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tv   The Late Show With Stephen Colbert  CBS  October 13, 2016 11:35pm-12:37am PDT

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captioning sponsored by cbs >> announcer: it's "the late show with stephen colbert." tonight, stephen welcomes bruce springsteen. featuring jon batiste and stay human. and now, from the ed sullivan theater in new york city, it's stephen colbert! ( cheers and applause ) >> stephen: hey, everybody! hey, everybody! whooo! thank you, joseph. >> jon: hey! i know.
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welcome to the show. welcome to "the late show"." thanks so much, everybody. ( cheers and applause ) welcome to "the late show," ladies and gentlemen. thank you so much, thank you so much. i'm your host, stephen colbert, and you are here on a very special night. a little later i will be sitting down with bruce springsteen. ( cheers and applause ) >> jon: the boss, boss in the house. >> stephen: time permitting, obviously. we'll see if we can get to it. everyone is talking about this donald trump guy, and i do mean everyone. because yesterday, the dalai lama appeared on a british morning talk show and said this: >> have you met donald trump? >> never. >> what do you think of him? >> i don't know. sometimes when you see him, the way his hair-- something like that. and his mouth, small. that is my impression.
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i thought you said you never met him. because his hair is like this, and his mouth is like... >> jon: oh, man! >> stephen: i wonder how that feels. how does that feel? imagine being trash-talked by the dalai lama. >> jon: that's serious. >> stephen: i have got to wonder what did trump do to the dalai lama in a previous life? i thought trump would have an affinity with buddhists. i thought buddhists would really love trump because if he gets the nuclear codes, we could all achi that was a pretty good burn by the dalai lama. i just, i can't imagine the dalai lama at a roast. "your mother was so fat, she was reincarnated as two people. namaste." let's see what else is happening. oh, tech news. you guys like apple products? you guys have the iphone and stuff like that?
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then you may already know this. apple just patented an exciting new innovation: a paper bag. and you know it's the latest in bag technology because there's no headphone jack. now, why would somebody need this new apple bag? well, apple explained that in this actual quote from their patent application, "bags are often used for containing items." >> jon: dig that. >> stephen: now, i didn't understand all that technical jargon, but it does sound like apple is coming out with another new product, "items." could be. i don't know. now, i'm a famous tv guy, so i get all the latest apple gadgets in advance. and i happen to have a beta model of the new apple bag. right here. here we go. this is the new apple bag. there it is. just look at this beautiful, smooth design. the way it rests in my hands right there, it's just so-- it's
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it's hard to believe it's only $900. and to make the bag even more sleek and user friendly, apple has done away with the hole in the top. but, if you really need one, they are selling these hole adapters for only $79.95 right here. ( cheers and applause ) if you want to, you can reapply up there. i also purchased-- and these are really fantastic. they're the latest thing. i purchased these bluetooth handles for the bag. ( laughter ) i'm having a little trouble getting them to pair right now. whatever. i'll take it to the genius bag. not to be outdone, samsung has unveiled their new galaxy tote 7. can we see the footage, jim? there you go. ( cheers and applause ) that is-- that's a hot item! that's a hot item. >> jon: it's on fire! >> stephen: do not stomp that out if it appears on your doorstep. there is also an exciting new
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there are two ladies out there, evidently. a spanish car manufacturer-- and evidently there is one-- has teamed up with "cosmo" magazine to design a car specifically for the "cosmo" woman. you can tell it's by "cosmo," because the seats can be put in 75 different positions. and one of them will drive your man wild. ( laughter ) ( applause ) ? ? ? now, i don't-- i don't know what this means. i don't understand what makes the car for women. i'm sure a man could operate this car just as easily. although, he might have trouble finding the button that turns it on. i hear, i hear. i don't know, i hear that. i hear there's a problem sometimes. oh, i want to remind everyone that "the late show" will be broadcasting live this monday after the very first presidential debate. ( cheers and applause )
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candidate you're enraged by. because hillary clinton and donald trump are the two least popular major party nominees in american history. luckily, you have options, because according to the federal election comission, 1,928 people have declared their candidacy for president this year. and before you ask, no, none of them were michelle obama. i know. the number of declared candidates has more than quadrupled since the last f.e.c. has started accepting filings on the internet. so now there are some goofy candidates who have no real shot, like "cobra commander;" "yoda starwars;" and best of all, there's a listing that says god is running for president. that's great news. i was worried this election was proof there is no god. so good luck to all those candidates. especially, good luck to god
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did you know that he turned lot's wife into a pillar of salt? that's going to hurt him with soccer moms. >> whoa, whoa, hold on a second, stephen. stephen. >> stephen: god, is that you? >> yes, that's me, right behind this thing. yeah, here i am. >> stephen: why are you running for president? >> well, people really wanted me in the race. they look at hillary and trump and call out, "god help us." >> stephen: okay, that makes sense, that makes a little bit of sense. >> i think so. >> stephen: do you have a running mate yet? >> oh, don't bring it up. i've narrowed it down to either "the son" or "the holy ghost." and whoever i don't pick, is gonna be pissed. as you know, junior's very sensitive. >> stephen: he'll forgive you. >> maybe. >> stephen: god, isn't your age going to be an issue? >> oh no. if you read the bible, you'll see i've mellowed with age. besides, i've got a one-page letter from my doctor saying i'm extremely healthy. ( cheers and applause ) there, look at that. >> stephen: glad to hear it.
