace and greatness in , are we more aware of the mortality of our heroes?

We know this won't go on forever: If so, Saturday night in Auckland — and I don't care how corny this sounds — was all sevens. Blatant, unapologetic corniness is a symptom of repeated exposure to Bruce Springsteen and the E Street Band.

Each Springsteen concert is like a beam of white light through a prism that results in a rainbow of perspectives and opinions.

This summer tour closer would be the rare gig that all factions could agree on — it was a Get Off Your Ass and Dance show through and through.

And that's clearly what Springsteen had in mind: Bruce had a firm hand on the wheel all night, the collective eyes of the band locked on him even more than usual, a breakneck pace maintained by The Boss from the band's entrance at 7: You'd be hard pressed to find a trio of songs less open to misinterpretation than "Darlington County," "Working on the Highway," and "Glory Days.

Darkness had yet to fall on Mt Smart Stadium, so no spotlight was needed to watch Bruce saunter from the stage to the lip of the pit, all Stones-y riff and working-man shirt.

In his Born to Run book Bruce wrote about knowing that he "played," not "worked," for a living, but on this night he was working hard to connect with people in the rectangular, rugby field dimensions of Mt Smart Stadium.

During a typically exuberant "Working on the Highway" he put a fine point on it, challenging the crowd — "Lemme see ya work that thing!

An audibled "Glory Days" — the mic guy was sent scurrying back after retrieving it from the pit stage and Kevin had to be told directly by Bruce which guitar he needed — had Bruce imploring his consigliere "C'mon, work that thing Steve!

At one point Steve slipped a pair of party glasses on Bruce's face. A quick peek at a video screen provided an answer.

Are the people with me? A sufficiently affirmative response made him cry "It's ass-shaking time! These Born in the U.

But as Bruce drew a "99" in the air for another audible it was clear he was going with his gut, and his gut said roadhouse.

The band modified accordingly and a trashy, honky tonk "Johnny 99" ensued with Soozie, Nils and Jake doing solos and joining Bruce on the pit stage lip to a stomping finish.

And c'mon the sax man did, all for the sake of those "in the stands. Putting things back together… after they've fallen apart.

You gotta use your hands now. Since I've written [the song] it's become about a lot of different things, mainly about the things that we lose as life goes on.

The older you get, the more that loss weighs on you. Big, bad-ass, beloved, missing Clarence. Bruce out amongst us before directing his band to the song's gentle finish.

Nightfall blanketed New Zealand's North Island as Jake held onto his anger during a roaring "Wrecking Ball" and the show's core temperature began to rise.

Bruce yelled "Promised Land" to his bandmates before his harmonica sang and we were reminded that the quality of our lives may rise and fall but Springsteen's catalog of songs never wavers.

We just relate to those songs differently. Max's high-hat signalled "Candy's Room," and we were in that rare concert zone when it feels like the ground below us could fall away but we'd remain floating in place.

Max's jackhammered snare gave way to Bruce's wailing guitar and in a few seconds Roy's intro to "Because the Night" unleashed the most intense version of the song on this tour.

By the time Captain Lofgren finished his whirling dervish solo we were swept up in a current and dropped on our heads and barely had time to breathe before "The Rising" started and the cycle repeated.

For one last time the furious perfection of "Badlands" had us bouncing in place and shouting like mad. A wild, joyous, goofy, exhausting "Rosalita" ended this foursome of '70s thunderclaps that's a fountain of youth to older fans and an affirmation of rock 'n' roll's power to those weaned on a variation neutered by corporate-owned radio monopolies and TV "talent" shows.

After thanking Auckland and saluting the Auckland City Mission for doing God's work, Bruce said "This is the last night of our tour down here" and breathlessly thanked a litany of tour personnel with special shout outs to longtime concert producer George Travis and "Ms.

