FRIDAY,SEPTEMBER25BREAKOUTSESSIONABSTRACTS 2:30pm4pmBreakoutSessions,MonmouthUniversity 1. Springsteeninthe21stCentury:(BeyHall,Room231) Moderator:StantonGreen,MonmouthUniversity,NewJersey TheAgingofTheEStreetNation,DavidBernstein,Westat,Lititz,PennsylvaniaandRockville, Maryland Itisafact:ifweareluckyenoughtosurvive,wegetolder.Astheyneartheirfourthdecade, BruceSpringsteenandtheEStreetBandarenoexception.Brucesmusicalthemeshave changedwithhimashehasgottenolder.Brucehasgrownbeyondtheescapismofhisearly albums(especiallyBorntoRun)tothematuringofhismusicashebecamemoreawareof politicalandsocialissues(BornintheUSA,GhostofTomJoad).Ashecruisedpassed50andhis childrenenteredtheirteenageyears,someofBrucessongsturnedtowardfamilyand fatherhood(LongTimeComin)andcopingwiththelossoffriendsandcoworkers(TerrysSong, TheLastCarnival).WeseeBrucecomingtogripwithmaturityandagingthroughhismusic. WeseeexamplesoftheagingprocessintheEStreetBandaswell.

l.ClarenceClemons,theoldest memberoftheBand,makesconcessionstohisageandhipreplacementsurgerywithathrone onstage.WhilefittingwiththeBigMansregalbearing,themotivationforthethroneismore functionalthansymbolic.WhataboutNilsLofgren,theformercompetitivegymnast?Nilswent fromdoingflipsmidsoloneartheendoftheMagictourtophysicalrehabilitationafterhaving hisowndoublehipreplacementsurgery.InNilsownwords,"Theband'sinfabulousshape. Offstage,we'relikeaM.A.S.H.unitnow,withtheheatingpadsandpainshotsandicepacks.It's hilarioushowbeatupweare,butoncewehitthestage,we'reroaring."(1) ManyofBruceslongtermfanscanrelate.Onconcertdays,lookatallthegreyhairinthepit, puttingupwithhoursofwaitingandstanding.However,whentheshowstarts,itisnotjustthat bandthatisroaring,butthefansaswell.Whatkeepsusgoing?Isitabarelyconcealeddesireto reliveouryouth?Formanyofus,allittakesisBruceandtheEStreetBand.WhenBruceand theBandtour,weshowup,party,singalong,andactliketeenagers,albeitinagingbodies. InlightofBruce's60thbirthday,whichwillnodoubtbecelebratedduringtheSymposium,itis clearthatagingisatopicthatBruceandhisfansareaddressingtostayrelevant.Throughfirst persontestimony,analysisofSpringsteenlyrics,archivaldocumentanalysis,andinformal discussionswitholderBrucefans(age50plus),thispaperwilladdressthefollowingquestions: 1.HowhaveBruce'sageandtheagingoftheBandaffectedBruce'smusicalchoicesand approach? 2.Howhavefans'viewsofBruceandtheBand,andthemselvesasfans,changedovertime? 3.Havephysicallimitationsofageorillnessaffectedolderfansapproachtothemusic?

4.DoesBruce'sapparentagelessnessonstage,andtheband'senthusiasm(threehourshows despitephysicallimitations),inspirefans,andmakethemfeelyounger/forgettheirage? (1)Tianen,Dave.(2009).LofgrenriffsonHarleygig.JSOnline.Downloadedfrom http://www.jsonline.com/entertainment/musicandnightlife/32584729.htmlonApril25,2009. NotFadeAwayBruceSpringsteenandRedefiningAginginAmerica,StevenRonik,Chief ExecutiveOfficer,HendersonMentalHealthCenter,Florida ApproachingfortyyearsofrecordingandperformingmeansBruceSpringsteenmustbe,could be,maybe,getting,darewesay,oldoratleastolder.Mr.Springsteenscapacityforrelevancy asbothanartistandtosomedegreeleaderhasdistinguishedhimamonghispeers.Fewother recordingartistshavemanagedtostaysovital,sorelevant,andsowatchedandlistenedtoas BruceSpringsteen.Clearlythishasbeenanintentionalprocess,drivenbyandmanagedbythe artisthimself.But,howdidthishappen?DidSpringsteensetoutwithalongtermvision,a strategicplanonhowtomanagehislifeandcareer?Diditevolve?DoesBruceSpringsteen reallyhaveanadvancedcapacityforselfawareness,selfregulationandmanagement?These questionsareworthconsidering;notjusttoassessMr.Springsteenpersonally,butalsotoassess theprocesswherebytheartisthasdeveloped,andconsiderhowotherscanlearnlessons relativetostayingrelevant,vital,andengagedasoneages. America,itissaidisalandfortheyoung.Ageismisincreasinglydiscussedinlegalcircles,in literature,andinmodernpopculture.Wearebombardedthroughthemediawithimagesof youngandattractiveequalingvitalandengaged;andconversely,howbeingolderequatesto beingharmlessandirrelevant.ClearlythisisanespeciallyAmericanphenomenon,asother cultures,particularlysomeAsianculturesholdtheirolderadultsinmuchhigherregard.Sohow didMr.Springsteenmanagetonotjustremainvitalandengagedbuthowdidheconvince othersthathehas?Howhashecommunicatedthis?Howdoesheproveit?And,finally,hashe provedit? Onecouldarguethatthishasbeenanevolutionary,incrementalandsynergisticprocessforMr. Springsteen.AsateeninFreeholdNewJersey,Brucecertainlydisplayedevidenceofbeinga singlemindedanddrivenperson,butwhenandhowdidthecapacitytosustainrelevancyand engagementbeginandhowwasitsupported? Thispaperpresentationwillexaminethisissueinsomedetail,assessingMr.Springsteens sustainedengagementandrelevancy,hismanagementofhispublicimageandrelationswith thepublic,hispositiononisolation,connectednesswithcommunityandfamily,loyaltyto relationshipsandhispoliticalinvolvement.ThesefactorsandtheirinfluenceonMr. Springsteensresponsetoagingandengagementwillbeexploredandgeneralizationswillbe maderelativetohowMr.Springsteensresponsesandpersonalmanagementoftheseissues canbeusedbyothers.

