Clarence Clemons, In Memoriam: The Big Man, In More Ways Than One

The iconic sax man for Bruce Springsteen's E Street Band (and Lady Gaga) towered over contemporary music for nearly five decades.
By James Montgomery


Clarence Clemons
Photo: Getty Images

Clarence Clemons was affectionately known as "The Big Man," probably because, well, he was a big man. Standing six-feet, four-inches tall -- and nearly just as wide -- he towered over Bruce Springsteen, the E Street Band, and whomever else he shared the stage with during his five-decade career, casting a shadow as formidable as it was striking (it's no wonder Bruce decided to lean on him, like some sort of lamppost, on the cover of 1975's Born To Run).

But his physical size only told part of the story. Because Clemons was also a massive talent, a saxophonist as adept at filing an arena with his booming solos as he was providing a rock-solid backbone to Springsteen's churning, yearning rock. He was the Big Man because everything ran through him, because he was capable of both taking the lead (like on "Jungleland") and laying back in the cut (like on "10th Avenue Freeze Out," where his presence definitely shapes the song, but at no point overshadows its other components), and because of the tones he charmed from his sax ... crisp and clear-eyed, grandiose yet gritty, big yet decidedly blue-collar (just like he was), no one played like Clarence did. And when he died on Saturday at the age of 69 after complications from a stroke he suffered last week, not only did we lose a mountain of a man, but an icon as well.

See photos of Clemons throughout his career.

Simply put, Clemons was the most prominent sax player in popular music. And as proof, I'll ask you to name any of his contemporaries. Chances are, you can't; not because they don't exist, but because they couldn't begin to approach his stature. He was the go-to guy when the stars needed a session hand (recording with the likes of Aretha Franklin and Twisted Sister, and performing live with everyone from the Grateful Dead to Ringo Starr,) and, more recently, Lady Gaga tapped him to perform on her Born This Way album -- he appears in her new "The Edge Of Glory" video, a move that no doubt introduced his sublime playing to a whole new generation of fans. Shoot, he even appeared on "The Simpsons," "The Wire" and "Bill & Ted's Excellent Adventure," where he played, fittingly enough, one of the Three Most Important People in the World.

Remember Clemons with us on Facebook.

In passing, he leaves behind a catalog that's nearly as massive as his frame: not only his notable guest appearances, but several solo albums (and records he cut with backing bands like the Temple of Soul and the Red Bank Rockers) and, of course, the myriad of albums he cut with Springsteen and the E Street Band. And it's on those recordings -- starting with 1973's Greetings From Asbury Park, N.J. and continuing right on through 2009's Working on a Dream and last year's reissue The Promise -- where Clemons not only shone the brightest, but also showcased the reason why he earned his "Big Man" nickname. Sure, he burns on songs like "Badlands" and "Born To Run," but listen to his work on songs like "Prove It All Night" and "Dancing in the Dark" (to name six dozen) ... the times where he proves to be the Bigger Man, letting his fellow bandmates get their share, too.

Rarely has there been a player so soulful and selfless ... one so secure in his own status that he was willing to let others shine. It's why Clarence Clemons will forever be known as "The Big Man," and why, even in death, he still casts a formidable shadow over popular music and popular culture. He was the sax man's sax man. To paraphrase Springsteen on "Freeze Out," not only was the change was made uptown when the Big Man joined the band, but the mould was broken, too.

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Beyonce Talks Career, Motherhood With Piers Morgan

'I always said I'd have a baby at 30,' singer says in new interview.
By Jocelyn Vena


Beyoncé on "Piers Morgan Tonight"
Photo: CNN

It's B Day. Today is the day that Beyoncé finally drops her new album, 4. And on Monday night, with less than a day until her album's release, the singer sat down with CNN's Piers Morgan to open up about this latest installment in her life.

