Breaking Down Bruce Springsteen’s Uncharacteristic Super Bowl Commercial

No Comments
The rock icon’s first-ever ad appearance is filled with the sorts of platitudes he has transcended in the past.

Bruce Springsteen Jeep Commercial
Bruce Springsteen on the set of his Jeep commercial (Photo by Rob DeMartin for Jeep)

Last week, when Nebraska’s Lincoln Journal Star reported that Bruce Springsteen had been spotted in town with a film crew, my heart leaped to the best-case scenario: Maybe he was working on a documentary for a reissue of 1982’s Nebraska, which is due for the archive-digging box set treatment. That beloved solo album had Springsteen blending imagery from his 1950s childhood with stark depictions of the economic divide in Ronald Reagan’s America, coming away with a haunting series of vignettes that seems increasingly relevant today. Nebraska arrived during a fertile period in Springsteen’s career, as he was piecing together his eventual commercial breakthrough, 1984’s Born in the U.S.A. The outtakes are legendary—including a rumored electric version with his loyal E Street Band—and there are also mountains of unreleased songs from this era, like one called “The Klansman,” that clarify his conflicted, and famously misunderstood, stance on American patriotism. So I optimistically imagined him visiting the album’s namesake state to shed light on all of this, offering new insight into an artistic peak.

Instead, he was filming a Jeep commercial, called “The Middle,” for the Super Bowl. It is the 71-year-old’s first-ever commercial appearance, his first-ever product endorsement, and, apparently, a project that he took a significant hand in, creatively. In the moody, two-minute ad, Springsteen visits a humble church located in the geographical center of the country. Alone, he meditates on what makes us Americans while driving around in a Jeep and offering a message of hope to a country that, in his vision, has strayed far from its initial promise. “We can make it to the mountaintop, through the desert,” he says in a gravelly voice-over, reaching for gravitas. “And we will cross this divide.” In the end, a message on the screen addresses the “ReUnited States of America.”

Now, if you have never been receptive to Springsteen’s patented brand of rock’n’roll transcendence, or if you are skeptical of the working-class fixations that helped turn him into one of the most famous musicians on Earth, then this commercial will not convince you otherwise. In fact, this might be how you have always seen him: Here he is preaching a vague message of unity while standing far removed from any actual human beings. He is speaking to a promised land that maybe never actually existed. He looks impossibly well-maintained even though he wants you to think he’s weathered and worn from years of manual labor. He is selling you a car.

And even for someone like me, who views his work as a complex and empathetic portrait of American life, the message here feels blurry—and even worse, not entirely his own. For one thing, Springsteen himself has never quite sought out any sort of middle ground, and the political outlook in his lyrics has never wavered. From the bitter class struggles depicted on 1978’s Darkness on the Edge of Town through the seething indictment of the Iraq War on 2007’s Magic, he has shown us, time and time again, exactly where he stands.

Not to mention, he has fought for decades against being co-opted by corporations and politicians trying to align themselves with his hard-won integrity. When powerful people once tried to glom onto “Born in the U.S.A.”’s red-white-and-blue bumper sticker of a chorus while glossing over its damning verses, Springsteen was adamant about his refusal. In the mid-’80s, he allegedly turned down a $15 million offer from Chrysler to license the hit, and he rebuffed President Reagan, who shouted him out during a campaign stop in New Jersey. “The President was mentioning my name the other day, and I kinda got to wondering what his favorite album musta been,” Springsteen told a concert audience at the time. “I don’t think it was the Nebraska album.” Although he tried to laugh off such advances back then, Springsteen was shaken: For the first time in his career, his work fell out of his control.



Read also