DOCSLIB.ORG

Racing in the Street '78 (Lyric Version from the Promise, 2010) Got a 32

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Racing in the Street '78 (Lyric Version from the Promise, 2010) Got a 32 Racing in the street ’78 (lyric version from the Promise, 2010) (http://www.brucespringsteen.it/DB/sd3.aspx?sid=447) Got a 32 Ford, she's a 318 Fuelie heads and a Hurst on the floor She's waiting tonight down in the parking lot Outside the Seven-Eleven store Me and my partner Sonny built her straight out of scratch And he rides with me from town to town We only run for the money got no strings attached We shut 'em up and we shut 'em down Tonight tonight the strip's just right I wanna blow 'em all out of their seats Come on out around the world We're goin' racin' in the street We take all the action we can meet And we cover all the northeast states When the strip shuts down we run 'em in the street From the back roads to the turnpike gates Some guys they do it for the money Other guys do it cause they don't know what else they can do Well and they just hang around in an empty home Waking up in a world that somebody else owns Tonight tonight the strip's just right I wanna blow 'em off in my first heat Well summer's here and the time is right For racin' in the street I met her on the strip three years ago In a Camaro with this dude from L.A. I blew that Camaro off my back and I stole that little girl away But now there's wrinkles around my baby's eyes And she cries herself to sleep at night When I come home the house is dark She whispers "hey baby did you make it all right?" Just to make it all right She sits on the porch of her daddy's house But honey your pretty dress is torn She stares off alone into the night With the eyes of one who hates for just being born For all the blown-off strangers and hot rod angels Stumbling through this promised land Tonight my baby and me we're gonna ride to the sea And wash these sins off our hands Tonight tonight the strips just right I wanna blow them off in my first heat Well come on out the time is right We're goin' racin' in the street These are the chords to the '78 version of Racing In The Street from The Promise. It's a terrific rendition of the song and I searched and searched but couldn't find the chords online. Finally I picked up my guitar and sounded them out. I hope this helps anyone else whose been searching for these chords. Intro: F Dm C Bb I got a 'F32 Ford, she's a Dmthree-eighteen Fuelie Cheads and a Hurst on theBb floor And she's Fwaiting tonight down in theDm parking lot Outside the C7-Eleven store Bb Me and my Fpartner Sonny built her sDmtraight out of scratch And he Crides with me from town to Bbtown We only Frun for the money got no Dmstrings attached We shut 'em Cup and we shut 'em Bbdown TFonight, tonight the strDmip's just right I wanna blCow 'em all out of their Bbseats CFome on out arouDmnd the world We're going Cracing in the strBbeet We taFke all the action Dmwe can meet And we Ccover all the northeast Bbstates When the Fstrip shuts down we runDm 'em in the street From the Cback roads to the turnpike Bbgates Well now Fsome guys they do it for the Dmmoney Other guys do it 'cause they Cdon't know what else they canBb do There Fjust ain't nothing left at Dmhome Waking up in a Cworld that somebody else Bbowns TFonight, tonight the stDmrip's just right I wanna bloCw 'em off in my first Bbheat Now Fsummer's here and the time is Dmright For Cracing in the sBbtreet Here's where the violin starts and the key changes. It moves up 3 half steps so F = G#, Dm = Fm, C = D#, and Bb = C#. You can throw a capo on the third fret and play all the chords like before, or you can just play barre chords. I mG#et her on the strip three Fmyears ago In a CD#amaro with this dude from C#L.A. I G#blew that Camaro Fmoff my back and stD#ole that little girl C#away Now there's G#wrinkles 'round my baFmby's eyes She cD#ries herself to sleep at C#night WhenG# I come home, the Fmhouse is dark she sighs, &D#quot;Baby did you make itC# all right?" She sG#its on the porch of her Fmdaddy's house But honey your D#pretty dress is toC#rn She staG#res out alone intFmo the night With the eyes of D#one who hates for just bein'C# born For all the G#blown-off strangers and hoFmt rod angels StD#umbling through this promised C#land Tonight my G#baby and me we're gonna Fmride to the sea And