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the limo. >> stephen: so, god, where do you stand on the issues, like, for instance, global warming? >> hey, don't blame global warming on me. i was one burning bush. come on. but i do have a plan: arks for everybody! nothing like riding out the flood on the high seas, listening to yaks doing it. they make a lot of noise. i'll tell you. nothing louder than a yak in the sack, stephen. ( laughter ) >> stephen: let's move on, god. >> yes, let's move on quickly. >> stephen: i don't want to if you don't win, would you endorse one of the other candidates? >> oh, i don't know. i mean, trump's asked for my help, but he's got tiny hands, so his prayers aren't very effective. ( laughter ) >> stephen: well, i wish you luck with your campaign, god. what do you think your chances are? >> pretty good! everywhere but the southern states. >> stephen: why not the southern states? >> i'm just not religious enough for them. ( laughter ) >> stephen: god, everybody! we'll be right back with bruce springsteen.
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( band playing ) ( cheers and applause ) >> stephen: hey! gentlemen. my first guest tonight is the master american troubadour of my lifetime. ladies and gentleman, bruce springsteen! ( cheers and applause ) ? ? ? ( cheers and applause ) ? ? ? ( cheers and applause )
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( cheers and applause ) ? ? ? ? ? ? ? ? ? >> audience: bruce! >> stephen: welcome to the show. >> thank you. thanks. >> stephen: thank you for being here. >> my pleasure. >> stephen: it's an honor to were just playing there? >> you're going to have to tell me. >> stephen: that was "you can't judge a book by its cover." >> get out! >> stephen: yeah. which is on the companion album to your book. the album is called "chapter and verse." 50 years of music on here from you. >> yeah. >> stephen: that song, too. >> 50 years and loss of hearing for me, also. right. >> stephen: so "you can't judge a book by the cover." how old were you when you recorded that?
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little club called the left foot in freehold, new jersey-- ( applause ) whoa! you've never been there. ( laughter ) and i was 16. 16. >> stephen: wow. well, if you can't judge a book by the cover, let's talk about the cover of this book right here. there it is, your new memoir "born to run." so let's judge this book by can you tell me about this guy on the cover of this book? how old are you there? >> i'm 27. >> stephen: you're 27. >> 27. >> stephen: what would you-- what do you think this guy at 27 would say if he saw this guy at 67? >> okay. "where'd my car go? who's the old man in the suit jacket? and what did he do with my hair?" i'd say-- ( cheers and applause )
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>> stephen: so, why did you write a book? you've been writing for years, you know. it's an autobiography, but your songs-- unless i'm wrong-- are auto-biographical. >> they seem that way. >> stephen: yeah. they seem that way? have you been lying to us in the songs all these years, bruce? >> well, that's what artists do. they lie in service of the truth. >> stephen: really? >> of course. >> stephen: is that what you tell the judge? so what were you able to do in a book that you couldn't do in songs? >> the book is very different. you have-- you have to-- you still have to find rhythm, and you have to find music in the prose that you're writing, but there's a lot more space to delve into deeper details. and also, an autobiography, people know it's immediately about your life. whereas the songs, there's always a question, you know. "are you the guy in 'racing in the street'." are you the guy in 'growing up?' in some cases, i am that guy. in others, it was completely imagined.
