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Journal articles on the topic 'Springsteen, Bruce'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 March 2023

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1

LIFSHEY, ADAM. "The Borderlands Poetics of Bruce Springsteen." Journal of the Society for American Music 3, no. 2 (2009): 221–41. http://dx.doi.org/10.1017/s1752196309090142.

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How does the music of Bruce Springsteen interrogate prevailing constructs of the U.S.-Mexico border region? In his folk masterpiece The Ghost of Tom Joad (1995) and other works that feature Spanish-speaking protagonists, Springsteen implicitly reconceptualizes the Americas as an unbordered and fluid space. His performances enact Mexico and the United States as transamerican ideations rather than discrete nations. Although the booming academic field of border studies reframes static images of both Latin America and the United States in favor of malleable transnational paradigms, it still tends to privilege cultural production emanating from the borders themselves. This propensity does not leave much space for an engagement with canonical figures of U.S. culture such as Springsteen, a singer/songwriter who theorizes the borderlands in ways that at first may seem at odds with his career-long, conscious associations with red, white, and blue semiotics. This article examines the Hispanic presences in Springsteen's oeuvre from his debut 1973 albums onward and contrasts them with the relatively fixed representations of the borderlands in the lifework of Bob Dylan.

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2

McGinnis, Lee Phillip, and Brian C. Glibkowski. "Keeping it real with Bruce Springsteen." Qualitative Market Research: An International Journal 22, no. 3 (2019): 414–34. http://dx.doi.org/10.1108/qmr-01-2017-0028.

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Purpose Unlike artists using sartorial flair and flamboyant identities to shock and engage audiences, Bruce Springsteen is relatable, stable, consistent and authentic. Based on qualitative interviews of Springsteen fans of various levels, it is suggested that brands can sustain success through such tactics as existential authenticity, transparency and charity. His fans co-opt his music and co-create their own stories, which are enabled through Springsteen's use of universal themes and vivid details. In terms of a branding paradigm, he adapts to the post-postmodern era, where brands allow individuals to define their own meaning. Design/methodology/approach The authors used a qualitative method in generating themes and relationships on the enduring success of Bruce Springsteen's brand. They interviewed 19 informants of various levels of fan support and various backgrounds and areas. They used grounded theory methodology, including open coding, triangulation and member checks, to develop themes and findings. Findings In general, it was found that narrative structure and cause-and-effect stories are at the heart of his enduring success. While his individual songs, stage performances and charitable works cover a variety of topics and interests, combined they map to the same universal story structure, thus giving his fans solid understanding of his brand. His underdog appeal and story of redemption are maintained through such tactics as vivid songwriting, activism and charitable acts despite his international success and fame. Research limitations/implications Theoretically, the authors add to the literature on celebrity branding, narratology and authenticity. Specifically, the authors build upon the notion of existential authenticity, connecting a brand to its various stakeholders beyond customers in a way that is holistically authentic. We also suggest that to sustain a brand for the long haul, it is necessary to be transparent and available to your community members. The story of your brand needs to resonate and be meaningful to the audience in a way that is believable, and more importantly true to the artist and product. Practical implications The authors show how narrative structure and universal story themes create ways in which fans can identify. By not straying too far away from the inherent brand meaning, brands can achieve long-term success. Tactically, all ways to manage the brand must link to the main story, but authenticity and maintaining a macromarketing perspective are the keys to making the story believable and enduring. In Springsteen's case, according to our interviews, his music and the message of his well-scripted songs have always mapped well with his real-life persona, making a distinction between his staged persona and actual self visibly difficult to distinguish. Social implications Part of Bruce Springsteen's enduring success and strong brand are built on his charitable works and activism. Brands that have this aspect will endure as well if motives are transparent, benign and believable. Springsteen has succeeded in this aspect because his charitable works often go unnoticed or unreported, which his fans respect when they discover these acts. Originality/value Theoretically, the authors also add to the question (i.e. WH-question) literature in terms of connectedness and felt meaning. Springsteen's music connects specific discourse to universal stories/themes via his vivid songwriting, live performances, charitable acts and multiple other tactics. The data suggest that Springsteen's experiences are so vivid and thoughtful that little is needed for the audience to obtain aesthetic or felt meaning of his universal story themes. He allows direct access to the stories without internal interpretation, which then allows for instant penetration of felt meaning.

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3

Dieser, Rodney. "Springsteen as Developmental Therapist: An Autoethnography." Biannual Online-Journal of Springsteen Studies 1, no. 1 (2014): 96–120. http://dx.doi.org/10.26443/boss.v1i1.18.

