Weeping in The Promised Land Fogerty

In 1973 the band Chicago played a string of dates culminating in two nights at New York’s Madison Square Garden on 14 and 15 June. The support act was Bruce Springsteen, and the tour was, to say the least, not a happy experience for him, as Christopher Sandford relates in Springsteen: Point Blank: “Things soured in Philadelphia…’Kids were throwing rolls of toilet paper,’ says [manager, Mike] Appel. A fan bounced a basket ball off Springsteen’s piano. ‘They’re not paying attention to me,’ was his wild understatement to his manager. Something similar, or worse, happened at Madison Square Garden…Springsteen ran off stage in New York, announced he was quitting, ‘shrieked like a beast’ at Appel and burst into tears. After the recriminations had died down, he vowed he’d never play another ‘shed’ and ‘never as someone’s butt-fuck.’ ‘I told Bruce, okay, no more big venues,’ says Appel.”

More than 50 years ago, an assassin's bullet robbed us of one of the most eloquent voices for 20th-century human rights and justice. Drawing on a new generation of scholarship about the civil rights era, To the Promised Land goes beyond the iconic view of King as an advocate of racial harmony to explore his profound commitment to the poor and working class, and his call for "nonviolent resistance" to all forms of oppression, including economic injustice.