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>> stephen: well, it's-- it's like your music in that it's-- it's beautiful, incredibly moving. every-- practically every paragraph that i've read in this has been like poetry. >> whoa! >> stephen: no, but also-- but, no-- >> let's go there. >> stephen: but it's also like listening to you talk at the same time. how long did it take you to find the voice of this book? what was the process of writing this book like for you? >> it started when we played the super bowl, which is, even if you've been at it a long time, it's a little bit of a hairy-- a hairy evening. >> stephen: you might slide on your knees and grind your groin into a camera, in the middle of it, like i seem to remember you doing. >> that's true. that's just one of the many things that could happen. ( laughter ) but after, you know, it ended up being quite an experience, so i wrote a little essay to put on our website, and i kind of liked the voice that i found in the
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it felt like me. so we were in florida for a while after the super bowl, and i sat around, and i said, well maybe i'll throw some memories down from when i started. so i just started from the beginning. and i spent about two or three weeks writing, and initially i thought, well, you know, i don't know what i'm going to do with it. maybe it will just be for the kids to read or something when they get older. and then i wrote a little bit mo more. and i put it away, sometimes for a year, even longer when we toured. and i come back to it and i go, that's pretty good. maybe i'll keep going. so, eventually it got to a point where i knew i was in the process of writing a book, and-- but i really kind of wrote it somewhat casually over seven years. >> stephen: so this is seven years of your life represented right here. >> yeah, i think so. two years, if you compact it all
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>> stephen: well, one of the things you say in here is-- this theater, actually, appears in the book. the ed sullivan theater. >> incredible. >> stephen: because you had a turning point in your life. you awoke to something beautiful. you say when you saw this. jimmy? ? you ain't nothing but a hound dog you ain't nothing but a hound dog ? >> stephen: how old were you when you saw elvis presley play here at the ed sullivan theater? >> it still looks great. >> stephen: yeah. that's 50 years ago this month, that performance is 50 years ago this month. >> really? that makes sense. i'm 67. so i was-- six, seven years old. >> stephen: so what did you think when you saw it? >> it's amazing because i was actually that young, but it had a tremendous impact. i'm curious as to where he stood here? >> stephen: i don't know where he stood, but i've been told that the pictures of the screaming girls for both elvis
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that corner right over there. ( cheers and applause ) >> audience: bruce! >> can we get some of that for me? ( cheers ) lovely. that's-- that's why i got here. >> stephen: exactly. so what did you think when you saw it? you said it changed your life when you saw it? >> at seven, i don't know how much of a life i had to change, but whatever i had, it struck me right away. and i ran-- i got my mother to run down to the store the next week and we rented a guitar, and i took a swing at playing it for about a month. and i gave up. my hands were too small, and they didn't know how-- they didn't know how to teach in those days.
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"twist and shout, "or "hound dog." you know, it was very methodical. so, i got bored rather quickly and put it away, until i was 14 when the beatles were on this stage and it happened to me again. so i got struck twice by lightning. >> stephen: was it just the music or was it the screaming girls part of it as well too? no, just the music? >> obviously-- well, at seven i'm not sure. but at 14 it was certainly, "okay, this is four guys. how do i get into that business?" >> stephen: well, i want to talk about how you got into the business and we'll do that, when we come back with more bruce springsteen. ? ? ? ( applause )
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>> stephen: welcome back, everybody. welcome back to "the late show"." we're here with bruce springsteen. talking about his book, "born to run." now, bruce, before i started getting ready for this interview and read the book, i didn't actually know that you were raised a catholic. i don't know why i didn't know that, but i didn't know it. >> oh, yeah, oh, yeah. >> stephen: well, you say in here that that's where you heard >> that's where i heard... i'm not sure what you're talking about. ( laughter ) >> stephen: that is where i found the beginnings of my song, you said. >> oh, yeah. >> stephen: that's when you found the beginnings of my song. it's a good book. you should read it. i mean-- ( laughter ) ( applause ) ? ? ? i don't know about you, but i cried when i read it. it's really a beautiful book.
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the beginnings of your song. what do you mean? where is the catholic in your work? it's not overt. >> it's pretty overt, you know. runs-- nuns run bald through vatican halls. pregnant, pleading immaculate conception. ( applause ) it's-- it's a little overheated that line, but you get the idea of where i was coming from. but no, it just informed my language. what happened is every day religion, of course. and-- >> stephen: were you a good student of religion? >> no. i was-- it all scared me, to be honest with you. but-- >> stephen: the nuns and the priests or like the vision of hell? what scared you about it? >> yeah, you're six and, you know, the vision of hell was hellacious, you know. so and, of course, you're taking everything incredibly literally at that age.