 Springsteen:GrowinUp,GrowinOlder:TheLongWalkHome,MelanieHenwood,Melanie HenwoodAssociates,UnitedKingdom Likemanyfans,IgrewupwithBrucesmusicasthesoundtracktomylife.Myteenageyears wereshapedbythenewlyfledgedindependentLondonstationCapitalRadioandIwas introducedtoBrucethroughthestunningNickyHorneshowYourMotherwouldntlikeit(he wasright),andbythelateRogerScotttheDJcreditedwithfirstbringingBrucetoBritish audiences.Thatwasthebeginningoffindingmeaningandrelevanceandbeautyineverything flowingoutofBruceandEStreet.WhereverIvebeensince,themusichasbeentheretooand alwaysbeenatouchstoneformeasuringmyexperience. OvertheyearsBrucedocumentedthechangingconcernsofapersongrowingupandmaturing. Theearlyyears,withtheirtalesofdrinking,hangingout,drivinggreatcars,andjusthavingfun, graduallymaderoomforthequestformeaninginlife,exploringrelationships,responsibilities, andpoliticalrealities.Allisnotdoomandgloomfarfromit,therearestillthejoyousand celebratorygoodtimebarsongsandsingalongcrowdpleasersbutanewvoicehasemerged whichisincreasinglypreparedtotalkaboutwhatmattersonapersonal,societalandeven globallevel. IwanttoexplorethesechangesandinparticulartolistentotheBrucewhoisacknowledging whatitmeanstobegrowingolderandconfrontingthetransienceoflife.Thisisaboutintimacy andtheexperienceofageinginthecomfortofacloserelationship;butitisalsothesadnessand challengeoflosingfamilyandfriendswhichawaitsusallespeciallypoignantwithDannys deathlastyear.Thereisaparadoxthatattheverytimethatthemusicisembracingthese universalthemesoflove,lossandmortality,theliveshowsarereenergizedandrageagainst thedyingofthelight.Farfromacknowledgingtherealityofthepassingyears,theliveband celebratesandresurrectstheshadowsoftheyoungerselves,asitdelvesdeepintotheelixirof thebackcatalogueofyouth.Anightlytransformationoccursandtheyearspeelawaywiththe energyborrowedfromthecrowdandreturnedwithinterest.Littlewonderthatbeingata Brucegigissimultaneouslyexhaustinganduplifting. Particularlyforthoseofuswhohavefollowedthemforyears,eachshowisnowmoreprecious becausewerecognizethatthiscouldbethelastbigtour.Overtheyearswehavewitnessedthe maturingofacharacterfromtheskinnyandgaucheyoungmanwiththelonghair,throughthe pumpedupandmuscledcreationoftheBornintheUSAglorydays,tothemature,ruggedbut stillstrikinglyleanandvibrantmannowpushing60.Themanwhonowmeetsourgazehasless ofthemisunderstoodarroganceandbombast,andfarmoreselfawarenessandknowledge,but remainstheultimateshowman.Andinthepassingoftheyearsweseeourownreflections;and weflashbacktonostalgicimagesandmemoriesofhowwewerewhenwefirstheardthemusic orsawtheshow.Wearegrowingoldertoo,andwiththebandbesideusweareembarkingon thatlongwalkhome;wecouldntbeinbettercompany.

 2. SpringsteenandStorytelling:(BeyHall,Room230) Moderator:MichaelKobre,QueensUniversityofCharlotte,NorthCarolina FromtheBadlandstoThePromisedLand:HowPastandPresentAmericaHasAffectedthe LivesofSpringsteensCharacters,JasonFaulkner,FacultyMember,EastCarolinaUniversity, NorthCarolina Throughouthiscareer,BruceSpringsteenhaschronicledthelivesandstrugglesofcharacters likeMary,Janey,Johnny,andBilly.SincethereleaseofGreetingsfromAsburyPark(1973), Springsteensaudiencehascontinuedtogainmoreinsightintothelivesofthesecharacters. Listenershavefollowedthesecharactersastheyhavetriedtomaketheirwayintheworld fromtheirownBadlandstothesanctityofThePromisedLand. WiththereleaseofMagic(2007)andmorerecently,WorkingonaDream(2009)Springsteen hasbeguntodefineanewAmerica,apostGeorgeW.BushAmerica,wherehopeandoptimism arefillingtheAmericanspirit.YetthequestforThePromisedLandremainsandthehardships facinghischaractersarestillreflectedinthelivesofSpringsteensfans.Thisessaytracesthe livesofSpringsteenscharactersnotonlythroughtheirownpersonallives,asreveledinthe lyrics,butalsothewaysinwhichthepastthirtysixyearsofAmericanhistoryhasaffectedthem. Thisessayconsidersquestionssuchas,howisThunderRoadMarydifferentfromMarys PlaceMaryandGypsyBikerMary?HowhavethedreamsofSpanishJohnnyofIncidenton 57thStreetandBrotherJohnofGypsyBikerchangedastheyhavegrown?Andfinally,asa newAmericaloomsonthehorizon,willthesecharactersfinallyreachTheLandofHopesand Dreams? TrampsLikeUs:IdentityandRelationshipinSpringsteensStorytelling,LaurieAnnYeisley Drogin,Massachusetts TheidentitydevelopmentofcharactersinBruceSpringsteenslyricsisbasedlargelyupon communityandaquestforrelationship.Theindividualhero/heroinecannotbeunderstood otherwise.Throughtheoriesofadolescentandadultdevelopment,thispresentationwill explorewaysinwhich,fromtheescapefantasiesofBorntoRunandAtlanticCity,thecommon rootsofYourHometownandTheRising,andthedisillusionmentofartificiallyconstituted relationshipsinTheRiverandBrilliantDisguise,whooneisorisnotwithispivotal.This presentationwillexplorehowtherelationshipsandcommunitiesofSpringsteenscharactershit uponcommonthemesinadolescentandadultlifeandtherebydrawthelistenerintohisorher ownrelationshipwiththemusicinawaylargelyunmatchedinmodernrock. WhatHappenedAftertheMeetingAcrosstheRiver?,DennisGraham,HarrisburgHigh School,Arkansas