Barbara Carr" of Jon Landau Management. Bruce repeated "until the end… forever friends" in a whisper and pointed to the heavens with both hands, acknowledging a stadium full of forever friends while my ex-pat heart broke for so many friends left behind in the States Max pounded the "Hiding on the backstreets" crescendo into our skulls, and Bruce delivered a vocal performance as raw and real as the words themselves.

The big four of "Born to Run," "Dancing in the Dark" the only song to acknowledge sign wavers on this night , "Tenth Avenue Freeze-out" and "Shout" got one last blowout before a tear-jerking acoustic "Thunder Road" brought the tour to a close.

Bruce said, "Thanks for a great night. We'll be seeing ya. Friends huddled in circles, others stood alone, smiles creasing faces that ain't that young anymore.

Glistening eyes took one last look around the quickly dissipating closing-night crowd, paths crossed on tour about to bring us home to our everyday lives.

Lives that, unlike a Bruce show, offer no guarantees. Lives that for some had been on hold for five weeks after this tour began on a January night in Perth, Australia when Bruce declared the band's allegiance with a "new American resistance.

With a raw longing for this magical circus to continue we bade tearful goodbyes and told each other we'd do it again someday. While that may or may not be true, we also swore forever friends.

And that, my friends, will be true… until the end. Bruce Springsteen often refers to his time on stage as his job. Tuesday night in Christchurch it was his calling, and he wore that calling on his sleeve.

Bruce knew it; all 30, people in attendance knew it: This one was necessary. This one would echo long after the band left AMI Stadium — a temporary structure built after Christchurch's rugby stadium was heavily damaged in the February 22, earthquake — as a tribute to those lost and a celebration of being glad to be alive.

When this show appeared on the Summer Tour itinerary it was easy to imagine it being special. That earthquake killed and left its historic city center in ruins.

Multiple aftershocks have rocked the Canterbury region. A tsunami threatened the South Island's east coast last year. The citizens of Christchurch have been roiled and frustrated and discouraged by redevelopment delays.

It's no exaggeration to say this Christchurch concert has been anticipated for generations. An optimist says this particular show by this particular band couldn't have come at a better time.

A pessimist says no show could live up to such weighty expectations. What does The Boss say? The Boss says it's ass-shaking time. The Boss, as always, is right, and everything, absolutely everything, is alright.

To understand tonight's cathartic show you must know about Wendy Davie. She's an emergency room nurse who married a Christchurch boy, raised three kids and on February 22, did what so many of her fellow citizens did: She then volunteered herself to a trio of policemen.

They drove her into Christchurch's devastated CBD, where she checked in with a commander who gave her his jacket and helmet and sent her to the collapsed Pyne Gould Corporation building.

There she helped set up a triage area for victims of the pancaked five-story structure, a place where 18 people lost their lives.

Later that night, after a tearful reunion with her family in their quake-damaged home nearly every home in Christchurch was damaged or destroyed by that historically powerful earthquake , she and her husband Pete lay in bed and agreed there was only one thing for them to do: The seed was planted more than three years ago on the day the Springsteen tour of Australia and NZ was announced.

The itinerary included two shows in Auckland but none in Christchurch. Wendy's a fan, but it was lifelong diehard Pete who asked, "How fucking hard could it be?

On her lunch break the next day Wendy started finding out by setting up a "Come to Christchurch Bruce Springsteen" Facebook page.

After sending invitations to a small circle of friends, she was startled to watch the page attract more than 11, followers in ten days.

As it was difficult to contact anyone in the Springsteen organization, she informed Frontier Touring of the petition but never heard a word in response.

That word came from Springsteen himself tonight in his introduction to "My City of Ruins": Wanted us to come and play. It took a while, but I'm glad we got here.

I got a chance to drive around and take a look at the city today. I want to send this out to everyone who suffered in the earthquake, send out our love and prayers, and to the emergency services who I know are working today to contain the fires outside of town.

This is for those folks… and for all of you. Can a song possess the person who wrote it? It'll come off as hyperbolic, but Bruce was more than a preacher on this night — he was a messenger, conjurer, shaman, healer.