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as real as the desk you're sitting in. so it was a lot it to deal with. but-- but at the end of day, a lot of the language found it's way into my music. and i always say that my music is the verses are the blues, the chorus is the gospel. if you look at the way my songs are built, the verses are always the blues and when you get to the chorus, hopefully you get a kind of transcendence that i got out of gospel music, you know. core of how i write, but also the language, the ideas, a lot of it came out of the catholic education. >> stephen: were you an altar boy? >> i was the-- i was the worst altar boy on planet earth. ( laughter ) you wanted to become an altar boy because you got out of school to go rehearse. >> stephen: you got out of school? >> you got out of school a little early every week to go rehearse, and my mother wanted me to be an altar boy. >> stephen: you were also on stage as an altar boy.
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looking back at it? >> i was the only altar boy to be knocked down on stage by the 81-year-old monsignor who was serving the mass at the time. >> stephen: what did you do? >> first of all, mass then was all in latin. ( speaking latin ) >> stephen: ( speaking latin ) >> fellow altar boy here. so, so you had to learn the entire mass in latin. so i-- i think i had a prayer or two down but you never really learned anything, and i actually never learned positioning on the altar. i was a real disaster. ( laughter ) and, also, you get stuck with the earliest detail. so you're there at-- you're 4:30 a.m. so you're running down the streets, pitch-black night. you've got your cassock behind you. i'm terrified because i know i don't know an effin' thing about
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i said-- i told the guy next to me, "i just don't know. i don't know how to do this." he said, "go out and light the candles." i said, "all right." i can't light the candles. i can't even get them lit. and the mass starts, and now, of course, my mother, her two sisters, entire italian and irish family are there to see me make my debut. and-- along with all the nuns, because they go to early mass before they go teach sl. and one thing leads to another and i get hauled by my cassock face down onto the altar. >> stephen: in the middle of mass? >> yeah, in the middle of mass, to an audible gasp from the nuns, my relatives. who are like-- they're done now. it's like, you know. they're finished, you know. so that was-- i don't think i served another mass. i think that was it for me. ( laughter )
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years, yeah. never got it right, though. >> that's pretty suppressive. >> stephen: so, at the beginning of the book and the end of book you talk about something called "the magic trick." what do you mean by the magic trick? and to make this a longer question-- people ask me if i'm ever intimidated by talking to guests, and it's really only musicians. >> really? >> stephen: because you all have a magic i don't understand. what is the magic trick to you? >> well, it's-- you're there to manifest something. i mean, before you go in, it's an empty space. it's an empty building. so the audience is going to come, and you're going to show up, and together you're going to manifest something that's very, very real, that's very tangible, but you're going to pull it out of thin air. it wasn't there before you showed up. it didn't-- it didn't exist. and it's-- it's real magic, you know. and-- that's a little bit of what my-- my job is every night. my job is to come out there and
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to create-- create this sense of whatever you want to call it. you know, it is cathartic, and hopefully on a good night when we're at our very, very best, there's a little transcendence, and-- >> stephen: transsubstantiation? >> i'm not sure what that means, but it might be -- ( laughter ) >> stephen: that means that you are a terrible altar boy. >> no! i got it! >> stephen: one thing becomes another. >> that's right >> stephen: like, you know, you and the audience become another thing. >> so we do become a bit of another thing. >> stephen: how do you know you've turned the trick? >> it's in the air. it's always in the air at night when you-- there's a moment when you sort of-- you get lost in it, and you can see grown men in tears and... not really. ( laughter ) >> stephen: when you feel it coming, is there a song you go, "okay, i'm calling on this song. we're going to play this song
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over the edge." >> sometimes it does, but it doesn't necessarily. every night, funny thing about concert, it's never repetitive. you can play the same exact show two nights in a row, it's still not a repetitive experience. it's if you could have your first kiss on a nightly basis, for some reason, the show provides that sense of newness really regularly. you know? very regularly. it's a very, very unusual-- it's an experience that if you had it , you and you'd remember it your whole life. so to be fortunate enough to have it-- we go out three, four nights a week. we travel the world in front of all different audiences. but the trick is you have to manifest that sense, a sense of us, you know, a sense of what's going-- what goes on between you and your audience. you know, that's a big part of. >> stephen: well, we have to take another little break, but don't go away.