PartofthemagicofBruceSpringsteensmusicisthatfanseasilyseethemselvesinhisvividly drawncharacters.Ifthesecharactersarenotexactlythefacestaringbackfromthemirrorthen theyhaveabutforthegraceofGodgoIqualitytothem.Wedonotremainyoungwithour hairblowingfromopenwindowsonanopenroad.Oneneednothavegrownupacrossthe HudsonRivertorecognizetheprotagonistsfromthissong,orotherspepperedthroughout Springsteen'scatalog.Thispapertakesthealternateending/historyapproachandtraces possiblepathsofthetwocharactersfrom"MeetingAcrossTheRiver"throughsimilarcharacters fromsubsequentSpringsteenworks,uptoandincluding,WorkingonaDream. 3. SpringsteenasNarrativePoet:(BeyHall,Room229) Moderator:StevanWeine,UniversityofIllinoisatChicago BecausetheNight:JackKerouac,BruceSpringsteenandtheSearchfortheAmericanPromised Land,StevenRogers,IndependentScholar,Maryland ThispaperwilltracetheimportanceofnighttimeinthesearchfortheAmericanpromisedland inJackKerouac'sOntheRoadandinselectedSpringsteenlyricscoveringhisentirecatalog. Kerouacsnarrativewasinspiredbyfourcrosscountryroadtrips,threefromNewYorkto Californiaandback,andaroundtripfromNewYorktoMexico.Drafts,fragments,andjournal entriesinthe1949notebookNightNotes,alsohelpunderscoretheimpactoftheAmerican nightonKerouac'sliteraryjourneywhilewritingthenovel,andIpositthatSpringsteensown stylisticandlyricalsensibilitiesreflectKerouacssearch. Whithergoestthou,America,inthyshiningcaratnight?wroteKerouacinOntheRoad.He knowstheanswercanonlybefoundamonghisfamilyandfriendsinabigdustcloudoverthe Americannight.HetravelsbackandforthacrosstheAmericancontinent,frequentlyatnight, searchingfortheonlypeoplethatinterestme...theoneswhoaremadtolive,madtotalk, desirousofeverythingatthesametime,theonesthatneveryawnorsayacommonplacething ...butburn,burn,burnlikeromancandlesacrossthenight. ThesameholdstrueforSpringsteenasevidencedinhisearliestlyrics,aswellasthoseofhis morerecentsongs.LikeKerouac,Springsteenisawandererwhohasbeentouchedbythe mysteriesofnighttimeAmerica,mysterieswhoseresolutionsmayeventuallyleadtothe promisedlandheandKerouacarecontinuouslysearchingfor.Theybothderivegreat satisfactionfromtheplacestheyhavevisited,andfromthepeoplewhoinhabitedthem... especiallythosewhoworkedandplayedatnight.ForKerouacandSpringsteen,theAmerica promiselandreachesbeyondthefarthesthorizons.Thesearchisneverover. CosmicBruce:AstronomicalImageryinSpringsteensSongsoftheNewMillenium,Lincoln Konkle,ProfessorofEnglish,CollegeofNewJersey FromtheverybeginningBruceSpringsteenhasbeenrecognizedasmorethanjustasongwriter ofrockandpopgenres;thedazzlingpoetryofhisfirstfouralbumsdemonstratedthathehas thetemperamentandverbalfacilityofaliterarypoet,asonecanfindvividimagery,brilliant similesandmetaphors,andallmannerofauraleffects:rhyme,alliteration,assonance,and consonanceinhissongs.IfSpringsteenslyricsbecamesomewhatmoreprosaicoverall

beginningwithhisalbum"TheRiver"(1980),onecanstillfindmotifsofimagesandfigurative languagethroughouthislateralbums(e.g.,cars,Catholicism,theJerseyshore).Inthefour albumsoforiginalsongsSpringsteenhasrecordedsincetheturnofthemillennium"The Rising"(2002),"DevilsandDust"(2005),"Magic"(2007),and"WorkingonaDream"(2009) thereisanewmotifofimageryincontrasttothemoreearthbound,urbanpoetryofhisearlier lyrics:starsinthenightsky.Whereasthesongsoftheseventies,eighties,andninetieswere firmlyrootedinthemicrocosm,thereseemstobemorethantheoccasionalglancetothe heavensorthemacrocosminthesongsofthe2000s.Inadditiontostarimagery,therearealso quiteafewreferencestothesun,whichmaybepartofthisbroaderframeofreference.This paperwillperformaclosereadingofastronomicalimageryandfigurativelanguagefromsongs onallfouralbums,revealingsometimesameditativemoodaboutlife,sometimesachilling contemplationofanindifferentuniverse,sometimesthecommunionofsoulswithGod, sometimesthejoyoflove. HereEverybodyHasaNeighbor:BruceSpringsteensNarrativeofCommunity,AprilLindner, SaintJosephsUniversity,Pennsylvania AclosereadingofBruceSpringsteenslyricsthroughouthislongcareerrevealsafascination withideasofcommunityasasourceofbothtensionandsupport.Hismasterfulapproachto narrativehisdeftcharactersketchesandswiftevocationofplaceandplothasallowedhim toevokeanovelisticsenseofAmericaasawebofinterconnectedcommunitiesinwhichhis charactersseektocomeintotheirownasindividuals,escapingfromsmalltownrepressionand conformity.Inevitably,though,individualismleadstodisconnection,andinhislateralbums,we findSpringsteenscharactersgrievingforthefellowshiptheyveleftbehind.Springsteens evolvingviewofcommunitycanbereadasanarrativearcthatbeginswiththeepiccastof characterspopulatingGreetingsfromAsburyParkandTheWild,TheInnocentandTheEStreet Shuffle,passesthroughtheoppressivetownfulloflosersthatmustbeescapedatanycost, andarrives,finally,atthedesolatestorefrontsofMyHometownandLongWalkHome, dysfunctionallandscapesinwhichthesocialcompacthasbrokendownandsomethingvital hangsinthebalance. 4. SpringsteenandGender:(BeyHall,Room129) Moderator:DanielGilbert,MacalesterCollege,Minnesota BeyondBlood(Br)others:HomoeroticismandQueerAuthenticityinBruceSpringsteen,Rosalie Fanshel,IndependentScholar,California Inthelinernotestothe1995GreatestHitscompilationBruceSpringsteendescribes"ThisHard Land"ascontainingoneofhisfavoritelastverses.Theverseopenswith"Hey,Frank,won'tyou packyourbags/AndmeetmetonightdownatLibertyHall/Justonekissfromyou,mybrother/ Andwe'llrideuntilwefall"andthengoesontodescribethesinger'splanforthetwoheroesto runawaytogether,sleepingbytheriversandinthefields,andallelsefailing,meeting"inthe dreamofthishardland.""ThisHardLand"isoneofmanySpringsteensongswithhomoerotic

