By: David Brooks
NY Times, June 25, 2012

They say you’ve never really seen a Bruce Springsteen concert until you’ve seen one in Europe, so some friends and I threw financial sanity to the winds and went to follow him around Spain and France. In Madrid, for example, we were rewarded with a show that lasted 3 hours and 48 minutes, possibly the longest Springsteen concert on record and one of the best. But what really fascinated me were the crowds.

Springsteen crowds in the U.S. are hitting their AARP years, or deep into them. In Europe, the fans are much younger. The passion among the American devotees is frenzied, bordering on cultish. The intensity of the European audiences is two standard deviations higher. The Europeans produce an outpouring of noise and movement that sometimes overshadows what’s happening onstage.

Here were audiences in the middle of the Iberian Peninsula singing word for word about Highway 9 or Greasy Lake or some other exotic locale on the Jersey Shore. They held up signs requesting songs from the deepest and most distinctly American recesses of Springsteen’s repertoire.

The oddest moment came midconcert when I looked across the football stadium and saw 56,000 enraptured Spaniards, pumping their fists in the air in fervent unison and bellowing at the top of their lungs, “I was born in the U.S.A.! I was born in the U.S.A.!”

Did it occur to them at that moment that, in fact, they were not born in the U.S.A.? How was it that so many people in such a faraway place can be so personally committed to the deindustrializing landscape from New Jersey to Nebraska, the world Springsteen sings about? How is it they can be so enraptured at the mere mention of the Meadowlands or the Stone Pony, an Asbury Park, N.J., nightclub?

My best theory is this: When we are children, we invent these detailed imaginary worlds that the child psychologists call “paracosms.” These landscapes, sometimes complete with imaginary beasts, heroes and laws, help us orient ourselves in reality. They are structured mental communities that help us understand the wider world.

We carry this need for paracosms into adulthood. It’s a paradox that the artists who have the widest global purchase are also the ones who have created the most local and distinctive story landscapes. Millions of people around the world are ferociously attached to Tupac Shakur’s version of Compton or J.K. Rowling’s version of a British boarding school or Downton Abbey’s or Brideshead Revisited’s version of an Edwardian estate.

Millions of people know the contours of these remote landscapes, their typical characters, story lines, corruptions and challenges. If you build a passionate and highly localized moral landscape, people will come.

Over the years, Springsteen built his own paracosm, with its own collection of tramps, factory closings, tortured Catholic overtones and moments of rapturous escape. This construction project took an act of commitment.

The most interesting moment of Springsteen’s career came after the success of “Born to Run.” It would have been natural to build on that album’s success, to repeat its lush, wall-of-sound style, to build outward from his New Jersey base and broaden his appeal. Instead, Springsteen went deeper into his roots and created “Darkness on the Edge of Town,” which is more localized, more lonely and more spare.

That must have seemed like a commercially insane decision at the time. But a more easily accessible Springsteen, removed from his soul roots, his childhood obsessions and the oft-repeated idiom of cars and highways, would have been diluted. Instead, he processed new issues in the language of his old tradition, and now you’ve got young adults filling stadiums, knowing every word to songs written 20 years before they were born, about places they’ll never see.

It makes you appreciate the tremendous power of particularity. If your identity is formed by hard boundaries, if you come from a specific place, if you embody a distinct musical tradition, if your concerns are expressed through a specific paracosm, you are going to have more depth and definition than you are if you grew up in the far-flung networks of pluralism and eclecticism, surfing from one spot to the next, sampling one style then the next, your identity formed by soft boundaries, or none at all.

(Maybe this is why younger rock bands can’t fill stadiums year after year, while the more geographically defined older bands like U2, Springsteen and the Beach Boys can.)

The whole experience makes me want to pull aside politicians and business leaders and maybe everyone else and offer some pious advice: Don’t try to be everyman. Don’t pretend you’re a member of every community you visit. Don’t try to be citizens of some artificial globalized community. Go deeper into your own tradition. Call more upon the geography of your own past. Be distinct and credible. People will come.