wD#ash these sins off our C#hands TG#onight tonight the strip'sFm just right I wanna D#blow 'em off in my first C#heat CoG#me on out the timFme is right We're goin' D#racing in the sC#treet Also if you want, you can play E in the bass of the F chord before changing to Dm. It sounds fine if you don't, but it sounds more like the recording if you do. -G#4-- -Fm1-- -D#3-- -C#4-- -4-- -1-- -4-- -6-- -5-- -1-- -3-- -6-- -6-- -2-- -5-- -6-- -6-- -2-- -6-- -4-- -4-- -1-- -3-- -4-- Racing in the Street - Bruce Springsteen Chords using: F Dm7 C4 Bb Gm C7 e|-1--1---1--1--3--0-| B|-1--1---1--3--3--1-| G|-2--2---0--3--3--3-| D|-3--0---2--3--5--2-| A|-3------3--1--5--3-| E|-1------------3----| [Intro] F Dm7 C4 Bb [Verse 1] F I got a sixty-nine Chevy with a three-ninety-six Bb Fuelie heads and a Hurst on the floor Gm She's waiting tonight down in the parking lot Bb Outside the Seven-Eleven store F Me and my partner Sonny built her straight out of scratch Bb And he rides with me from town to town Gm We only run for the money got no strings attached Bb We shut `em up and then we shut `em down [Chorus] C7 F Tonight, tonight the strip's just right Bb I wanna blow `em off in my first heat Gm Summer's here and the time is right Bb For racin' in the street [Verse 2] F We take all the action we can meet Bb And we cover all the northeast state Gm When the strip shuts down we run `em in the street Bb From the fire roads to the interstate F Now some guys they just give up living Bb And start dying little by little piece by piece Gm Some guys come home from work and wash up Bb Then go racin' in the street [Chorus] C7 F Tonight, tonight the strip's just right Bb I wanna blow `em all out of their seats Gm Calling out around the world Bb We're going racin' in the street [Break] F Dm7 C4 Bb F Dm7 C4 Bb [Verse 3] F I met her on the strip three years ago Bb In a Camaro with this dude from L.A. Gm I blew that Camaro off my back Bb And drove that little girl away F But now there's wrinkles around my baby's eyes Bb And she cries herself to sleep at night Gm When I come home the house is dark Bb She sighs "Baby did you make it all right" [Verse 4] F She sits on the porch of her daddy's house Bb But all her pretty dreams are torn Gm She stares off alone into the night Bb With the eyes of one who hates for just being born F For all the shut-down strangers and hot rod angels Bb Rumbling through this promised land Gm Tonight my baby and me we're gonna ride to the sea Bb And wash these sins off our hands [Chorus] C7 F Tonight, tonight the highway's bright Bb Out of our way mister you best keep Gm `Cause summer's here and the time is right Bb We're goin' racin' in the street [Outro] F Bb Gm Bb (to fade out) .
Load more

Recommended publications
  • Greetings 1 Greetings from Freehold: How Bruce Springsteen's
    Greetings 1 Greetings from Freehold: How Bruce Springsteen’s Hometown Shaped His Life and Work David Wilson Chairman, Communication Council Monmouth University Glory Days: A Bruce Springsteen Symposium Presented Sept. 26, 2009 Greetings 2 ABSTRACT Bruce Springsteen came back to Freehold, New Jersey, the town where he was raised, to attend the Monmouth County Fair in July 1982. He played with Sonny Kenn and the Wild Ideas, a band whose leader was already a Jersey Shore-area legend. About a year later, he recorded the song "County Fair" with the E Street Band. As this anecdote shows, Freehold never really left Bruce even after he made a name for himself in Asbury Park and went on to worldwide stardom. His experiences there were reflected not only in "County Fair" but also in "My Hometown," the unreleased "In Freehold" and several other songs. He visited a number of times in the decades after his family left for California. Freehold’s relative isolation enabled Bruce to develop his own musical style, derived largely from what he heard on the radio and on records. More generally, the town’s location, history, demographics and economy shaped his life and work. “County Fair,” the first of three sections of this paper, will recount the July 1982 episode and its aftermath. “Growin’ Up,” the second, will review Bruce’s years in Freehold and examine the ways in which the town influenced him. “Goin’ Home,” the third, will highlight instances when he returned in person, in spirit and in song. Greetings 3 COUNTY FAIR Bruce Springsteen couldn’t be sitting there.