content.ThepurposeofthispaperisnottolabelBruceSpringsteenpersonally,butratherto "out"hismusicandperformance. BruceSpringsteensqueerlyricalcontentcanberoughlydividedintothreecategories:1) Naminggenderandsexuallydeviantcharactersandbehaviorwithinstorysongs2)expressing firstpersonbrotherlyloveforandhomoeroticintimacybetweenmen,and3)inafewnotable casesdescribingfirstpersonromanticrelationshipswithmen.Furthermore,Springsteen's onstagebehaviorembodiesongoingqueerelements,fromhislingeringkisseswithsaxophonist ClarenceClemonstohisintimatemikesharingwithguitaristandreallifebestfriendStevieVan Zandt.BruceSpringsteen'shomosexual/homoeroticlyricalcontentandperformativeactsare particularlyinterestinginthecontextofhishypermasculine,"allAmerican"image.This apparent(butbynomeansessential)dissonanceleadstobothastrikingignoreanceofhis queernessinthepopulardiscourse,andaninterestingdiscussionofSpringsteen'sparticularly powerfulholdonrock'n'roll'scoreideaofauthenticity. WrapYourLegsRoundTheseVelvetRimsandStrapYourHandsAcrossMyEngines:Motor VehiclesandMasculinityinBruceSpringsteensAlbumBornToRun,WilliamBishop,University ofKansas Thoughdeclaredamasterpiecebymanyrockcritics,BruceSpringsteens1975albumBornto Runhasasubjectmatterthatwouldappearlessthanliterary.Thealbumseemstosupportthe accusationthatcarsandgirlsareall[Springsteen]singsabout.Acloseexaminationofthe interactionbetweenthemalenarrator,hiscarormotorcycle,andtheloveinterestinthesongs ofBorntoRun,however,revealsthattheseubiquitousmotorvehiclescanfunctionasan embodimentofmalegenderrolesandsexuality.Likethealbums1950sinfluencedsoundand carfetish,themasculinityrepresentedbySpringsteensvehiclesisarevisitationandreworking ofpastforms.Throughtheportrayalofthecarormotorcycleaswellastherelationships betweeneachmaleandfemalecharacter,BorntoRunsmasculinitystrikesabalancebetween thetraditionofthe50sandanopenmindednessandsensitivityfromthefeministera. BoundForGlory:SpringsteenandtheCar,KatherineParkin,MonmouthUniversity,New Jersey TwentiethcenturyAmericancultureimagineddrivingacarasamasculinepursuit,andfor35 yearsBruceSpringsteen'smusichelpedtosolidifythisconnection.Thispaperwillexplorehow Springsteenusedtheautomobileinhismusicandanalyzehowheusedthecartoclearly delineategender.Ofparticularimportanceinthisexaminationofthesignificanceofthecarwill beanexaminationofsexuality,freedom,andpower. Whileagreatdealhasbeenwrittenaboutwomendrivers,includingDeborahClarke's_Driving Women_andVirginiaSchraff's_TakingtheWheel,"verylittleattentionhasbeengiventothe experienceofmaledriversandthispaperwilluseSpringsteen'slyricstoexploresomeofthe archetypemalecarelationshipswiththecar.

TheVirgin,TheWhore,TheGirlNextDoor:DeconstructingMaryintheSongsofBruce Springsteen,KeithFudge,UniversityofArkansasFortSmith,Arkansas Withthereleaseofhisfirstalbum,_GreetingsfromAsburyPark_,inJanuary1973,throughhis recentcriticalandcommercialsuccesswith_WorkingonaDream_,BruceSpringsteenhas createdarockandrolliconographyaddressingallaspectsofAmericanaincludinghotrods, politics,sports,tragedy,andofcourse,thecomplexrelationshipsofpeopleintheseabsurdyet colorfultimes.Listenershavecometoknowmanyofthecharactersofhissongsandhavehad theabilitytorelatetotheplightoftheboybeggingRosalitato"comeouttonight,"themagicrat racinghissleekmachine,Wendywrappingherlegsaroundvelvetrims,orcrazyJaneyandthe missionman"inthealleytradin'hands."However,onerecurringcharacter,ormorespecifically, onename(orvariationsthereof)repeatedinapproximatelytwentyofhisworksisthepersonof "Mary."From"MaryQueenofArkansas"onthe_AsburyPark_albumtoMary'sdresswavingin "ThunderRoad"on_BorntoRun_to"OMary,Don'tYouWeep"fromthe_SeegerSessions_, BruceSpringsteenhastaken"Mary"andpresentedherinavarietyofrolesandcontextsthat areworthyofinvestigation.Hehasofferedusawomanwhocanbeseenassacredand immaculate,asseductiveandadventuresome,andasonenaiveandpure.Consequently,there islittledoubtthatallofSpringsteen's"Marys"havesignificantmeaningandhaveplayed substantialrolesintheAmericanlandscapeaswellasininternationalscopeandmeaning.This paperwillseektodemonstratehowSpringsteen's"Marys"aredefinedandredefinedwithinhis works,notonlywithinthesongs,butalsointhelargercontextsofthealbumsonwhichtheyare included. 5. SpringsteenandLawandOrder:(BeyHall,Room227) Moderator:DeniseGreen,MillikinUniversity,Illinois Mr.StateTrooper,PleaseDontStopMe:TheImageofPoliceinBruceSpringsteensSongs, SusanHamburger,PennStateUniversity,Pennsylvania Teenagersinthe1960sexperiencedfirsthandthatthepolicemanwasnottheirfriend.The imageofpoliceinBruceSpringsteen'ssongsbearswitnesstohisandhisteenagecohorts' encounterswiththepolicefromlocalcopstostatetroopers.Thispaperexaminesthe interconnectednessofreallifehasslesbythepoliceandBruce'sinternalizationandoutputin song,andexploresthisthematicmaturationandchangefrompersonaltoexternalreferents. TheShadowofthePenitentiary:BruceSpringsteenandtheAmbiguityofLawandOrder, DarrenJones,UniversityofToledo,Ohio Springsteen'sworkisinfusedwithimagesofthoseonbothsidesofthelaw.Moresothan perhapsanyotherartist,Springsteenchallengeshisaudiencewithamorallycomplexportraitof boththecriminalandtheenforcementcomponentofourcriminaljusticesystem.While1982's "Nebraska"isperhapsthemostintuitivechoice,theseindelibleportraitscanbetracedbackto hisearlywork,aswell.Ifonelooksforit,athreadcanbetracedbetweenSpringsteen'scareer thatillustratesthebreadthofhischaractersexperience.His"HighwayPatrolman"and"Dead ManWalking"areonlythemostobviousexamples.Eveninhislatercareerin2000,Springsteen