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Based on differing theories of moral development proposed by Lawrence Kohlberg, Martin Hoffman, and John Gibbs, this paper posits that listening to Bruce Springsteen’s music can increase moral growth. Scores of Springsteen songs parallel psychological techniques used to increase moral development, such as being exposed to two or more beliefs that are contradictory, social perspective-taking by listening to moral dilemmas, gaining empathy with the distress that another person experiences, hypothetical contemplation, and meta-ethical reflection. Through qualitative-based autoethnographical storytelling, the author outlines how his moral development was enabled through such Springsteen songs as “Factory,” “Highway Patrolman,” “Independence Day,” “Johnny 99,” and “Used Cars,” as well as two self-disclosures from Springsteen’s Live 1975-85 album.

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4

Authors, Various. "Reviews." Biannual Online-Journal of Springsteen Studies 1, no. 1 (2014): 121–28. http://dx.doi.org/10.26443/boss.v1i1.19.

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5

Wolff, William. "Springsteen, Tradition, and the Purpose of the Artist." Biannual Online-Journal of Springsteen Studies 1, no. 1 (2014): 36–73. http://dx.doi.org/10.26443/boss.v1i1.16.

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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.

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6

Patrick West, Brad Warren and. "Whose Hometown? Reception of Bruce Springsteen as an Index of Australian National Identities." Biannual Online-Journal of Springsteen Studies 1, no. 1 (2014): 74–95. http://dx.doi.org/10.26443/boss.v1i1.17.

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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.

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7

Ferrand, Laure. "Bruce Springsteen, sociologie d’un rocker." Articles 30, no. 2 (2011): 25–40. http://dx.doi.org/10.7202/1006376ar.

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Dans cet article, nous proposons d’étudier la place qu’occupe Bruce Springsteen dans la culture rock à la lumière d’une sociologie des amateurs et des représentations sociales. Professionnel du rock — en opposition à la figure du pionnier et du décadent — il incarne l’héritage et la poursuite du rock en étant messager et en perpétuant le mythe de l’origine sociale. Pour saisir la structuration de son imaginaire, les notions d’enracinement dynamique, d’authenticité, de présentéisme et de pacte fraternel serviront de fil conducteur à notre argumentation. Nous verrons que le rôle du rocker est notamment d’affermir le lien social et par ainsi cimenter et perpétuer la culture et la tribu rock. Le répertoire musical, les paroles de chansons, le traitement journalistique et les discours des amateurs illustreront cette perspective.

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8

Gitz-Johansen, Thomas. "Bruce Springsteen as a Symbol." Jung Journal 12, no. 1 (2018): 29–41. http://dx.doi.org/10.1080/19342039.2018.1403254.

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9

Elliott, Richard. "BRILLIANT DISGUISES: PERSONA, AUTOBIOGRAPHY AND THE MAGIC OF RETROSPECTION IN BRUCE SPRINGSTEEN’S LATE CAREER." Persona Studies 5, no. 1 (2019): 17–32. http://dx.doi.org/10.21153/psj2019vol5no1art848.

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Popular musicians with long careers provide rich source material for the study of persona, authenticity, endurance and the maintenance (and reinvention) of significant bodies of work. Successful artists’ songs create a soundtrack not only to their own lives, but also to those of their audiences, and to the times in which they were created and to which they bore witness. The work of singers who continue to perform after several decades can be heard in terms of their ‘late voice’ (Elliott 2015), a concept that has potentially useful insights for the study of musical persona. This article exploits this potential by considering how musical persona is de- and reconstructed in retrospective, autobiographical performance. I base my articulation of the relationship between persona, life-writing and retrospective narrativity on a close reading of two late texts by Bruce Springsteen: Born to Run, the autobiography he published in 2016, and Springsteen on Broadway, the audiovisual record of a show that ran from October 2017 through to December 2018. In these texts, Springsteen uses the metaphor of the ‘magic trick’ as a framing device to shuttle between the roles of autobiographical myth-breaker and lyrical protagonist. He repeatedly highlights his songs as fictions that bear little relation to his actual life, while also showing awareness that, as often happens with popular song, he has been mapped onto his characters in ways that prove vital for their sense of authenticity. Yet Springsteen appears to be aiming for a different kind of authenticity with these late texts, by substituting the persona developed in his recorded work with an older, wiser, more playful narrator. I appropriate Springsteen’s ‘magic trick’ metaphor to highlight the magic of retrospection and the magical formation of the life narrative as an end-driven process.