But tonight Bruce recalibrated it and set it loose within the hearts of the people of Christchurch like a voodoo man stealing souls and setting them free in a better, less lonely place.

Prior to this the band had hit the stage at 7: The sun had yet to set behind the stage, but the air was cool — a perfect night for a city never listed on a Springsteen T-shirt until After a guttural "Finally!

Bruce's fierce vocals were complemented by a searing guitar duel between he and Steve, who was in spectacular form all night.

Don't think it's ever occurred to me at a Bruce show, but it seemed the songs themselves were secondary to the touching of skin, the making of eye contact, the involvement of "the stands.

Everything changed with "My City of Ruins. He let the song's gentle beginning wash over the crowd before making the introduction that set Wendy's heart afire.

After Charlie's blissful organ solo, Jake laid down a sax vibe that made Bruce call out "Do it again! But slowly, slowly over the past ten years it's built itself back up.

A song at the end of the day can be about a lot of things — about my town, about your town, about New York City and even personal things that you've lost.

Bruce prefaced "Mary's Place" with the usual "Are you ready for a house party? Another sign led to a cracking "Radio Nowhere" that ended with Max pulverizing his drum kit.

Bruce ripped a solo from the Carter administration during "Prove It All Night," and then an audibled "Darkness on the Edge of Town" hit home in a city hobbled by loss and disillusionment.

The twosome of "The River" and "Youngstown" have been linchpins throughout the Australian tour and remained so tonight, Nils nearly laying his guitar on the ground during "Youngstown" before detonating another sinister solo.

Every song that followed was a setlist standard, and every one crackled and hissed. An inflatable kiwi was handed to an inquisitive Bruce during "Highway.

Bruce asking Steve "Is it quittin' time? Is it hamburger time? Is it sexy time? The final four songs of the main set — "Because the Night," "The Rising," "Badlands," and "Rosalita" — brought the show to a boil.

Steve mauled Bruce's face with hands shoved under Springsteen's armpits from behind during the Three Stooges bit of "Rosalita" because… well… because what else should a couple of sexagenarians be doing in New Zealand on a Tuesday night in front of 30, people?

Bruce thanked City Mission for doing God's work before playing an affecting "My Hometown" that set a plaintive stage for perpetual powerhouse "Born to Run.

A shall-we-say carefree woman on the shoulders of a guy in the pit repeatedly flashed the band, causing Bruce to swing back and forth from the video screen to the crowd.

Where I was standing no one moved. When they did it was to seek out someone to hug or gush about what they'd just experienced.

I can't pretend to know how it felt when locals watched Bruce Springsteen and the E Street Band walk onto a Christchurch stage for the very first time.

All I could do was study faces, eavesdrop on conversations, put away pints with locals and ask their slurred, ecstatic opinions afterward.

For most this was their first Springsteen concert, so their jubilation was fresh, real, untouched by the taint of "Yeah but you should have seen him in blah blah blah She did admit to thinking "We did it" at some point in the night, but she's not someone in search of a slap on the back.

Unsurprisingly, Wendy was more concerned about conveying thanks to Bruce and the band for coming to Christchurch than the accolades that have come her way since Bruce's intro to "My City of Ruins" put a spotlight on her petition.

I'll let her words finish this report, as they not only perfectly summarize a special evening but capture her no-bullshit, brilliantly genuine spirit in a city where spirits have been tested but hope, however far-flung, hangs on.

When I asked what she'd say to Springsteen if she had his ear, she rubbed her eyes, glanced out the window and looked me straight in the eye.

Coming off the scintillating pair of shows in Brisbane, one of the best pairs of shows I've seen this decade, it seemed unlikely that Bruce would match those setlists or performances, considering the Hope show was more of a festival setting.

He didn't — but what he did deliver was a totally different show that was excellent and just the right one for the circumstances.

The shows in Brisbane or the Philly of the Southern Hemisphere, as some are now calling it were played in a tiny arena, whereas Hope Estate is a huge temporary amphitheater with much of the crowd far away on the lawn.

