DOCSLIB.ORG

Grapes 8 Works Cited Auxier, Randall E., And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Grapes 8 Works Cited Auxier, Randall E., And Grapes 8 Works Cited Auxier, Randall E., and Douglas R. Anderson. Bruce Springsteen and Philosophy: Darkness on the Edge of Truth. Open Court, 2008. Deusner, Stephen M. “Bruce Springsteen: Working on a Dream.” Pitchfork, 27 Jan. 2009, pitchfork.com/reviews/albums/12614-working-on-a-dream/. Ethen, Michael. Review of Bruce Springsteen, Cultural Studies, and the Runaway American Dream. ed. by Kenneth Womack et al. Notes vol. 69, no. 3, 2013, pp. 551-552. Project MUSE, muse.jhu.edu/article/499157/summary. “High Hopes.” YouTube, uploaded by BruceSpringsteenVEVO, 25 Nov. 2013, www.youtube.comwatch?v=rOPDhoZH91g. Moss, Pamela. “Still Searching for the Promised Land: Placing Women in Bruce Springsteen’s Lyrical Landscapes.” Cultural Geographies, vol. 18, no. 3, 2011, pp. 343-362. Academic Search Complete, doi: 10.1177/1474474011410276. Powers, Ann. “A Long Road to “High Hopes’: an Interview with Bruce Springsteen.” National Public Radio, 15 Jan. 2014, www.npr.org/sections/therecord/2014/01/14/262485987/a- long-road-to-high-hopes-an-interview-with-bruce-springsteen. Remnick, David, “We are Alive: Bruce Springsteen at Sixty-two.” New Yorker, 30 July 2012, www.newyorker.com/magazine/2012/07/30/we-are-alive. Springsteen, Bruce. “Land of Hope and Dreams.” Wrecking Ball, Columbia, 2011, brucespringsteen.net/albums/wreckingball#lyrics. ---. “Shackled and Drawn.” Wrecking Ball, Columbia, 2011. Lyrics “Springsteen’s Autobiography to be Released September 27th.” BruceSpringsteen.net, 11 Feb. 2016, brucespringsteen.net/news/2016/springsteens-autobiography. Grapes 8 Works Cited Auxier, Randall E., and Douglas R. Anderson. Bruce Springsteen and Philosophy: Darkness on the Edge of Truth. Open Court, 2008. Book in print Deusner, Stephen M. “Bruce Springsteen: Working on a Dream.” Pitchfork, 27 Jan. 2009, pitchfork.com/reviews/albums/12614-working-on-a-dream/. Review from a website Ethen, Michael. Review of Bruce Springsteen, Cultural Studies, and the Runaway American Dream. ed. by Kenneth Womack et al. Notes vol. 69, no. 3, 2013, pp. 551-552. Project MUSE, muse.jhu.edu/article/499157/summary. Book review from a website websitewebsitewebsite “High Hopes.” YouTube, uploaded by BruceSpringsteenVEVO, 25 Nov. 2013, www.youtube.comwatch?v=rOPDhoZH91g. Music video accessed on YouTube Moss, Pamela. “Still Searching for the Promised Land: Placing Women in Bruce Springsteen’s Lyrical Landscapes.” Cultural Geographies, vol. 18, no. 3, 2011, pp. 343-362. Academic Search Complete, doi: 10.1177/1474474011410276. Journal article accessed using a library database Powers, Ann. “A Long Road to “High Hopes’: an Interview with Bruce Springsteen.” National Public Radio, 15 Jan. 2014, www.npr.org/sections/therecord/2014/01/14/262485987/a- long-road-to-high-hopes-an-interview-with-bruce-springsteen. Interview accessed from a website Remnick, David, “We are Alive: Bruce Springsteen at Sixty-two.” New Yorker, 30 July 2012, www.newyorker.com/magazine/2012/07/30/we-are-alive. Article from a magazine, but accessed at its website Springsteen, Bruce. “Land of Hope and Dreams.” Wrecking Ball, Columbia, 2011, Song from an album where lyrics brucespringsteen.net/albums/wreckingball#lyrics. were accessed at a website ---. “Shackled and Drawn.” Wrecking Ball, Columbia, 2011. Lyrics. “Springsteen’s Autobiography to be Released September 27th.” BruceSpringsteen.net, 11 Feb. 2016, brucespringsteen.net/news/2016/springsteens-autobiography. Source from a website without an author Song from an album where lyrics are included in the jacket. Author is the same as the previous entry, substitute three hyphens for any name repeated from the author. Note: added “Lyric” as a descriptive term (optional element) since it could qualify as an “unexpected source type” which is not evident from the citation itself .