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? ? ? ( applause ) >> stephen: welcome back, everybody. now, we're here with bruce springsteen. ( cheers ) he's got a new book, memories of and, you just played your-- you're 67 years old. >> yes, i am. >> stephen: and you just played-- ( cheers and applause ) >> it's my birthday tomorrow. >> stephen: that's right, that's right. you just played your longest u.s. show, ever, in philly, four hours, three minutes, and 46 seconds. why do you do such long shows? >> i don't know. >> stephen: why do you do such long shows? do you go in thinking, "yeah, yeah, this one's going to be a
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>> stephen: you're waiting for the magic trick. >> i always think it's going to be a good deal shorter because-- now, the band doesn't complain-- >> stephen: to you. >> except around-- around three hours and 40 minutes. it's that last 20 minutes that for some reason even gets the e street band, slightly-- someone may mention it to me, you know. ( laughter ) >> stephen: during the show or after the show? >> no, after the show. but, why they go that long? i'm not exactly sure. i've been doing it for a long time. >> stephen: i've seen you up there, you get pretty sweaty. >> i do. >> stephen: and how much talcum powder do you go through? because those are pretty tight jeans for a man your age. >> there's a lot of-- there's a lot of chafing that does go on, so. ( laughter ) i'm shoveling it in there after the show. >> stephen: you said in the book
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only language i've ever known to fight off the night terrors." >> yeah, well, it-- i really used it-- it was medicinal. i was this incredibly neurotic young kid, a lot of anxiety, which i didn't know how to chase away. so all i found out was after i played, i calmed-- i calmed down, and i felt very centered. and it was really the first thing i did to kind of medicate myself, you know. on so long, you know. ( laughter ) it was an easy drug to take. but it's still-- it still affects me like that. i mean, the night just-- the night has its own life. and, i mean, i'm coming out, so i know i'm going to play-- we're going to play two and a half hours, we're going to play three hours. i know that's going to happen, but i don't know what's going to happen after that.
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its own time and space. and once i get to a certain point, i-- i'm-- i'm not thinking about the time, you know. i'm here to-- i'm here to take you out of time. i'm here to transport you someplace else. i'm here to alter time and space and play with it myself and help you move in and out of-- uh, you know, move in and out of things on any given evening. so it's-- the time thing is just something that happens. ifwa would prefer not to play four hours. ( laughter ) but that's what happens. >> stephen: well, you say you're fighting off the night terrors, what are the night terrors? and have you had them your entire life? are those literal night terrors? like, if you didn't play, they would come to you? >> well, if i don't play regularly, i'm inside my head a lot. and i realize i'm not my own best company, you know. so i've kind of had to deal with
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>> stephen: you're open in here about having depression. >> yeah. >> stephen: as an adult. and your father dealt with the same thing. >> yeah, my father had-- was very ill with it, you know. and there was a lot of real illness in my family, in my family with it. it really shot through the irish side of the family. and then, you know, i caught some of it. and so, you know, occasionally it comes up. but it's-- you know, i've had my tussles with it, but not like my dad. my dad had it very, very seriously, and so did some of my other family members. >> stephen: you talk about your relationship with your dad in the book and it was a complicated relationship, and not always a happy one. but you describe a beautiful moment of-- well, something like redemption between you and your father. >> yeah. >> stephen: the day before your first child was born. >> oh, wow. >> stephen: would you mind telling, sharing the story of the conversation you and your father had.
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would take these long driving-- long driving trips. and he showed up at my house one day, and it was just to say hello, he said, you know. it was a 500-mile trip to say hi. and he came in-- it must have been something about me being on the cusp of being a father that we sat down, we had a couple of beers, and it was like a sunday morning or something. and he said, "yeah, i was a little rough on you, you know." and i remember saying, "yeah, i know. but you did the best you could." and it was a very small moment, but it was-- it was sort of a moment where it was all i needed to hear. plus i had much, much greater insight into my father's life as i got older. it was very, very difficult. my father was a-- it was a really inside he was a sweethearted and loving man. but he really struggled
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so it took me-- i had to get pretty old before i understood him and understood where some of the troubles we had came from, you know. so-- and we-- you know, it was-- initially, we didn't communicate very well. so i started to write-- i wrote my songs. i wrote songs about him. and i'd bring a record over. wouldn't hear anything back. write another song about him, bring the record over. i know my mother had it on. didn't hear anything about it. and finally, one day-- and he was literally-- he was in bed, and he was close to his death. and i said, "dad," you know i said, we were talking. and i said, "what are your favorite songs?" "the ones about me." ( applause ) so... so it was a nice thing. >> stephen: well, the next day you became a dad yourself.