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10

Rozo Durán, Yina Paola, Laura Daniela Bernal Sandoval, Lina María Hernández Prieto, and Karol Stefany Correa Rojas. "¿Cómo podemos trabajar con la familia desde la profesión de enfermería?" Boletín Semillero de Investigación en Familia 1 (June 30, 2021): 7–10. http://dx.doi.org/10.22579/27448592.536.

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11

Hahn, Larry, Patrick Humphries, and Chris Hunt. "Bruce Springsteen: Blinded by the Light." Notes 43, no. 4 (1987): 794. http://dx.doi.org/10.2307/898167.

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12

Fanshel, Rosalie Zdzienicka. "Beyond blood brothers: queer Bruce Springsteen." Popular Music 32, no. 3 (2013): 359–83. http://dx.doi.org/10.1017/s0261143013000275.

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AbstractBruce Springsteen's body of work contains a striking number of songs with homoerotic or queerly suggestive content. Moreover, his live performances often push the limits of the homosocial, ‘queering’ onstage relationships through everything from lingering kisses with the late saxophonist Clarence Clemons to intimate microphone sharing with guitarist and real-life best friend Stevie Van Zandt. In this paper I trace Bruce Springsteen's consistent performative engagement with queer desire over the course of his 40-year career through a close reading of both lyrics and performance (including onstage, and in video and still photography). I examine how Springsteen's queer lyrical content and performative acts contrast critically with dominant readings of his hypermasculine, ‘all-American’ image, and suggest that Springsteen's regular deployment of homosocial and homoerotic imagery in both lyrics and performance – far from being an exception to his more mainstream persona – actually constitute a kind of queer aesthetic vital to, and consistent with, his artistic vision of love and community.

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13

Greeley, Andrew M. "The Catholic Imagination of Bruce Springsteen." Black Sacred Music 6, no. 1 (1992): 232–43. http://dx.doi.org/10.1215/10439455-6.1.232.

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14

Journal, BOSS. "Reviews." Biannual Online-Journal of Springsteen Studies 4 (February 26, 2021): 129–33. http://dx.doi.org/10.26443/boss.v4i1.56.

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15

Edelman, Hope. "Bruce Springsteen and the Story of Us." Iowa Review 25, no. 3 (1995): 137–53. http://dx.doi.org/10.17077/0021-065x.4452.

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16

Gans, John A. "Did Bruce Springsteen Win the Cold War?" Survival 55, no. 6 (2013): 169–78. http://dx.doi.org/10.1080/00396338.2013.862952.

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17

Kissling, Mark T. "Backtalk." Phi Delta Kappan 100, no. 2 (2018): 72. http://dx.doi.org/10.1177/0031721718803579.

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Former social studies teacher and teacher educator Mark Kissling describes how he has used the Bruce Springsteen song “Born in the U.S.A.” to guide students to think more deeply about the meaning of patriotism and the various ways to understand a single text.

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18

Hamburger, Joseph V. "Standing at Dysfunction Junction: Bruce Springsteen as ACOA." Interdisciplinary Literary Studies 9, no. 1 (2007): 119–38. http://dx.doi.org/10.2307/41209981.

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19

Mackey‐Kallis, Susan, and Ian McDermott. "Bruce springsteen, ronald reagan and the american dream." Popular Music and Society 16, no. 4 (1992): 1–9. http://dx.doi.org/10.1080/03007769208591493.

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20

Cashman, David. "Bruce Springsteen, Cultural Studies, and the Runaway American Dream." IASPM@Journal 3, no. 2 (2013): 115–17. http://dx.doi.org/10.5429/2079-3871(2013)v3i2.11en.

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21

McParland, Robert P. "The Geography of Bruce Springsteen: Poetics and American Dreamscapes." Interdisciplinary Literary Studies 9, no. 1 (2007): 19–26. http://dx.doi.org/10.2307/41209973.

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22

Kloosterman, Robert C. "'My Hometown': Bruce Springsteen, chroniqueur van de Amerikaanse stad." AGORA Magazine 35, no. 1 (2019): 16–19. http://dx.doi.org/10.21825/agora.v35i1.15652.

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23

McParland, Robert. "Bruce Springsteen, Cultural Studies, and the Runaway American Dream." Popular Music and Society 36, no. 4 (2013): 542–44. http://dx.doi.org/10.1080/03007766.2012.741822.

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24

Meyer, David B. "Commentary: My best was never good enough, Bruce Springsteen." Journal of Thoracic and Cardiovascular Surgery 157, no. 4 (2019): 1590. http://dx.doi.org/10.1016/j.jtcvs.2018.12.024.

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25

Branscomb, H. Eric. "Literacy and a Popular Medium: The Lyrics of Bruce Springsteen." Journal of Popular Culture 27, no. 1 (1993): 29–42. http://dx.doi.org/10.1111/j.0022-3840.1993.26321452549.x.