Load more

Recommended publications
  • Journal of Academic Perspectives
    Journal of Academic Perspectives Religion, Politics, and Public Discourse: Bruce Springsteen and the Public Church of Roll Frederick L. Downing, Professor of Philosophy & Religious Studies, Valdosta State University and Jonathan W. Downing, Co-Director, Screaming Shih-Tzu Productions Abstract The thesis of this paper is that Bruce Springsteen’s art participates in a musical public square in which the outsider can come up close and overhear a dialogue that has been going on for centuries. Following the work of Robert Detweiler on religion and public life, this paper starts from the premise that the bard’s music, like literature, creates a type of public square or a form of public discourse where urgent matters of human survival, like the nature and nurture of a just state, are expressed, a call for social justice can be heard, and faith and hope for the future can be assimilated. Using the theory of Martin Marty on religion and civic life, the paper further describes Springsteen’s work as the creation of a “public church” beyond sectarian demand which is open to all and approximates, in his language, a true “land of hopes and dreams.” The paper uses the theory of Walter Brueggemann on the ancient church idea to demonstrate the nature and dimension of Springsteen’s “public church.” Using Brueggemann’s theory, Springsteen’s Wrecking Ball album is shown to have both a prophetic and priestly function. As a writer and performer, Springsteen demonstrates on this album and on the Wrecking Ball tour that he not only speaks truth to power, but attempts to create a sense of alternative vision and alternative community to the unjust status quo.
    [Show full text]
  • Meet Me in the Land of Hope and Dreams Influences of the Protest Song Tradition on the Recent Work of Bruce Springsteen (1995-2012)
    Ghent University Faculty of Arts and Philosophy Meet me in the Land of Hope and Dreams Influences of the protest song tradition on the recent work of Bruce Springsteen (1995-2012) Supervisor: Paper submitted in partial Dr. Debora Van Durme fulfilment of the requirements for the degree of “Master in de Taal- en Letterkunde: Nederlands- Engels” by Michiel Vaernewyck May 2014 Word of thanks The completion of this master dissertation would not have been possible without the help of several people that have accompanied me on this road. First of all, thank you to my loving parents for their support throughout the years. While my father encouraged me to listen to an obscure, dusty vinyl record called The River, he as well as my mother taught me the love for literature and music. Thanks for encouraging me to express myself through writing and my own music, which is a gift that money just cannot buy. Secondly, thanks to my great friends of the past few years at Ghent University, although they frequently – but not unfairly – questioned my profound passion for Bruce Springsteen. Also, thank you to my supervisor dr. Debora Van Durme who provided detailed and useful feedback to this dissertation and who had the faith to endorse this thesis topic. I hope faith will be rewarded. Last but not least, I want to thank everyone who proofread sections of this paper and I hope that they will also be inspired by what words and music can do. As always, much love to Helena, number one Croatian Bruce fan. Thanks to Phantom Dan and the Big Man, for inspiring me over and over again.