stirredupcontroversywithhissong"41Shots".Thesong,whichreferencedthecomplexitiesof aNewYorkCityPoliceDepartmenttragedy,wasthesubjectofprotestseventhoughthetrack wasunreleasedatthetimeoftheoutcry.Fromthecharactersonhisearlyalbumsallthewayup tohislatestwork,Springsteenhasneverattemptedtosidesteptheinconvenientorunpleasant observationsthstinformthehumanexperience.Rather,hehascontinuedtodelveintothe complicatedworldofthosewhotransgressagainstthepoliteandexpectedmiddleclass aspirationsoftheUnitedStates.Atthesametime,hehasshowedanunusuallyempathic perspectivetowardthosewhoarepositionedto"protectandserve."Thisemapthy,perhaps bestexemplifiedinthesong"HighwayPatrolman,"isnotsimplythesignofacompellingartist, butalsoindicatesaninsightintotheAmericanexperiencethatperhapsrendersittranscendant. ThisstudyendeavorstoexaminetheserolesthroughoutSpringsteen'sworkandapplythemtoa panoramicviewofhisvisionofAmerica.Thiswillbeaccomplishedbyacareerspanning overviewofSpringsteen'sreferencestothethecriminaljusticesystem.Anemphasiswillbe placedonhisperspective,whicharguablyblursthelinesofthepolarizedpositionsthatareoften ondisplayintheUnitedStatesdiscourseoncrimeandpunishment. BringingBrucetoCriminalJusticeClasses,EganGreen,RadfordUniversity,Virginia BruceSpringsteensworkhasoftenincludedtalesintertwinedwiththeperilsofthecriminal justicesystem.ThispaperdiscusseswaysthattheauthorhasusedSpringsteensongsto enhancelessonsincriminaljusticeclassesandimprovestudentengagement.Itdiscusseshow lessonsintheStrainexplanationsofcrimearefoundinSpringsteensworkaswellasethical challengesofpoliceworkthatappearinothersongs. 6. SpringsteenandFilm/Video:(BeyHall,Room226) Moderator:BillWolff,RowanUniversity,NewJersey TheBossGoestotheMovies(andtheMoviesGototheBoss),IreneMusumeci,Universityof Essex,UnitedKingdom ThispaperwillexploretherelationshipbetweenBruceSpringsteenssongwritingandcinemaas emblematicofacontemporaryinterchangebetweendifferentmediainpopularculture, contributingtodiscoursesofnationalidentity,gender,andrace. TherelationshipbetweenSpringsteensmusicandcinemahasalwaysbeenoneofmutual engagementandinspiration.EarlycompositionssuchasThunderRoadandBadlandsshare theirtitleswithiconicAmericanfilms,andtheconnectionisoftendeeperthantitular:for example,TerrenceMalicksfilmBadlands(1973)promptedSpringsteentoretellthestoryof CharlesStarkweatherthroughthereallifefirstpersonnarratorofNebraska.Furthermore, songslikeJunglelandandIncidenton57thStreet,aswellaslaterworkssuchasDryLightning andRenoclearlydemonstratehowSpringsteenswritingintegratesfilmicnarrativetechniques andcinematicimagesintotheconventionsofrockmusiclyrics;withtheirplotsandvisually suggestivestyle,thesesongsarelikeshortfilmsofvariousgenresfromsocialrealismto melodrama,fromwesterntosoftporn.

FilmmakershaveinturnbeeninspiredbySpringsteenswork:JohnSaylesBabyItsYou(1983) wasamongthefirstfilmstouseSpringsteenssongsassoundtracks,servingaplotwhichbears stronglinkstosomeofthestoriesofTheRiver.Lateronin1991SeanPennwroteanddirected TheIndianRunner,afeaturefilmbasedonthestoryofJoeandFrankieRoberts,thetwo brothersinHighwayPatrolman,andin2005JohnTurturrofoundthemuseforhisRomance& Cigarettesasassy,sexypastichemusicalinRedHeadedWoman.Springsteensventures intowritingfilmsoundtrackshaveprovenequallyfruitful,gaininghimanOscarforStreetsof Philadelphia(1993),andrecentlyaGoldenGlobeforTheWrestler(2008). InthispaperIwillpresentananalysisofthesongTheFuse(fromTheRising,2002),which featuresastheendcreditstrackinSpikeLeesfilm25thHour(2002),inconjunctionwithaclose readingofthefilmsfinalsequence.MyaimistoinvestigatethereasonswhyLeechose Springsteenasthemoviesclosingvoice,aswellastospeculateontheinfluenceofthefilmon thelaterSpringsteensongLongWalkHome(fromMagic,2007),whichopenlyrevisitswords andimagesfrombothTheFuseand25thHour.Iwillarguethatthiskindofsongfilmsong dialoguebymeansofsharedmotifs(journeystoandfromhome,bothmetaphoricaland literal),narrativetropes(fatherandsonrelationships),andiconography(therecurringstars andstripesflag)iscrucialtotheunderstandingandappreciationofAmericanpopularculture andhowitnegotiatespoliticisednotionsofpatriotism,masculinityandwhiteness,particularlyin apost9/11context. TheDeathoftheAuthor/TheBirthoftheViewer:ACertainRealisminSpringsteens(andhis Fans)MusicVideos,BillieHara,TexasA&MCorpusChristi,Texas Throughoutthepast20years,BruceSpringsteenhascreatedmorethanadozenmusicvideos thataccompanyhismusic.BrianDePalmaandJohnSayles,amongotherluminaries,have directedthesevideos.Theimages,themessages,andtheculturalrepresentationsinthese videosdepictlifeasSpringsteenorasthedirectorsseeit.Inaddition,theseprofessionallymade videoshavefurtherperpetratedSpringsteen'snotionofnarrativestorytellingwithina community,butunlikethesongsthemselvesthatsupportmentalimages,thestorytellingin videoisinconcreteimages. Withtheadventofsocialnetworkingtools(YouTube,Twitter,Facebook,Blogs,etc.),fanscan viewtheseprofessionalvideosatawhim.TheycanseetheconcreteimagesthatSpringsteen andhisdirectorswantedthemtosee.However,thesesametoolshaveallowedfanstocreate theirownrepresentationoflifeastheyseeit,settoSpringsteen'smusic.Thispaperdiscusses mimesis,thedirectrepresentationandtotalimitationofevent.Inthiscase,the"events"are fanproducedmusicvideosbasedonBruceSpringsteen'smusic.Inthisessay,Iwillanalyze severalfanbasedmusicvideosandwhattheybringtoanunderstandingofSpringsteen'smusic. ErichAuerbachnotedthatmimesis"givesanaccountofthewayinwhicheverydaylifeinits seriousnesshasbeenrepresented."Whenafanproduceda"movie"onWindowsMovieMaker oronIMovie,heorsheis"givinganaccountoflife"asheorsheknowsit.Thevideomightnot