The pair kicked off the conversation by talking about Beyoncé's Glastonbury Festival set just a day before. "Well, you know, I'm still walking on the clouds, I'm still kind of shocked. I think it's because I've seen Glastonbury ... and only amazing rock stars perform and it's the coolest festival," she gushed. "[To] be the first woman and first African-American woman ... It's a little strange when you think about it, but I'm just happy I was the first woman. Everybody was just united."

She said she was a bit nervous when she took the stage but explained that she found strength by embracing her diva status. "I do [like being a diva]! Because I've met what a diva is supposed to be, and I've met Patti LaBelle and I've met Tina Turner and I've met these incredible woman.

"[They're] graceful and talented and strong and fearless and brave and someone with humility," she continued. "And I think it's an appropriate time to be a diva."

Before Beyoncé began work on 4, she took some time off for some self-exploration. She admitted that her life had been such a whirlwind that she didn't even realize what it meant to have so many Grammys on her mantle. "I learned a lot about myself, the biggest thing is, I love to perform," she said. "I love music. I love what I do. I love singing in the studio and writing songs and coming up with video treatments. I learned balance. I learned the importance of taking time for myself."

This year Beyoncé turns 30 and she said that she's had some lofty personal goals for herself. She also addressed those ever-recurring rumors that she's pregnant. "I feel like a woman. I feel like I'm very aware of who I am. I feel great and I feel like 30 is the ideal age [to start a family], because you're mature enough to know who you are and to have your boundaries and your standards, and not be afraid, too polite — but you're young enough to be a young woman," she explained. "I'm so looking forward to it."

The singer added, "I always said I'd have a baby at 30. But I also said I'm going to retire at 30 ... Only God knows." Regardless of when she and husband Jay-Z decide to start a family, they are each other's support system, and that love is evident in her music. "Jay and I have kind of made a decision that we want to be known for our music and not our relationships or scandals. But he is amazing," she said. "I definitely had a very natural friendship and connection with him. We've been together for a very long time and I'm very happy. Love is the foundation of everything, everything I do. My music is inspired by love — from my family, my husband, my sister."

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Britney Spears Drops Official 'Till The World Ends' Remix

New track with Nicki Minaj, Ke$ha follows leaked version, plus Brit tweets single's cover art.
By Jocelyn Vena


The "Till the World Ends" Femme Fatale remix
Photo: Jive

Just days after it was leaked on Friday, Britney Spears and her femme fatales, Nicki Minaj and Ke$ha, dropped their official remix of "Till the World Ends."

The new version of the song was produced by Dr. Luke and Dream Machine. Brit half-whispers " 'Till the World Ends' remix" before the beat kicks in and Nicki hits her verse hard. She spits fierce lines like, "Sniff, sniff, cries/ I done slayed your whole entire f---ing life."

Then Britney's sex-kitten vocals kick in for the song's first verse. "That's Britney, bitch! I'm Nicki Minaj and that's Ke$ha," the Queens MC declares before K sings the chorus. The beat is harder, the loops are sassier and the song is grimier than the original version, which was the second single from Femme Fatale. The newly added dubstep portion takes the one from "Hold It Against Me" to a new level by adding in bass-heavy synths.

Ke$ha, of course, wrote the track for Britney, and the ladies certainly don't seem to mind sharing the spotlight with each other. The official track isn't much different than the version that leaked over the weekend, though Spears did have something brand-new to share with her fans just as the song dropped on iTunes and streamed on her website.

Spears tweeted the artwork for the single, which features the original press photo of Spears along with separate photos of Nicki on the left and Ke$ha on the right. Spears wrote, "@NickiMinaj @Keshasuxx Too much fierceness for one cover! Thanks for lending your voices girls... #TTWEREMIX — Brit"

Spears and Minaj have been hanging out a lot in the lead-up to their summer tour. They hung out at the Factory nightclub on Friday night after Minaj's show in Los Angeles. Spears later wrote, "Early rehearsal after a late night with my girl @NickiMinaj. Can't WAIT to get out on the road with you."

What do you think of the "Till the World Ends" remix? Tell us in the comments!

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