    [Show full text]
  • Finding Grace in the Concert Hall: Community and Meaning Among Springsteen Fans
    FINDING GRACE IN THE CONCERT HALL: COMMUNITY AND MEANING AMONG SPRINGSTEEN FANS By LINDA RANDALL A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY On Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Department of Religion December 2008 Winston Salem, North Carolina Approved By: Lynn Neal, PhD. Advisor _____________________________ Examining Committee: Jeanne Simonelli, Ph.D. Chair _____________________________ LeRhonda S. Manigault, Ph.D _____________________________ ii Acknowledgements First and foremost, my thanks go out to Drs. Neal and Simonelli for encouraging me to follow my passion and my heart. Dr. Neal helped me realize a framework within which I could explore my interests, and Dr. Simonelli kept my spirits alive so I could nurse the project along. My concert-going partner in crime, cruisin’tobruce, also deserves my gratitude, sharing expenses and experiences with me all over the eastern seaboard as well as some mid-America excursions. She tolerated me well, right up until the last time I forgot the tickets. I also must recognize the persistent assistance I received from my pal and companion Zero, my Maine Coon cat, who spent hours hanging over my keyboard as I typed. I attribute all typos and errors to his help, and thank him for the opportunity to lay the blame at his paws. And lastly, my thanks and gratitude goes out to Mr. Bruce Frederick Springsteen, a man of heart and of conscience who constantly keeps me honest and aware that “it ain’t no sin to be glad you’re alive (Badlands).”
    [Show full text]
  • Easy Guitar Songbook
    EASY GUITAR SONGBOOK Produced by Alfred Music Publishing Co., Inc. P.O. Box 10003 Van Nuys, CA 91410-0003 alfred.com Printed in USA. No part of this book shall be reproduced, arranged, adapted, recorded, publicly performed, stored in a retrieval system, or transmitted by any means without written permission from the publisher. In order to comply with copyright laws, please apply for such written permission and/or license by contacting the publisher at alfred.com/permissions. ISBN-10: 0-7390-9399-1 ISBN-13: 978-0-7390-9399-3 Photos: Danny Clinch CONTENTS Title Release Page 4th of July, Asbury Park (Sandy) . The Wild, the Innocent & the E Street Shuffle . .8 Atlantic City . Nebraska . .12 Badlands . Darkness on the Edge of Town . .3 Better Days . Lucky Town . .16 Blinded by the Light . Greetings from Asbury Park, N .J . .19 Born in the U .S .A . Born in the U .S .A . .24 Born to Run . Born to Run . .26 Brilliant Disguise . Tunnel of Love . .32 Dancing in the Dark . Born in the U .S .A . .35 Glory Days . Born in the U .S .A . .64 Human Touch . Human Touch . .38 Hungry Heart . The River . .44 Lucky Town . Lucky Town . .46 My City of Ruins . The Rising . .50 My Hometown . Born in the U .S .A . .53 Pink Cadillac . B-side of “Dancing in the Dark” single . .56 Prove It All Night . Darkness on the Edge of Town . .60 The Rising . The Rising . .75 The River . The River . .78 Secret Garden . Greatest Hits . .67 Streets of Philadelphia . Philadelphia soundtrack . .70 Tenth Avenue Freeze-Out .
    [Show full text]
  • Long Walk Home
    Long Walk Home Long Walk Home REFLECTIONS ON BRUCE SPRINGSTEEN ✧ Edited by Jonathan D. Cohen and June Skinner Sawyers rutgers university press New Brunswick, Camden, and Newark, New Jersey, and London Library of Congress Cataloging- in- Publication Data Names: Cohen, Jonathan D., 1990– | Sawyers, June Skinner, 1957– Title: Long walk home: reflections on Bruce Springsteen / edited by Jonathan D. Cohen and June Skinner Sawyers. Description: New Brunswick: Rutgers University Press, 2019. | Includes bibliographical references and index. Identifiers: LCCN 2019002452 | ISBN 9781978805262 (cloth) Subjects: LCSH: Springsteen, Bruce— Criticism and interpretation. Classification: LCC ML420.S77 L66 2019 | DDC 782.42166092— dc23 LC rec ord available at https:// lccn . loc . gov / 2019002452 A British Cataloging- in- Publication rec ord for this book is available from the British Library. This collection copyright © 2019 by Rutgers, The State University of New Jersey Individual chapters copyright © 2019 in the names of their authors All rights reserved Natalie Adler’s essay “Our Butch Mother, Bruce Springsteen” is based upon the article “My Butch Lesbian Mom, Bruce Springsteen” as first published on Electric Lit er a ture (electricliterature . com). Richard Russo’s essay “The Boss in Bulgaria” is excerpted from The Destiny Thief: Essays on Writing, Writers and Life. Copyright © 2018 by Richard Russo. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission from the publisher. An earlier version of Wesley Stace’s essay “The Magic Circle” was published in Japa nese as the preface to Tadd Igarashi’s Springsteen Sings Amer i ca: Long Walk Home to the Land of Hope and Dreams (Ongaku Shuppansha Co., 2009).