    [Show full text]
  • “Born to Run”—Bruce Springsteen (1975) Added to the National Registry: 2003 Essay by Cary O’Dell
    “Born to Run”—Bruce Springsteen (1975) Added to the National Registry: 2003 Essay by Cary O’Dell Original album Original label Bruce Springsteen “Born to Run” was Bruce Springsteen’s third album. The man who is “The Boss” has admitted that the creation of it was his blatant attempt for a true rock and roll record as well as commercial success after the tepid commercial reception of his earlier two albums, “Greetings from Asbury Park, N.J.” (1973) and “The Wild, the Innocent & the E Street Shuttle” (1973). On both counts, he got his wish. Upon its release, “Born to Run” would rise to number three on the charts. Besides gaining massive audience attention (by the end of the year Springsteen would be featured on the covers of both “Time” and “Newsweek”), “Born to Run” also saw the accomplishment of two other major factors in Springsteen’s artistic development. First, it saw the solidification of the line-up of Springsteen’s legendary back-up musicians, the E-Street Band. Second, it fully delivered on Springsteen’s early promise which saw him labeled as both a “modern day Dylan” and as “rock ‘n’ roll’s future.” Along with “Born to Run” being named to the National Registry in 2003, it has been ranked number eight on a list of rock’s all-time greatest albums by “Rolling Stone” magazine and was place at 18th on VH1’s list of the 500 greatest rock albums ever. Eight songs make up the tracks of “Born to Run”: “Thunder Road,” “Tenth Avenue Freeze- Out,” “Night,” “Backstreets,” “Born to Run,” “She’s the One,” “Meeting Across the River,” and “Jungleland.” In writing and developing the album, Springsteen has said he was hoping to recreate Phil Spector’s legendary “wall of sound” producing approach.
    [Show full text]
  • A Guiding Force
    Arcadia University ScholarWorks@Arcadia Faculty Curated Undergraduate Works Undergraduate Research Winter 12-10-2020 A Guiding Force Jessica Palmer Follow this and additional works at: https://scholarworks.arcadia.edu/undergrad_works Part of the American Popular Culture Commons, Music Performance Commons, Other American Studies Commons, and the Other Music Commons Jessica T Palmer Dr. Buckley Bruce Springsteen and The American Dream 12/10/2020 Cover Page for My Research Paper A Guiding Force Abstract In this paper, I will be addressing the main factors which influenced Bruce Springsteen’s career and songwriting, specifically regarding interpersonal relationships the singer has had and how that is evident in his work thus far. I will be relating that concept to his latest album release, “Letter to You” by analyzing track by track and attempting to find that common thread of connection that seems to speak so well to him and his audience. Why? I chose this topic and album because throughout this course I have really enjoyed dissecting Springsteen’s work and relating it to a bigger picture. As I have progressed throughout this course, I have been able to elevate my writing and approach song analysis in a new, more refined way. I also felt as though choosing “Letter to You” would allow for me to make the most accurate interpretation of what Springsteen is trying to say in the current moment since it just got released a few months ago. Overall, I wanted to write about this because it allows for some creative freedom, a stream of consciousness and a continuation of the work I have been trying to perfect over the semester in this class.
    [Show full text]
  • Everybody's Got a Hungry Heart
    Everybody’s Got a hungry heart The Duality in Bruce Springsteen by Andy Paine Two hearts This zine is the result of years of trying to explain to various people my love of Bruce Springsteen and the E Street Band. For many, especially those like me who were born after Bruce’s commercial peak with Born In The USA, Bruce Springsteen is like peak hour traffic or the internet or something – so ubiquitous in our subconscious that you never really think about it. On classic hits radio, in karaoke bars, as a trope to be imitated and parodied; his epic songs of cadillacs and highways and American dreams can be seen as just another kitschy relic of another time, or just one more attack in the never-ending onslaught of US pop culture imperialism. I think that’s why some people are surprised to discover my great love of Bruce Springsteen. But love him I do, and my feelings have only grown stronger the older I have gotten. Partial as I am to a good classic rock song or sax solo; it’s Springsteen the lyricist that I love. So many of his songs are little short stories, and these vignettes avoid tales of rockstar excess or high-concept artistic statement. They are stories of ordinary working class people, written in the classic language of ordinary working class people – rock’n’roll. In this way there is certainly a simplicity to Bruce Springsteen. And I’m sure for many listeners, “The Boss” represents a nostalgic ideal of a simpler, rose-tinted Americana.