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26

Blake, Casey, and Jim Cullen. "Born in the U.S.A.: Bruce Springsteen and the American Tradition." Journal of American History 84, no. 4 (1998): 1596. http://dx.doi.org/10.2307/2568240.

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27

Albert, Joe, and Larry C. Spears. "The Promised Land: Robert Greenleaf, Bruce Springsteen, and Servant-Leadership." International Journal of Servant-Leadership 8, no. 1 (2013): 453–73. http://dx.doi.org/10.33972/ijsl.154.

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28

Papke, David Ray. "Crime, Lawbreaking, and Counterhegemonic Humanism in the Songs of Bruce Springsteen." Interdisciplinary Literary Studies 9, no. 1 (2007): 95–104. http://dx.doi.org/10.2307/41209979.

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29

Harde, Roxanne. "“Living in your American skin”: Bruce Springsteen and the Possibility of Politics." Canadian Review of American Studies 43, no. 1 (2013): 125–44. http://dx.doi.org/10.3138/cras.2013.006.

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30

Garman, Bryan. "The ghost of history Bruce Springsteen, Woody Guthrie, and the hurt song." Popular Music and Society 20, no. 2 (1996): 69–120. http://dx.doi.org/10.1080/03007769608591623.

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31

Stow, Simon. "American Skin: Bruce Springsteen, Danielle Allen, and the Politics of Interracial Friendship." American Political Thought 6, no. 2 (2017): 294–316. http://dx.doi.org/10.1086/691174.

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32

John Clark. "Bruce Springsteen Road Trip, 40 Years Of The Boss (review)." Notes 66, no. 3 (2010): 653–54. http://dx.doi.org/10.1353/not.0.0269.

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33

Fortunato, John A. "Dancing in the Dark: Ticketmaster's response to its Bruce Springsteen ticket crisis." Public Relations Review 37, no. 1 (2011): 77–79. http://dx.doi.org/10.1016/j.pubrev.2010.09.006.

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34

Kloosterman, Robert C. "The Wayfarer: Visions of the urban in the songs of Bruce Springsteen." City, Culture and Society 21 (June 2020): 100340. http://dx.doi.org/10.1016/j.ccs.2020.100340.

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35

Graves. "No Surrender: Bruce Springsteen, Neoliberalism, and Rock and Roll's Fantasy of Sovereign Rebellion." Interdisciplinary Literary Studies 21, no. 1 (2019): 4. http://dx.doi.org/10.5325/intelitestud.21.1.0004.

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36

Hughes, Charles L. "Rebuilding the “Wall of Sound”: Bruce Springsteen and Early 1960s American Popular Music." Interdisciplinary Literary Studies 9, no. 1 (2007): 63–80. http://dx.doi.org/10.2307/41209977.

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37

Cologne-Brookes, Gavin. "Dead Man Walking: Nat Turner, William Styron, Bruce Springsteen, and the Death Penalty." Mississippi Quarterly 69, no. 1 (2016): 9–29. http://dx.doi.org/10.1353/mss.2016.0023.

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38

Kolenda, Benjamin. "Bruce Springsteen: American Poet and Prophet Donald L.DeardorffII. Lanham, MD: Scarecrow Press, 2014." Journal of American Culture 39, no. 3 (2016): 355. http://dx.doi.org/10.1111/jacc.12580.

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39

O'Driscoll, Cian. "Under an empty sky? Bruce Springsteen, just war and the war on terror." Critical Studies on Terrorism 4, no. 2 (2011): 283–91. http://dx.doi.org/10.1080/17539153.2011.586209.

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40

Kovács, Réka, and Andrada Savin. "Music Autobiographies – Performing Selves." Acta Universitatis Sapientiae, Philologica 14, no. 3 (2022): 127–42. http://dx.doi.org/10.2478/ausp-2022-0029.

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Abstract The article pays tribute to four artists of the music scene, i.e. Bob Dylan, Bruce Springsteen, Patti Smith, and John Luther Adams. It walks in their footsteps through their autobiographies and features the major landmarks in their artistic and creative evolution. Despite the various incongruent traits in their music style, background, or gender, music autobiographies prove to be valuable assets, based on which correlations and contrasts can be elucidated, the road to growing into an artist can be followed, and the creative spirit can be grasped. We hereby conclude that autobiographies can constitute a bridge towards the artistic soul and deepen the understanding of how these musicians project themselves as performers and position themselves in society.