And the place is a winery, so there's a fair amount of drinking going on. Throw in not one but two opening acts, Diesel and Jet, and you could not have a more different setting for a show.

It was a unique night. Adding to the atmosphere was the good ol' fashioned Australian rainstorm, which not only showered the waiting crowd with a torrential downpour but later pelted us with large hail!

Fortunately, the weather cleared up, and Jet was able to play their set after a brief delay. And then it was Boss time. With the strings having played their final show in Brisbane, a crisp and appropriate "Who'll Stop the Rain" opened the show.

The difference in the type of night it would be was defined immediately when Bruce launched into "Badlands" and then "Out in the Street" to get the crowd going.

A sign request followed for "I Fought the Law," played a little tentatively but still a very nice nugget for the diehards.

A few minutes later another sign from the crowd brought us "Waitin' on a Sunny Day," the second of three weather-appropriate songs for the evening.

Bruce then unveiled another sign request, this one for major obscurity "None But the Brave" from the Born in the U. It was a beautiful performance of the song, the first ever in Australia… and it was met with absolute dead silence from the crowd.

So that would be the last rarity of the evening, and from there the show went into a string of big rockers, which were completely effective in getting the crowd up and dancing.

The apex of this sequence was the Born in the U. The encores opened with one last sign request. Bill Walsh, all the way from Point Pleasant, NJ, was pulled out of the crowd to play "No Surrender," which was dedicated to Bill's dad — also Bill — who had surgery over the weekend.

The crowd ate it up. The audience frenzy built through the regular encore sequence of "Born to Run," "Dancing," "Tenth Avenue," and "Shout" before Bruce launched into "Bobby Jean" to say "good luck, goodbye" to his Australian fans.

The band left the stage, and Bruce returned alone with his acoustic guitar and harmonic rack for a lovely solo "Thunder Road.

And with a final wave and "We'll be seeing you," a quite emotional Bruce left the stage, ending a month of shows here in Australia.

It's clear he has developed quite an attachment with his Australian audiences after these repeated trips Down Under the past five years, and the feeling is mutual.

From this American, I say with deep gratitude: Let's do it again soon. Welcome to the inferno. Brisbane has been sizzling through a heatwave for months, and tonight it got a little hotter.

The final night of a terrific two-night stand, the show again began with "New York City Serenade. Roy Bittan's stunning piano work sets the mood as one of Springsteen's most powerful narratives unfolds.

Four years ago, as the Wrecking Ball Tour began, Springsteen crouched at the foot of the same stage and told assembled media that his ticket was his handshake and he would never rely on a show becoming rote.

On three tours over four years he has delivered on his promise… and then some. And when they did — boom, the magic happened.

Calling for E-flat, Bruce was back on the telecaster as the band, with terrific backing vocals from all, kicked into "Jole Blon. He advised us that, no matter what you do as a parent, eventually children "have their own lives to live [and] their own mistakes to make.

Fifty-odd years ago the Lovin' Spoonful asked a very simple question: Do You Believe in Magic? Of course we do, we're at a Bruce Springsteen concert.

Spotting a sign in the crowd, Bruce turned his attention to Nathan, a young teenager asking if he could get up and play "Growin' Up" with the band.

Bruce asked two pertinent questions. Did he know the song? Could he play guitar? The answers were "yes," so Nathan got on stage, played like a champion, and sang with a confidence of someone doing 50 gigs a year.

Keeping the mood up, Bruce played "Out in the Street," took a sign request for "No Surrender," led a full house sing-along for "Hungry Heart," and body-surfed his way back to the main stage.

Tonight the seats were sold with degree views. Spotting a sign behind him, Bruce called for "Mary's Place. Next came a trilogy of songs that embodied joy, nostalgia, desire, loss, and the wonder of the imagination as he performed "Fire," his reworked cover of Elvis Presley's "Follow That Dream," and the masterpiece that is "The River.