    [Show full text]
  • 161106 the Storyteller Page 1 of 10
    161106 the Storyteller Page 1 of 10 In January of 1984 I was in seminary taking an Interpersonal Relationship class — a peer group learning experience designed to help ministers in exploring various personal and professional issues that may arise during their ministry. It was a Week long intensive and at the beginning of the class the professor very clearly said you must be here for all of the classes they start at 9 am and end at 4 pm. This is about group process and the whole group needs to be here. Any questions asked the professor. I raised my hand – umm I have tickets for a concert on Thursday I need to leave early. The professor started to say something that I assumed would be a negative and I continued My husband stood in line for 7 hours to get these tickets … The professor closed her mouth. That Thursday we arrived at the Veteran’s stadium parking lot in Philadelphia to find a church revival atmosphere with soft pretzel vendors, t-shirt stands, recordings of past “sermons” playing at full volume from every other car. It was church on the Boardwalk at the Jersey Shore. You may think it strange for somebody studying for the ministry to attend such an event, but I really wanted to be there. I was dying to hear this man preach. So were the thousands of my fellow pilgrims, tailgating before the service. How can this preacher be the most popular theologian in America? He never graduated from a seminary. He pastors no church.
    [Show full text]
  • Runaway American Dream, Hope and Disillusion in the Early Work
    Runaway American Dream HOPE AND DISILLUSION IN THE EARLY WORK OF BRUCE SPRINGSTEEN Two young Mexican immigrants who risk their lives trying to cross the border; thousands of factory workers losing their jobs when the Ohio steel industry collapsed; a Vietnam veteran who returns to his hometown, only to discover that he has none anymore; and young lovers learning the hard way that romance is a luxury they cannot afford. All of these people have two things in common. First, they are all disappointed that, for them, the American dream has failed. Rather, it has become a bitter nightmare from which there is no waking up. Secondly, their stories have all been documented by the same artist – a poet of the poor as it were – from New Jersey. Over the span of his 43-year career, Bruce Springsteen has captured the very essence of what it means to dream, fight and fail in America. That journey, from dreaming of success to accepting one’s sour destiny, will be the main subject of this paper. While the majority of themes have remained present in Springsteen’s work up until today, the way in which they have been treated has varied dramatically in the course of those more than forty years. It is this evolution that I will demonstrate in the following chapters. But before looking at something as extensive as a life-long career, one should first try to create some order in the large bulk of material. Many critics have tried to categorize Springsteen’s work in numerous ‘phases’. Some of them have reasonable arguments, but most of them made the mistake of creating strict chronological boundaries between relatively short periods of time1, unfortunately failing to see the numerous connections between chronologically remote works2 and the continuity that Springsteen himself has pointed out repeatedly.