beaswelldoneasvideosthatDePalmaorSayleswoulddirect,butthefanbasedvideosare differentlyreal.ThesefanbasedvideoscanmirrorthecommunitythatSpringsteenmighthave missed. Manymightarguethatthecreationoffancreatedmusicvideosremovesthecontextfrom Springsteen'swork.Iwouldarguedifferently,however.Asamateurvideomakersstrivetocreate amovementincommunitybuildingandcommunityreformation,thecontextofthemusic changes.Thisbecomes,then,thedeathoftheauthorandthebirthoftheviewer. SpringsteenNoir,MicheleDeVinney&MichaelKaufmann,IndianaUniversityPurdue UniversityFortWayne,Indiana FromIncidenton57thStreettoOutlawPete,themusicofBruceSpringsteenhasalwayshas adecidedlycinematicquality.Withdeftcharacterdevelopmentandstorycrafting,Springsteens lyricsinvitelistenersintoaworldofpotentialdangerwhilehismusiccreatesanatmospheric soundtrackforhisnarratives.Springsteenhimselfadmitstotheinfluenceoffilm,particularly filmnoir,asinspirationforhismusic.Somesongs,likeThunderRoad,taketheirtitlesfrom classicfilmnoirwhileothersongs,likeJohnny99,borrowliberallyfromtheform.Overthe years,however,Springsteenslyricshavetakenamorepopulistturn,borrowingmorefromsuch directorsasJohnFordandFrankCapraintheirpoliticalapproachtoworkingclassethics.But whilethecontentdealswithmoresocialistthemes,thesettingsandmusicaltenorcontinueto imbuethestorieswithanoiraesthetic.Theturningpointforthisevolutionseemstobe DarknessontheEdgeofTownwheretheJoadinspiredanthems,takenfromFords1940 adaptationofJohnSteinbecksTheGrapesofWrath,bringsSpringsteenintothepopulistrealm whilecreatingthedarknessofaclassicfilmnoir.Intheyearssince,Springsteencontinuesto bringbothnoirandpopulistsensibilitiestohissoloalbums,suchasTheGhostofTomJoad,and hismanyalbumswiththeEStreetBand. 7. SpringsteenandPsychology:(BeyHall,Room225) Moderator:LorraineMangione,AntiochUniversityNewEngland,NewHampshire WithAllThatHeavenWillAllow:TheProgressionofSpringsteensMusicasitRelatesto EriksonsTheoryofDevelopment,JimAzar,RogerWilliamsUniversity,RhodeIsland MuchhasbeenwrittenaboutthepsychologicalrichnessofSpringsteenscharactersasthey searchformeaningintheirlivesandtheirplaceintheworld.Whatmaynotbeasevidenttothe casualfanisthatthereisanorderlyevolutioninhisworkthatparallelsthepsychological developmentthatoccursfrombirthtodeathaspostulatedbyErikErickson.Ericksons EpigeneticDevelopmentalTheorywashighlyheraldedinthe1960sbecauseheexpandedon FreudianTheorytoincludesociologicalandculturalinfluences.Ithasbeenthoroughly

researchedsinceitwasthefirsthierarchicalmodelthatencompassedtheentirelifecycle.He viewedegodevelopmentoccurringinasystematicmannerover8stages,wherebyateachstage theindividualisfacedwithacentralproblemorcrisisthatmustbeaddressedbeforehecan moveforward.TherivetingstrengthofSpringsteensworkisthatyoufeelthesetestsinhis writingandhismusic(particularlywhenitisperformedlive).Inshort,mypaperwillpointout theparallelsthatexistbetweenEriksonsstagesofdevelopmentandtheevolvinglyricalthemes inSpringsteensworkoverhiscareer. Brieflystated,EriksonsfirstfivestagesTrust(Stage1),Will(Stage2),Purpose(Stage3),Work (Stage4),andIdentity(Stage5)neatlycorrespondstoSpringsteensmusicfromGreetings fromAsburyParkthroughBornintheUSA.Springsteenoftenremarkedthathedidntbegin towriteaboutrelationshipissuesuntilTheRiver,butdidntembracethemuntilTunnelof Love(Stage6:Intimacy).MuchofhisrecentmusicreflectsthelasttwostagesinEricksons ModelGenerativityvs.StagnationandEgoIntegrityvs.Despair.Inhismorerecentwork Springsteenhastakenanactiveinterestinestablishingandguidingthenextgeneration(Stage7) aswellastryingtointegratethelessonsthathehaslearnedinthefaceofhis(andhisband mates)inevitablemortality(Stage8).Thispaperwillexamineallofhisstudioworkbutwill particularlyemphasizetheselatterthemesasreflectedinhismusicsinceTheGhostofTom Joad. WeGottaGetOutWhileWereYoung:DiscursiveJouissanceandTheBoss,KristenPilecki, NewJersey AsaresponsetothestudentprotestsofMai'68,JacquesLacanintroducedhistheoryoffour discursivearrangementsofjouissancethatconstituteoursocialbondsandsubjectivity(orlack thereof).Lacan'sthesismarksaradicalshiftinFrenchthoughtduringthisperiodoflate capitalism:amovefromconservativediscourseandpracticetoonewherethere"isnolonger anyshame".Hyperpermissivenessandamovementtofinda"joiedevivre"tookprecedence; thedominantgazeoftheOtherwasignored. Springsteen'snarrativesstruggletoescapetheburdenofauthority,andalsomarkashiftin thinking.Thelyricsofsongssuchas"ThunderRoad"and"BorntoRun"signifyamovement towardempowerment,thejoyofliving,andstreetsmarts,toaplacewhereone's"graduation gownhangsinrags"athisfeet.AsSpringsteen'soeuvremovesforward,itbecomesevidentthat suchamovementtowardsubjectivitydoesn'tcomewithoutaprice:turningtowardtheSelf leadstoloneliness,exile,anda"LongWalkHome".Wheredoessubjectivereconciliationlie,and doLacan'sfourdiscoursesoffermediationtoandexplanationofSpringsteen'splight?Thispaper willexploreSpringsteen'sattempttoescapethe"deathtrap"andthe"suiciderap"ofsociety, andmovefromadiscourseofoppressivenesstooneofjouissanceandsubjectivity. TheGrowthandDevelopmentoftheSelfandtheSpiritasDepictedintheWordsandMusicof BruceSpringsteen,JohnCorbisiero,FordhamUniversity,NewJersey,andDanielMahoney, NewJersey