When the tour began Bruce assured us the job of the artist was "to witness and to testify. If the well inebriated strangers standing next to me are reading this, "41 Shots" isn't a drinking game.

A double from the "Born in the U. On the previous two tours to Australia, which were his first here since , we saw the band augmented by horns, singers, and Tom Morello.

That was fabulous, but, as an alternate, it's been tremendous to hear the core E Street Band in all their sonic splendor.

For the encore Bruce dedicated "Jungleland" to Brett, a Canadian who traveled far and wide and had never heard it in concert.

Bruce then added that he'll be seeing Canada soon. Make of that what you will. Maybe it means a gig? Maybe it means he'll be taking the wife and kids on a driving holiday?

The band completely hit it out of the park, and the gig will go down in the annals as one of the best that ever happened in the river city.

The caravan has gone. The rock 'n' roll citadel has left its temporary location. Who wouldn't want to spend Valentine's Day with Bruce Springsteen?

This week, the citadel of rock 'n' roll has temporarily relocated to Brisbane, Australia. The set opened with "New York City Serenade," augmented by an eight-piece string section.

Spellbinding, this has become one of the signature moments of the tour. The full house was in a particularly joyful mood as Bruce and the band kicked it to a rousing and rare "Lucky Town.

Delivering a "Valentine's Day triple," he offered some sage advice on what can be "the third loneliest day of the year": As the song twisted and turned, Bruce gave it his all before confiding, "the band has this all fucked up!

To say his singing in the final furlong was magnificent would be underselling it. The song was saved, and with great humor Bruce added, "Before you commit suicide, let me play you this next one.

Brisbane might have to sharpen up its skills in the pit, but the fans got a crowd-surfing Bruce back to the stage and in one piece eventually.

With a setlist already littered with rarities and tour premieres, Bruce moved the intensity up a notch with "Youngstown," "Candy's Room," "She's the One," and "Because the Night.

The bite in his lead lines, coupled with a mix of sparsity and that word again intensity, has few peers. His playing on "Candy's Room" was stunning, while Nils left us in awe during breakout pieces on "Youngstown" and "Because the Night.

Still in Valentine's mode, Bruce pulled out a jaw-dropping "Secret Garden" that swayed until the band hit a groove. Talk about "you complete me"… what a setlist!

We know the Isley Brothers wrote "Shout," and it's been played by a million bands since. But tonight Queenslanders saw the most incredible version of the song performed in this country since the Godfather of Australian rock 'n' roll, Johnny O'Keefe, tore it to shreds with the Delltones, back in the mids.

Tonight delivered pretty much everything you'd expect at a Springsteen gig. Hits, rarities, requests, and a man and his band who are prepared night after night to go out on a limb and create magic.

With his James Brown-style cape at his feet, Bruce urged us to join him on Thursday night for "another spectacular.

There is no more complicated concert event in Australia than a show at Hanging Rock in the Macedon Ranges of Victoria.

It gets built, it gets filled with concertgoers, it empties out, it gets taken apart, and kangaroos return to eat the grass and perhaps catch a buzz from so much spilled booze.

Such a massive, one-off production comes with risk. Will the weather hold? Will people drive an hour north of Melbourne en masse to see a show?

Will the main act provide a performance that justifies so much time and effort? Will everyone tolerate the epic gridlock that follows a massive gathering in woop-woop land?

To quote the bloke from Freehold: Yes, yes, yes, yes. Tonight's show was a triumph. An event in the best sense of the word.

Bruce, band, crowd — even the elements aligned: Rain seemingly triggered by the opening chords of an acoustic "The Promised Land" produced a rainbow that brought cheers.

Ever hear a crowd of people over the age of ten cheer a rainbow? This was a stadium special on a glorious Saturday in bushland.

The best of Australia, the best of the U. Oh, and, and remember the time when the skateboarder grabbed onto the back of that Chevy Malibu?