    [Show full text]
  • "The Culture of the 1970S Reflected Through Bruce Springsteen's Music"
    "The Culture of the 1970s Reflected Through Bruce Springsteen's Music" Senior Honors Thesis Presented To The Honors College Written By Melody S. Jackson Spring, 1983 Advised By Dr. Anthony Edmonds .;,- () -- "The Culture of the 1970s Reflected Through Bruce Springsteen's Music" I have seen the future of rock and roll and it is Bruce Springsteen. Jon Landau the advent of Bruce Springsteen, who made rock and roll a matter of life and death again, seemed nothing short of a miracle to me . Bruce Springsteen is the last of rock's great innocents. Dave Marsh Whether these respected critics see Springsteen as the future of great rock or the end of it, they do regard him with respect for his ability to convey the basic feeling of rock. And they are not alone in this opinion. From the start of his career, Springsteen has received a great deal of critical acclaim. This acclaim, in part because of his performing ability, seems quite fitting since his shows usually last for two and a half hours and often continue for four or even five hours. Relentlessly, he gives of himself to the thousands of fans -- his cult following -- who have come to see their own Rock Messiah. Upon analysis of the lyrics of Springsteen's songs, lyrics which he has written, one sees that he has a unique talent f()r reflecting the situation of the lower-middle class which he grew up in. In fact, in all of the albums he has released up to this time, he has written about the culture of the lower-middle class.
    [Show full text]
  • Meanings and Measures Taken in Concert Observation of Bruce Springsteen, September 28, 1992, Los Angeles
    UNLV Retrospective Theses & Dissertations 1-1-1996 Meanings and measures taken in concert observation of Bruce Springsteen, September 28, 1992, Los Angeles Thomas J Rodak University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Rodak, Thomas J, "Meanings and measures taken in concert observation of Bruce Springsteen, September 28, 1992, Los Angeles" (1996). UNLV Retrospective Theses & Dissertations. 3215. http://dx.doi.org/10.25669/bgs9-fpv1 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality' illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction.
    [Show full text]
  • 1) Jungleland
    60) Murder Incorporated So the comfort that you keep's a gold-plated, snub-nosed .32 Not quite sure why this doesn’t get more plays. It is a real belter, pumps you up, would be a great show opener. Would have been right at home on Darkness. Has you rocking from go to woe. Bruce leaves nobody behind on this and you’re taken on a six minute power ride, and there is no time for stopping. This was initially recorded back in 1982 with the Born In The USA sessions, but did not see an official release until the release of greatest hits in 1995. From the get go it sounds like classic Springsteen. The thud of Max’s drums, followed with the intro of the guitars. The organs feature prominently too. And for the next six minutes, you feel compelled to tap your foot to the beat and fill with anger, because let’s face it, this song doesn’t exactly put a smile on your face. That’s not to say songs need to have a happy vibe about them to enjoy them. The sax solo feels like it’s just been shoved in for the sake of it. But somehow Bruce managed to make it work. Nils’ wows us with a blistering solo before the bridge and we are treated to one final verse and raspy Bruce belts out a “I could tell you were just frustrated livin with Murder Incoporated.” Bruce struts his stuff and nearly sets his guitar on fire, Stevie throws a punch back (much like the Saint duel at Hammersmith), but Bruce shows why he’s Boss.