SincetheappearanceofBruceSpringsteenintheearly1970sagenerationhasmostlymatured throughtheiradultyears.Inhismusic,Springsteenhasprovidedamusicalguidethroughthis riteofpassage.Somewhatuniqueisbothhisabilitytorevealtheinnerworkingsofhisown passage,allthewhileservingasavoiceandguideforhisowngeneration.Psychologically speakingwecanseetherootsoftheworkofpsychoanalyticdevelopmentaltheoristlikeErik Erikson(1950)andothersembeddedinthewordsandmusicofthismasterstorytellerand poet.OurpaperproposestobridgethetheoreticalwiththewordsandideasofSpringsteento furtherunderstandthegrowingupofagenerationandthesenseofwhatisyettocome.In addition,wewillattempttoillustratethespiritualgrowthanddevelopmentofSpringsteenby usingyetanothertheoreticalmodel,Fowler(1981)andLoder(1998),whichparallelsinmany waystheworkofEriksonbutfromaspiritualdevelopmentalmodel.Finally,weproposeto illustratebothdiscussionswithclinicalandmusicalmaterial. 8. SpringsteenandPedagogy:(BeyHall,Room130) Moderator:DonnaVaupel,NJAssociationforGiftedChildren,NewJersey SpringsteenintheClassroom:WeLearnedMorefromaThreeMinuteRecordthanWeEver LearnedinSchool,LorneWolfe,GeorgiaSouthernUniversity,Georgia Teachersatanylevelknowthatoneofthebiggestchallengesishowtogetstudentsexcited aboutcoursematerial.Ihavebeenusingmusicasatooltoconveyconceptsinthelargeand smalluniversitybiologyclassesIteach.Thestudentsresponseshavebeenoverwhelmingly positiveandtheirretentionoflecturematerialhasincreaseddramaticallybyassociatingatopic withasong.InthistalkIwilldiscussthewaysinwhichIhaveusedBruceSpringsteensmusicin myEnvironmentalBiology(nonmajors)andEvolution(majors)courses.Iwillalsotalkin broadertermsaboutwaysthathislyricsandhisstagepresencecanprovideadditionalpowerto avarietyofotherdisciplinesinadditiontobiology.Itisasweetironythatwhilehestrafedhis ownhighschool,Springsteensownmusiccanbeusedasapedagogicaltoolsome40years later. ContextualizingSpringsteen:PracticalMethodologiesforaNewGeneration,K.L.Poe, McHenryCountyCollege,Illinois TheworkofBruceSpringsteencanbeapproachedinmanydifferentcontexts,buthowcan Springsteenbeeffectivelycontextualizedforanewgenerationoflisteners?Throughthe creationofvariousteachingstructuresforEnglishComposition,collegestudentstodaycannot onlylearntoappreciateSpringsteenasamusicalartist,butalsotoappreciatehisinsightsinto issuesofculture,gender,citizenship,andpersonalresponsibility.Fromsimpleinterpretationof individualsongstoapplyingthemesfoundinSpringsteen'sworktobroadercontexts,these courseassignmentsnotonlymakeSpringsteenrelevanttolistenerspreviouslyunawareofhis work,buttheyalsohelpstudentstodevelopcriticalthinkingskillsthatwillassisttheminfurther study;fromthesestructures,instructorscanalsobuildotherassignmentsthatbringevenmore aspectsofpopularmusicintotheclassroom.

Thispresentationwillincludehowtocreatevariousassignmenttemplateswhereinthe instructorcaninsertaparticularthemerelatedtoSpringsteen,movingfromthe"Ratea Record"assignment(wherestudentslistenandrateaparticularSpringsteensong)tomore complexassignments,suchasthe"Controversy"assignment,whichexaminesissuessuchasthe AmadouDiallomurdercaseandhowSpringsteen's"AmericanSkin(41Shots)"was contextualizedinrelationshiptothecase.Inbetweenareassignmentsthatexaminethewaysin whichrockandrolllyricismcanrevealculturalcodesandnarratives,guidancethrougha troubledworld,andatreasuringofthingspast.Studentscanlearntoseethepowerofinfluence inmusic,andhowithasbeendisseminatedinSpringsteen'smusic.Studentslearnthatlistening canmoveintoadeeperappreciationofmusicofwhichtheypreviouslyhadnoknowledge,as wellasseeinghowrockandrollas"linguafranca"(asBobGeldofhassaid)canaffecttheworld, andhowtheirresponsibilityaslistenersisalsoessential. Thispresentationwillincludepracticalexamplesofhowtodevelopassignments,avoidstudent resistanceandtopicfatigue,andalsotoensurethateachassignmentcreatedcompletely supportsthegoalsandobjectivesofEnglishCompositioncourses. ThePoetsDownHere:BruceSpringsteenCenterStageintheCompositionClassroom,Cliffton Price,GeorgiaSouthernUniversity,Georgia BruceSpringsteenscareerasacollegestudentdidntlastverylong.Asweallknow,healways learnedmorefromathreeminuterecordthan[he]everlearnedinschool.However,asa collegeteacher,Springsteenisprovingtohavestayingpowerevenifheneveractuallysteps footonacollegecampus.Whatandtowhomisheteaching?Howtoread,write,andthinkto freshmen.InmyfirstyearwritingcoursesatGeorgiaSouthernUniversity(andpreviouslyat otherinstitutions),throughcarefulanalysis,discussion,andevaluationofSpringsteensmany textsindividualsongs,entirealbums,andconcertperformancesstudentslearnhowtoanalyze atextforitspurpose,audience,message,anddelivery;identifysuchliterarydevicesas metaphor,symbolism,andirony;andutilizehigherorderconcernsofcompositionlike organization,thesisstatements,anddevelopmentofideas.Inthispresentation,Iplantodiscuss themeritsofBruceSpringsteensmusicasatoolforteachingamyriadofcriticalskillsinthe collegewritingclassroom. 9. SpringsteenandtheRoleoftheArtist:(Room132) Moderator:JackBurke,MonmouthUniversity,NewJersey UnderneathThisDirtyHood:ASemiFictitiousOneActPerformancePlayFeaturingtheBad andGoodBruceSpringsteen,JohnMassaro,SUNYPotsdam,NewYork MyplanistoassessSpringsteen'salleged"bad"behaviortodiscoverwhatthattellsusabout themanandhismusic.Thebehaviorexaminedwilllikelyincludebutnotnecessarilybelimited tohisdepositioninthelawsuitinvolvingMikeAppel,hisreported"bad"onstagebehavior involvingLynnGoldsmithandotherincidents,andhisrelationshipswithJuliannePhillips,Patti Scialfaandothers.Theimpetusforsuchanexaminationgrowsoutofmyparticipationatthe