And kept on skating? That was so cool! That wasn't very smart, that wasn't really cool. Well that's what I meant.

That was totally uncool! I need what you have. I need a woman. And how about a piano bench? I've been squattin' for four years!

Sit down on your own time. I don't pay you to sit. You don't pay me at all! You'll get what I give you and like it! Haven't you had enough, Space Ghost?

Space Ghost- Space Ghost: Bring me more guests! You're out of control! You have a problem. I'll tell you the problem.

The problem is the crummy service in this place! Come on, Zorak, we're leaving! Have a cow, man, a Sugarman cow!

You certainly, hey, that could be our slogan. Hey Pat, we're reading each other's heads! I know, see, and I'm enjoying it!

Zorak has a tiny brain. Yeah, well, maybe you've got a point. Before we begin, I'd just like to point out to our viewers that although it may seem that the Ghost Planet behind me is really close, it's actually millions of miles away.

So, don't worry, we're not gonna run into it or anything. Ghost Planet slams into the studio, causing chaos. The female typically eats the head and brain of the male.

You didn't know that? That's not what my mother told me. I suppose you're wondering what happened to Space Ghost and his fabled gang. Space Ghost in "Chambraigne": One thing that I find just Literally not moving any body part that is visible.

Actually, nobody moves much in a Hanna-Barbera cartoon. Aw heck, I'll just direct it myself. What have I done to the future of classic rock?! My guest tonight will be cartoonist and creator of the popular "Simpsons" TV franchise empire, Matt Groening.

I need to see him. But he hurts me. But, I have been replicated. So, Zorak how was your weekend? I did some volunteer work over at the orphanage. Well I was- [stares blankly at Zorak] I'm gonna follow him home.

Kill his whole family. You've destroyed Warren, I'm tellin'. Everything's free in America, Moltar. It's the land of the free, and the home of the free.

So I get to go free? No , now play me to the desk or I'm puttin' you in The Box! Although in the past, U. For the Championship, qualification was limited to the first fifty people who correctly completed an online quiz.

The process was to have produced a field of 23 plus one: Matt McNally , the national champion, who received a bye and was not required to qualify.

However, at the end of the online tournament, there was an eleven-way tie for the last six spots. The decision was made to invite all of those who had tied for said spots.

In fact, two of those who had tied and would have otherwise been eliminated, Dale Crabtree of Indianapolis, Indiana, and Brandon Baker, of Tuscaloosa, Alabama, played in the final game and finished third and fourth respectively.

The Monopoly U. National Championship was held on April 14—15 in Washington, D. In his first tournament ever, Richard Marinaccio, an attorney from Sloan, New York a suburb of Buffalo , prevailed over a field that included two previous champions to be crowned the U.

In , Hasbro used a competition that was held solely online to determine who would be the U. Interested players took a twenty-question quiz on Monopoly strategy and rules and submitted a hundred-word essay on how to win a Monopoly tournament.

Hasbro then selected Brian Valentine of Washington, D. Hasbro conducts a worldwide Monopoly tournament. Because Monopoly evolved in the public domain before its commercialization, Monopoly has seen many variant games.

The game is licensed in countries and printed in thirty-seven languages. National boards have been released as well.

Other unlicensed editions include: In , Hasbro released Monopoly Here and Now: This world edition features top locations of the world.

The locations were decided by votes over the Internet. The result of the voting was announced on August 20, Out of these, Gdynia is especially notable, as it is by far the smallest city of those featured and won the vote thanks to a spontaneous, large-scale mobilization of support started by its citizens.

The new game uses its own currency unit, the Monopolonian a game-based take on the Euro; designated by M. The game uses said unit in millions and thousands.

As seen below, there is no dark purple color-group, as that is replaced by brown, as in the European version of the game. No other countries are represented by more than one city.

Of the 68 cities listed on Hasbro Inc. This is a game. We never wanted to enter into any political debate. We apologize to our Monopoly fans.