    [Show full text]
  • The B-Street Band Song List - Springsteen Songs
    THE B-STREET BAND SONG LIST - SPRINGSTEEN SONGS THE RIVER THUNDER ROAD FOR YOU GROWING UP SHE'S THE ONE BORN TO RUN BRILLIANT DISGUISE DARLINGTON COUNTY HIGH HOPES BLINDED BY THE LIGHT SAINT IN THE CITY INDEPENDENCE DAY MEETING ACROSS RIVER POINT BLANK PROVE IT ALL NIGHT OUT IN THE STREET BADLANDS FIRE/I'M ON FIRE PROMISELAND CANDY'S ROOM BOBBY JEAN BORN IN THE USA COVER ME WORKING/HIGHWAY DOWNBOUND TRAIN GOIN' DOWN GLORY DAYS DANCING IN THE DARK ADAM RAISED THE CAIN SPIRIT IN THE NIGHT SANDY BACKSTREETS ROSALITA ALL OR NOTHING MAN'S JOB ROLL OF THE DICE BETTER DAYS LUCKY TOWN IF I SHOULD FALL BEHIND ATLANTIC CITY HUMAN TOUCH TUNNEL OF LOVE TIES THAT BIND HUNGRY HEART MY HOME TOWN STREETS OF PHILA RACING IN THE STREET 10TH AVENUE SHERRY DARLING JERSEY GIRL HEAVEN WILL ALLOW VIVA LAS VEGAS JUNGLELAND SANTA CLAUS BECAUSE THE NIGHT SOMETHING IN THE NIGHT NO SURRENDER TRAPPED YOU CAN LOOK DARKNESS ON THE EDGE MURDER INCORPORATED RAMROD NIGHT TWO HEARTS LOVE WON’T LET YOU DOWN THE RISING LONESOME DAY WAITIN ON A SUNNY DAY MARY’S PLACE LAND OF HOPE AND DREAMS PARADISE BY THE SEA MERRY XMAS BABY PAY ME MY MONEY DOWN E-STREET SHUFFLE RADIO NOWHERE LONG WALK HOME LIVIV IN THE FUTURE CADDILLAC RANCH WORK FOR YOUR LOVE GIRLS IN THEIR SUMMER PINK CADDILLAC SMALL THINGS MAMA QUARTER TO THREE AMERICAN LAND WRECKING BALL TAKE CARE OF OUR OWN FRANKIE FELL IN LOVE MEET ME IN THE CITY .
    [Show full text]
  • Springsteen, Tradition, and the Purpose of the Artist
    Springsteen, Tradition, and the Purpose of the Artist William I. Wolff Rowan University Abstract In 2012, Bruce Springsteen delivered the keynote address at the South By Southwest Music Conference and Festival. His task was daunting: reconnect authenticity to a traditional approach to creating art. By bringing together ideas on authenticity, creativity, and culture, Springsteen’s talk joins a lineage of essays that defend poetry, creativity, and culture, including famous works by William Wordsworth and T.S. Eliot. In this article, I connect Springsteen’s ideas to the “folk process,” which leads to considering Wordsworth’s ideas on the voice of the common citizen and Eliot’s ideas on historical tradition. In the end, I consider Springsteen’s legacy as cultural ambassador for the arts. “[Springsteen] wears his influences on his sleeve.” —Peter Knobler1 In March 1973, in the first major article about Bruce Springsteen, Peter Knobler of Crawdaddy! immediately locates Springsteen’s influences as Bob Dylan and Van Morrison. Much of Springsteen’s 1974 interview with Paul Williams is about his musical influences, ranging from Dylan to The Yardbirds. In a 1975 edition of Rolling Stone, Dave Marsh describes Springsteen as “the William I. Wolff has licensed this article under a Creative Commons Attribution- NonCommercial-ShareAlike 4.0 International license, 2014. The author would like to thank the anonymous reviewers and journal editors for their considerable time and for pushing him to make his article more thorough and nuanced. Please address correspondence to [email protected]. 1 Peter Knobler, “Who Is Bruce Springsteen and Why Are We Saying All These Wonderful Things About Him?,” Crawdaddy!, March 1973, found in: Racing in the Street: The Bruce Springsteen Reader, ed.