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41

Portelli, Alessandro. "The buried king and the memory of the future: From Washington Irving to Bruce Springsteen." Memory Studies 13, no. 3 (2020): 267–76. http://dx.doi.org/10.1177/1750698020914012.

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Drawing from stories, literary texts, myths, and songs, the article explores the “intangible” imagery—dreams, souls, ghosts, memory—that uses the nostalgia of the past to announce the possibility of a future. The image of the buried and sleeping king represents myth of a past Golden Age but also the vision of a future rebirth. Such examples include the figures of Rip Van Winkle, Hendrick Hudson, and Boabdil in the works of US author Washington Irving (1783–1859). Other examples include the figure of Metacomet, also rescued by Irving, or of Atahualpa, of Inca mythology. From Washington Irving to the songs of Bruce Springsteen, the image of a past that accompanies and haunts the present to project a utopian future never ceases to reappear.

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42

Hemmens, Craig, and Mary K. Stohr. "All We Gotta Do Is Hold Up Our End: Bruce Springsteen and Strain Theory." Interdisciplinary Literary Studies 9, no. 1 (2007): 105–18. http://dx.doi.org/10.2307/41209980.

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43

Ira Nadel. "Jersey Boys: Philip Roth & Bruce Springsteen From American Pastoral to Born to Run." Journal of English Language and Literature 65, no. 3 (2019): 425–40. http://dx.doi.org/10.15794/jell.2019.65.3.003.

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44

Carman, Colin. "Reading the Boss: Interdisciplinary Approaches to the Works of Bruce Springsteen (review)." Rocky Mountain Review 66, no. 1 (2012): 126–28. http://dx.doi.org/10.1353/rmr.2012.0010.

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45

Dellapenna, Joseph W. "Peasants, Tanners, and Psychiatrists: Using Films to Teach Comparative Law." International Journal of Legal Information 36, no. 1 (2008): 156–79. http://dx.doi.org/10.1017/s0731126500002754.

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The last four decades have seen the emergence of the “law and literature” movement. Although numerous stories in the common law world turn on the trial of cases, many studies in the law and literature vein use stories that do not take place in a courtroom, and often do not even involve a lawyer, to illuminate significant features of the law or its practice. The emergence of the law and literature movement seems to have prompted a turn in legal education toward using pop culture to teach about law, or perhaps reflects that turn. Examples of such efforts include legal symposia devoted to the wisdom of Yogi Berra, of Bruce Springsteen, and of Harry Potter. Others have preferred to study lawyers who are poets. Yet others profess to find poetry in the law itself.

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46

Powers, Devon. "Bruce Springsteen, Rock Criticism, and the Music Business: Towards a Theory and History of Hype." Popular Music and Society 34, no. 2 (2011): 203–19. http://dx.doi.org/10.1080/03007761003726472.

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47

Sellnow, Deanna D., and Timothy L. Sellnow. "The human relationship from idealism to realism: An analysis of the music of Bruce Springsteen." Popular Music and Society 14, no. 3 (1990): 71–88. http://dx.doi.org/10.1080/03007769008591403.

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48

Sandonato, Ernest R. "First-Person Stories from a “Land of Hope and Dreams”: Bruce Springsteen as a Narrative Poet." Interdisciplinary Literary Studies 9, no. 1 (2007): 47–62. http://dx.doi.org/10.2307/41209976.

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49

Guagliardo, Huey. "Walker Percy, Bruce Springsteen, and the Quest for Healing Words in the Fiction of Richard Ford." Journal of American & Comparative Cultures 25, no. 3‐4 (2002): 424–26. http://dx.doi.org/10.1111/1542-734x.00060.

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50

Löbert, Anja. "Fandom as a religious form: on the reception of pop music by Cliff Richard fans in Liverpool." Popular Music 31, no. 1 (2012): 125–41. http://dx.doi.org/10.1017/s0261143011000493.

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AbstractUsing the example of Cliff Richard fans, this article investigates to what extent the rites and rituals exercised in fandom can be regarded as representations of a religious form as understood by the French sociologist Émile Durkheim in The Elementary Forms of Religious Life. Because empirical research has established its significance, the pop concert experience and its echoing effects are used as a starting point to explore the thesis that fans draw and cultivate a distinction between a profane and a sacred domain in their lives. These suggestions are further enriched by Randall Collins' and Gabriele Mordt's analyses of passions. This article adopts their concept of the sacred object as a passion-preserving device. In addition, the argument of popular music scholar Daniel Cavicchi (based on Bruce Springsteen fans) is taken one step further. Finally, I suggest a typology of fan experience that differentiates between primary interaction ritual, secondary interaction ritual, the cult of the individual and special rites.

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