Film director Jonathan Demme asks Springsteen to compose a song for his new movie, Philadelphia, about a man with AIDS. Demme initially wants a rock song, but Springsteen’s lyrics demand a softer sound. Arranged with a simple synth track and “light hip-hop beat” (396), the song “Streets of Philadelphia” wins Springsteen an Oscar, and his father promises to “never tell anybody what to do ever again” (397).

Now struggling with his next album, Springsteen feels a “faint disconnect” with his audience. He strives to follow his artistic muse while not ignoring what his fans want, and after four albums about relationships, he feels a change is in order.

Greatest Hits

He reunites the E Street Band for a “one-shot” studio session. They record their greatest hits, the album sells well, and they go their own ways again. Springsteen feels the pull to return to social issues, but his wealth and pop stardom make it risky. He fears being perceived as a pretender, a “rich man in a poor man’s shirt” (399), but ultimately relies on his reputation as an authentic spokesperson for the working class. The result is the single “The Ghost of Tom Joad.”