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>> stephen: did that-- how did that change you? you talk about everything else goes away, your-- in the book you have a beautiful-- there's a beautiful chapter on the birth of your first child and saying that all your self-protection, all your secrets, all your worries about yourself go out the window instantly when you hold your child. did that then-- did that change your work? did that change what you wanted to create? >> yeah, it was-- it was-- it was a funny evening. i mean, firs concerned if patty was going to have any pain, you know. so i was-- >> stephen: you thought maybe she would be the only woman who did. ( laughter ) >> so i was-- but, you know, once the-- once the baby came along, you know, it was just everything stopped. and all your defensive mechanisms, all the things you do to protect yourself every day, all your-- all the dances you do suddenly just, they're
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you want to run out into the street and say, "people, stop shopping. stop. get off your cell phones. stop watching television. a messiah has come." ( laughter ) that's how you feel about your kids, you know. here, in babylon, los angeles, a new son of new jersey has been born. ( cheers and applause ) take another commercial break and this was only supposed to be three acts but i'd love to ask you a few more questions if you'd stick around. >> yeah. >> stephen: that would be great. that would be great. we'll be right back with more bruce springsteen.
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member of your band, who sent it
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with you that you occasionally, spontaneously call out a song the band has never played together before. how does that happen and what do you say to your band as they're trying to learn a song they've never played before, ten seconds before 50,000 people while you're counting them in?" >> well, first of all, the entire band are bar band veterans. so they've played hundreds of nights before we ever stood out in front of an audience after we had a record deal. so, there's a common well that we all draw from. i mean if somebody says, "play 'wild thing'" you'll be fired from the e street band if you don't know that, you know. >> stephen: right. >> so it's-- and there is a secret. there is a little man under the stage, and he has a teleprompter. so, if i get a sign that says
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katy perry, teenage dream, whatever we're going to play. ( laughter ) he, within seconds, has the lyrics up in front of you, you know. so he's-- >> stephen: follow-up question. >> okay. >> stephen: your top five bruce songs. ( applause ) >> that's tough. you know. that's-- that's a tough one. >> stephen: five out of about 300. let's go. five. >> i'd have to put "born to run" up there. ( cheers and applause ) i guess for me, "the rising" was a big song. ( applause ) um, what do we play, we play "thunder road" really regularly. ( applause ) but "nebraska" was a good one. that was a good one. um, i'm trying to skip-- what. all right, i'll go-- ( audience yelling suggestions )
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( audience yelling suggestions ) >> stephen: it's your life, bruce. it's your life. >> these folks are all planted now. "racing in the street." that was a good one. >> stephen: these are everybody's top five, by the way. ( laughter ) all right, now, on the companion album, there's one thing i want to point out here, on the again is called "chapter and verse." it's got a couple of dozen great songs. one is called "henry boy." "henry boy" has an interesting story about this theater as well which i'll get to in just a second. but how did "henry boy" come about? >> i have no recollection of writing it or recording it, actually. ( laughter ) i believe it was on the john hammond demo tape, that was the first thing i cut at cbs when i was still auditioning for my
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>> stephen: on columbia records. >> on columbia records. >> stephen: john hammond sent you into a studio to record some songs. >> he produced it. >> stephen: and he produced it. there was an 18-year-old mixer at that session, okay, and that is harvey goldberg. >> i think we're going to have-- >> stephen: and he's a mixer for this show. >> this is a "this is your life" moment. >> stephen: he's right below us. he's right below the stage right now. there's harvey! ( applause ) >> hello, stephen. hello, bruce. >> stephen: hey, harvey. anything you want to say to bruce? >> you know, i always wondered what happened to you after the demo. and i'm really glad that you wrote a book about it so now i can see what went on. good luck with the book. ( laughter ) ( applause ) >> thank you. >> stephen: all right, by the
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from the historian of this building, that elvis performed right around here. they say this is the spot right around where elvis would have performed. so you made it. >> whooo! ( cheers and applause ) >> stephen: all right, well, the book is "born to run." it's about your childhood to the present. what's the future hold for you? what's the next chapter? >> same old thing. >> stephen: yeah? you could probably be governor of new jersey if you wanted. >> no. ( cheers and applause ) and-- >> i think i'll pass on that one. >> stephen: tonight is your birthday. >> it is. >> stephen: tonight is your birthday. ( cheers and applause ) so we got you a little something. we just got a small little something. >> really. >> stephen: this is a copy of the original schematic of the ed sullivan theater, since this building made a difference in your life. >> i always wanted one of those. >> stephen: and, let's all wish bruce a happy birthday, everybody.
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"chapter and verse" is out now. "born to run" is available on september 27. bruce springsteen, everybody! ? ? ? ( applause )
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