    [Show full text]
  • Reception of Bruce Springsteen As an Index of Australian National Identities
    Whose Hometown? Reception of Bruce Springsteen as an Index of Australian National Identities Brad Warren and Patrick West Deakin University Abstract Focusing on the cultural landscape of the mid-1980s, this paper explores the Australian experience of Bruce Springsteen. Australian author Peter Carey’s short story collection, The Fat Man in History, anticipates two phases of Australia’s relationship to the United States, phases expressed by responses to Springsteen’s Born in the U.S.A. (1984) and the 1986 blockbuster Crocodile Dundee. Springsteen’s album was received by an Australian audience who wanted to be like Americans; Crocodile Dundee, on the other hand, provided a representation of what Australians thought Americans wanted Australians to be. This paper argues that the first phase was driven by emergent technologies, in particular the Walkman, which allowed for personal and private listening practices. However, technological changes in the 1990s facilitated a more marked shift in listening space towards individualization, a change reflected in Springsteen’s lyrics. “The past is a foreign country: they do things differently there.” —L.P. Hartley1 Looking back on 1984, it proves difficult to fully appreciate the immensity of Born in the U.S.A. for Australian music fans. The album bore distinctly American rock music, indicated by the American flag on the cover of the record, and yet the album spent almost two years near the top of the Australian music charts. Then, Copyright © Brad Warren and Patrick West, 2014. The authors wish to thank the three, anonymous peer-reviewers for their detailed and insightful comments. Please address correspondence to [email protected] and [email protected] 1 L.P.
    [Show full text]
  • Owen, David Dir. "Searching for the Ghost of Tom Joad&Q
    This is the published version of the article: Bayo Ibars, Anna Ma.; Owen, David dir. "Searching for the ghost of Tom Joad" : resurrecting Steinbeck’s gaze. 2011. 83 p. This version is available at https://ddd.uab.cat/record/102073 under the terms of the license MA Dissertation “Searching for the Ghost of Tom Joad”: Resurrecting Steinbeck’s Gaze Candidate: Anna Bayo Ibars Supervisor: Dr David Owen Department: Filologia Anglesa i Germanística, Universitat Autònoma de Barcelona September 2011 TABLE OF CONTENTS INTRODUCTION……………………………………………………………………..1 PART ONE…………………………………………………………………………......5 1.1. Steinbeck: Context and Work………………………………………………..…...5 1.2. Springsteen: Context and Work………………………………………………….9 1.3. The vision of American life through the work of Steinbeck and Springsteen..14 PART TWO 2. Reading Bruce Springsteen’s lyrics: “Searching for the ghost of Tom Joad”...23 2.1. Searching for the ghost of Tom Joad …………………………………………23 2.1.1. Still searching for the ghost…………………………………………………...26 2.2. Waitin’ on the ghost of Tom Joad……………………………………………..30 2.2.1. Still waitin’ on the ghost……………………………………………………...35 2.3. With the ghost of old Tom Joad……………………………………………….38 CONCLUSION………………………………………………………………………44 WORKS CITED……………………………………………………………………..46 APPENDIX…………………………………………………………………………..49 1 “Searching for the Ghost of Tom Joad”: Resurrecting Steinbeck’s Gaze INTRODUCTION What is this land America? So many travel there, I‘m going now while I‘m still young my darling meet me there Wish me luck my lovely I‘ll send for you when I can And we‘ll make our home in the American Land. 1 The words “American Land”, made famous by the US singer-songwriter Pete Seeger and translated from a 1940’s song by Andrew Kovaly, a Slovakian immigrant, would appear to point to a sense of hope and plenty, referring to a place where the poem’s protagonist could fulfill his desire of a decent job and a home in the promised land.
    [Show full text]
  • “Outlaw Pete”: Bruce Springsteen and the Dream-Work of Cosmic American Music
    “Outlaw Pete”: Bruce Springsteen and the Dream-Work of Cosmic American Music Peter J. Fields Midwestern State University Abstract During the 2006 Seeger Sessions tour, Springsteen shared his deep identification with the internal struggle implied by old spirituals like “Jacob’s Ladder.” While the Magic album seemed to veer wide of the Seeger Sessions ethos, Working on a Dream re-engages mythically with what Greil Marcus would call “old, weird America” and Gram Parsons deemed “cosmic American music.” Working suggests the universe operates according to “cosmic” principles of justice, judgment, and salvation, but is best understood from the standpoint of what Freud would call “dream work” and “dream thoughts.” As unfolded in Frank Caruso’s illustrations for the picturebook alter ego of Working‘s “Outlaw Pete,” these dynamics may allude to Springsteen’s conflicted relationship with his father. The occasion of the publication in December 2014 of a picturebook version of Bruce Springsteen’s “Outlaw Pete,” the first and longest song on the album Working on a Dream (2009), offers Springsteen scholars and fans alike a good reason to revisit material that, as biographer Peter Ames Carlin remarks, failed in the spring American tour of that year to “light up the arenas.”1 When the Working on a Dream tour opened in April 2009 in San Jose, at least Copyright © Peter Fields, 2016. I want to express my deep gratitude to Irwin Streight who read the 50 page version of this essay over a year ago. He has seen every new draft and provided close readings and valuable feedback. I also want to thank Roxanne Harde and Jonathan Cohen for their steady patience with this project, as well as two reviewers for their comments.