    [Show full text]
  • The Wayfarer: Visions of the Urban in the Songs of Bruce Springsteen
    UvA-DARE (Digital Academic Repository) The Wayfarer: Visions of the urban in the songs of Bruce Springsteen Kloosterman, R.C. DOI 10.1016/j.ccs.2020.100340 Publication date 2020 Document Version Final published version Published in City, Culture and Society License CC BY-NC-ND Link to publication Citation for published version (APA): Kloosterman, R. C. (2020). The Wayfarer: Visions of the urban in the songs of Bruce Springsteen. City, Culture and Society, 21, [100340]. https://doi.org/10.1016/j.ccs.2020.100340 General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:27 Sep 2021 City, Culture and Society 21 (2020) 100340 Contents lists available at ScienceDirect City, Culture and Society journal homepage: www.elsevier.com/locate/ccs ⋆ The Wayfarer: Visions of the urban in the songs of Bruce Springsteen Robert C.
    [Show full text]
  • The Dignity and Humanity of Bruce Springsteen's Criminals
    Georgetown University Law Center Scholarship @ GEORGETOWN LAW 2005 The Dignity and Humanity of Bruce Springsteen's Criminals Abbe Smith Georgetown University Law Center, [email protected] This paper can be downloaded free of charge from: https://scholarship.law.georgetown.edu/facpub/213 14 Widener L.J. 787-835 (2005) This open-access article is brought to you by the Georgetown Law Library. Posted with permission of the author. Follow this and additional works at: https://scholarship.law.georgetown.edu/facpub Part of the Criminal Law Commons, and the Music Commons GEORGETOWN LAW Faculty Publications February 2010 The Dignity and Humanity of Bruce Springsteen's Criminals 14 Widener L.J. 787-835 (2005) Abbe Smith Professor of Law Georgetown University Law Center [email protected] This paper can be downloaded without charge from: Scholarly Commons: http://scholarship.law.georgetown.edu/facpub/213/ Posted with permission of the author THE DIGNITY AND HUMANITY OF BRUCE SPRINGSTEEN'S CRIMINALS Abbe Smith* Well they closed down the auto plant in Mahwah late that month Ralph went out lookin 'for a job but he couldn't find none He came home too drunk/rom mixin' Tangueray and wine He got a gun, shot a night clerk, no they call 'm Johnny 99 1 I. INTRODUCTION To those who know Bruce Springsteen for his popular rock songs, and not his more understated ballads, Springsteen seems an unlikely champion of criminals and prisoners. They think of songs like "Born to Run,,,2 "Glory Days,,,3 and "Born in the U.S.A.,,,4 and picture crowds chanting along to songs about ordinary Americans, their dreams, cars, and girls.
    [Show full text]
  • “It's a Town Full of Losers, and I'm Pulling out of Here to Win”
    “It’s A Town Full of Losers, and I’m Pulling out of Here to Win”: The Significance of Mobility and Place in Bruce Springsteen’s Song-Stories Kim van Helden s4168968 MA Thesis North American Studies Supervisor: Dr. Mathilde Roza Second Reader: Prof. Frank Mehring 29-08-2017 Kim van Helden / s4168968 / 2 ENGELSE TAAL EN CULTUUR Teacher who will receive this document: Dr. Roza and Prof. Mehring Title of document: “It’s A Town Full of Losers, and I’m Pulling out of Here to Win”: The Significance of Mobility and Place in Bruce Springsteen’s Song-Stories Name of course: MA Thesis Date of submission: 29 August 2017 The work submitted here is the sole responsibility of the undersigned, who has neither committed plagiarism nor colluded in its production. Signed Name of student: Kim van Helden Student number: S4168968 Kim van Helden / s4168968 / 3 Abstract Bruce Springsteen is known for writing songs about the experiences of the American working class. In this thesis, I analyze the significance of the themes mobility and place in Springsteen’s lyrics, and how these themes contribute to Springsteen’s perspective on American culture. There are a number of questions that I aim to answer: What is Springsteen’s perspective on the Open Road and on the American Dream? What do the recurring metaphors of the car and the road signify in his lyrics? Does his perspective change over the years? How do Springsteen’s lyrics fit in the genre of road narratives, among the likes of Walt Whitman, John Steinbeck, and Jack Kerouac? Keywords: Bruce Springsteen, mobility, place, road narrative, the Open Road, the American Dream, American mythology Kim van Helden / s4168968 / 4 Preface I have a lot to thank to my parents, and being a Bruce Springsteen fan is one of those things.
    [Show full text]