A similar online vote was held in early for an updated version of the game. The resulting board should be released worldwide in late Hasbro sells a Deluxe Edition , which is mostly identical to the classic edition but has wooden houses and hotels and gold-toned tokens, including one token in addition to the standard eleven, a railroad locomotive.

Other additions to the Deluxe Edition include a card carousel, which holds the title deed cards, and money printed with two colors of ink.

In , retailer Neiman Marcus manufactured and sold an all-chocolate edition of Monopoly through its Christmas Wish Book for that year. The entire set was edible, including the money, dice, hotels, properties, tokens and playing board.

Wired magazine believes Monopoly is a poorly designed game. It's a very negative experience. It's all about cackling when your opponent lands on your space and you get to take all their money.

Most of the three to four-hour average playing time is spent waiting for other players to play their turn. The hobby-gaming community BoardGameGeek is especially critical.

From Wikipedia, the free encyclopedia. This is the latest accepted revision , reviewed on 8 November This article is about the board game. For the economic term, see Monopoly.

For other uses, see Monopoly disambiguation. For the video game, see Automonopoli. Negotiation Resource management Strategy.

History of the board game Monopoly. Standard American Edition Monopoly board layout as of September This section needs additional citations for verification.

Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. February Learn how and when to remove this template message.

List of London Monopoly places. For other localized versions, see List of licensed and localized editions of Monopoly: UK edition Monopoly board layout.

Monopoly Here and Now: Chance and Community Chest cards. Gay Monopoly — A celebration of gay life. Jeep, teddy bear, blow drier, leather cap, handcuffs, stiletto heel.

Board layout is circular rather than square. A parody game based on Anti-Monopoly. The World Edition The New York Times. Retrieved February 14, The San Francisco Bay Guardian.

Archived from the original on November 30, Retrieved October 28, February 6 in History". Retrieved December 7, Retrieved September 18, The Wall Street Journal.

Retrieved January 11, San Diego Union Tribune. Retrieved 4 March Retrieved September 3, Retrieved January 12, Archived from the original on March 3, Retrieved February 21, Archived from the original on March 6, Monopoly, Money, and You: Archived from the original on January 26, Salt Lake City, Utah: Archived from the original on March 22, Retrieved June 10, The Route of the Blue Comet.

Retrieved September 2, Even trivial changes to a trivial board game can shift the course of history". Retrieved April 23, Strategy Analysis - The biggest ever game of Monopoly".

Cities Edition board game". Archived from the original on January 17, Archived from the original on February 21, Archived from the original on December 2, Here and Now US on About.

Retrieved November 5, Archived from the original on December 30, Retrieved April 9, Archived from the original on April 2, New Monopoly game goes cashless with electronic payments".

Archived from the original on November 4, Retrieved November 2, Early Monopoly — 1 revised ed. Early Monopoly — 1, revised ed. Hasbro unveils new token for Monopoly".

Retrieved 6 February Retrieved 17 March Retrieved 16 February Retrieved July 11, Retrieved May 28, The Monopoly Omnibus First hardcover ed.

Archived from the original on August 10, Retrieved October 26, Stock Exchange ". Retrieved January 1, Retrieved October 21, Retrieved October 22, The Sydney Morning Herald.

Tostie Productions, , film. Archived from the original on April 13, Archived from the original on February 1, Retrieved December 23, Retrieved 14 August Archived from the original on June 12, Retrieved May 25, Retrieved August 12, Retrieved April 12, Retrieved 6 April Retrieved July 4, Archived from the original on October 26, Do not pass go, Ghettopoly".

Retrieved November 4, Retrieved 13 August The basic idea of the game is to end the monopolistic practices of the three-company-combinations of the gameboard.

The players are Trust-Busting lawyers going about the board slapping lawsuits on the monopolies. The winning trust buster is the one who ends with the largest number of social-credit points when one of the players runs out of money.

Archived January 17, , at the Wayback Machine. The first do-it-yourself board game". Turism — Prezentare si poze componente".

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