    [Show full text]
  • And Remembering Thirty Years of Activist Collaborations in Canadian Labour and Social History Franca Iacovetta, the University of Toronto
    Springsteen’s “Working on a Dream” and Remembering Thirty Years of Activist Collaborations in Canadian Labour and Social History Franca Iacovetta, The University of Toronto Having decided to reflect on my and Craig Heron’s thirty-plus years of collaboration in politically engaged scholarship and activist history through Bruce Springsteen’s “Working on a Dream” and his other songs, as well as a few other musical refer - ences, it occurred to me that I did not actually know whether Craig is a Springsteen fan. But then I thought, so what! Because if he is not, then he should be. Certainly, many of the committed unionists and activists with whom we have worked were Bruce fans. I knew, too, that there would be Springsteen fans among the Canadian labour and social historians in the audience, feminists like myself included. I am pleased to learn now that Craig is indeed a fan. Moreover, judging by the reaction of the audience to the video clip I just showed of Springsteen and “the mighty E Street Band” in action during a 2009 concert in Glastonbury, UK—heads bobbing to the beat of the music and intense faces watching Springsteen seduce the Glas - tonbury crowd with one of those rocking sermons that promised to transform (if only for a few hours) the fear, doubt, sadness, and injustice in the world into “a house” of love, support, joy, and sexual healing—I think I also just witnessed the secular baptism of some newly awakened Springsteen fans. 1 To be sure, no labour or social historian in this room or anywhere else will ever be referred to as “the rock and roll laureate of a generation,” no matter how “distinguished” we might become.
    [Show full text]
  • BRUCE SPRINGSTEEN: Human Touch World Tour 1992-93
    Societat | Redacció | Actualitzat el 25/07/2015 a les 23:19 BRUCE SPRINGSTEEN: Human Touch World Tour 1992-93. Divendres 3 de Juliol 1992. Plaça de Toros La Monumental, Barcelona. He de confessar que amb la multitud de fans i seguidors del Boss -entre els que també m'hi compto-, i els que el segueixen a molts concerts més enllà del nostre país, escriure aquest article no es fàcil. Des del primer concert, l'any 1988, al Camp del Barça fins ara, l'he pogut gaudir onze vegades. Segurament molts dels que llegiu això, moltes més, com l'Àlex, el Miqui, o com l'Albert 'chocolat man' que ha tingut el privilegi d'estar al backstage de París convidat i a USA. O el Marc a Milà, i molts i molts d'altres. Toca parlar del Boss, de reivindicar dos discs força menyspreats per molts fans. D'aquell calorós i ?pre-olímpic? 3 de Juliol del 92 a la Monumental i d'aquell 11 de Maig del 93 a l'Estadi Olímpic que ens va visitar el Bruce, el Boss, el ?puto amo?, d'això ja fa 33 anys (com passa el temps!). Human Touch i Lucky Town, van ser dos àlbums molt criticats pels seguidors de Boss i de l'estil de la E Street Band; catalogats de dolentíssims, fluixets i de totes les plagues bíbliques imaginables. Personalment, mai he compartit aquesta opinió, em semblen dos discs més que correctes, i en tot cas i com a mínim, a l'alçada del Tunnel Of Love. Sempre he estat convençut que va ser així precisament perquè no els va fer amb la E Street Band i perquè aquella gira tampoc la feia amb la E Street Band.
    [Show full text]