lastSpringsteenSymposiumwhereIperceivedwhatIbelievetohavebeenaneedlessgeneral tendencytoignoreunflatteringaspectsofSpringsteen'slifeandcareerleadingtoafailureto presentthehumanSpringsteen,wartsandall.AsIdedicatedSpringsteenfan,Itrustmy approachwillprovideamorecompleteandusefulportraitofBruceSpringsteen.Pleasenote thispresentationwillcontainsomeadultlanguageandisintendedformatureaudiences. LovePoemsandOtherMessagesforBruceSpringsteen,JenniferBosveld,PuddingHouse Publications,Ohio Abroadselectionofpoetrysatisfiesthecareerlongfollowerofthebossofrockandrollpoetry himself,BruceSpringsteen,coveringthediversityandchronologyoffansintothehardedgeof romance,politics,culture,andthemanycategoriesBrucetouchedoninhiswork.Jennifer BosveldwillpresenthowandwhyshecametoissueaCALLforpoemsandotherwritingon Bruce,followedbyapresentationof46ofthepoemsinthecollection.Audio/Visual:Comment: ThisuniquepresentationofabookofpoemsinresponsetoSpringsteenandhisworkshould supplyattendeeswithadelightfulrememberanceofthesymposiumandabodyofworkthat willengagemanyattendeesatadeeperlevelwithSpringsteen'slyricsandtopics. 10. SpringsteensMusicalInfluences/Contemporaries:(BeyHall,YoungAuditorium) Moderator:DonnaDolphin,MonmouthUniversity,NewJersey SpringsteenandMellencamp:ParallelBattles,JonathanWardle,Educator/Actor,Canada Tothelayman,themusicalcareersofBruceSpringsteenandJohnMellencamparealmost interchangeable.Humble,smalltownbeginnings,earlyrecordingswithsoulroots,massive successinthe1980'sfollowedbymoreintimateandintrospectiveworksthroughthe1990'sand 2000's.Bothartistsevensufferedthroughtheattemptedusurpationoftheirangry,liberal mindedanthems,"BornintheU.S.A."and"LittlePinkHouses"respectively,byamisguided RepublicanpartyduringtheReaganera.ThesetwohometownAmericanheroeshavecharted verysimilarmusicalandpoliticalterritorythroughoutthepasttwentyfiveyears.Acloselookat theirparallelcareers,withafocusontheirarrangementandinstrumentationandtheirlyrical sensibility,revealstwoverysimilarartistswhohavelongfoughtsteadfastbattlesfortheir identityand,atallcosts,remainedtruetotheirideals. PicturesofHisHeroesontheWall:TheInfluencesofElizabethCotten,BobDylan,Mississippi JohnHurtandElvisPresleyonBruceSpringsteen,ShawnPoole,SchoolDistrictofPhiladelphia, Pennsylvania Inhisearly2009ROLLINGSTONEcoverstoryprofile/interviewofBruceSpringsteen,writer DavidFrickenotedasetofphotographsofmusiciansmountedonthewallsofthelivingroomin Springsteen'shomerecordingstudio.Springsteenreferredtothemas"mysaints".Thearticle identifiedfourofthephotosasthoseofElizabethCotten,BobDylan,MississippiJohnHurtand ElvisPresley.Thispaperandpresentationwillexploretheinfluencesofthesemusiciansthat maybefoundinBruceSpringsteen'smusicalcareer.

 TwooftheseartistsDylanandPresleyhavebeendiscussedoftenbySpringsteeninvarious interviewsandotherpublicappearancesovertheyears.TheimportanceofCottenandHurtin Springsteen'swork,however,remainsmuchmoreelusiveincomparison.Therefore,particular attentionwillbedevotedtoexploringCotten'sandHurt'sartandsomeofthewaysinwhich theymayhaveinfluencedBruceSpringsteen. Thisisnotintendedtobeanauthoritativesurveybyanymeans,butratherthebeginningofa discussionandexplorationthatthispresenterhopeswillcontinuewellbeyondthepaperand presentation.Theopportunitytoworkwithanyotherswhowouldbeinterestedinco presentingonthissubjectisalsowelcomedenthusiastically. NowhereMen:Bruce,TheBeatles,NeilYoungandTheTalkingHeads,DavidGellman,DePauw University,Indiana WhileBruceSpringsteenhasdevelopedareputationforsettingsongsinparticularlandscapes, hehasreturnedtoanindeterminateplacenowhereatintervalsduringhiscareer,most recentlyonMagicsleadtrackRadioNowhere.Beingorgoingnowherecarriesmorethana hintofexistentialdread.Butasalyricistandaperformer,Springsteenfiguresnowherein waysthatbearmultiplemeanings.RadioNowhere,whichSpringsteenintroducedinconcert bycallingIsanyonealiveoutthere?suggeststhedisconnectoralienationofourfragmented, digital,virtualageandthepossibilityofconnectedness,amilliondifferentvoicesspeakingin tonguesbutsharingthesamepulsatingrhythmsandguitarsthatguidedbytherightconductor canconjuresublimeunityoutofthevoid.That,indeed,isthemagicthattranscendstechnology andartifice.AftertheturnofthemillenniumandattheendoftheBushera,Springsteenissued asummonsbeckoningwiththepossibilityofcreatingsomewhereoutofnowhere. Springsteenwroteaboutnowheremuchearlierinhiscareer,specificallytheNebraska sessions.RadioNowhereisadescendentofOpenAllNight,whichalsooffersaradiorescue initsfinallinesHeyMr.Deejay,wontchahearmylastprayer/Heyho,rockandroll,deliverme fromnowhere.Thepromisethatatransmissioncanreelthedriverbackinfromnowhereis alsomorebouncilyintonedinLivingontheEdgeoftheWorld,OpenAllNightsupbeat variant.BecausewithSpringsteen,meaningdependsverymuchontheperformancestyleand cadence,therevivalofOpenAllNightintheSeegerSessionstourprovidesafurtherbridge betweentheperilsandpossibilitiesofthenowhereoftheearly1980sandnow.Meanwhile, strikingamuchmoresombernote,SpringsteensNothingManfromTheRisingremindsus thatnowhereandnothingnesssuggestingoblivionthatevenmusiccantfullyovercome. Springsteenjoinsanillustriousgroupofrocklegendsinhisexplorationofnowhere.Nolessa trioofactsthantheBeatles,NeilYoung,andtheTalkingHeadshaveplayedwiththeconceptof nowheremakingironic,joyfulmusicinvitinglistenerstoimaginewhatitwouldbeliketobe, ortobeheaded,toaplacethatisnotaplace.Thus,IlinkSpringsteensnowheretoarock landscapethatincludesaNowhereMan,aplacethatEverybodyknows...isnowhereanda RoadtoNowhere.WhileSpringsteenSeegerSessionsworkinvitedfansandcommentators aliketoconsiderhisplaceintheAmericanfolktradition,thispaperseekstoremindusthat

someofSpringsteensmostenduringmusicaldialoguesarewithhiscontemporaryrock musicians,wholikehimhavepowerfullyyetplayfullyengagedthedeepestquestionsofbeing andnothingness.Thus,thepaperalsodirectlyengagestheworkofSpringsteenscholarssuchas BobCrane,KateMcCarthy,thecontributorstoBruceSpringsteenandPhilosophy,andRob Kirkpatrick. SATURDAY,SEPTEMBER26BREAKOUTSESSIONABSTRACTS 910:30amBreakoutSessions,MonmouthUniversity 1. SpringsteenonWar:(BeyHall,Room230) Moderator:ElizabethSeymour,PennStateAltoona,Pennsylvania ItsGonnaBeaLongWalkHome:BruceSpringsteenandtheCostsofWaronAmerican Identity,ScottMcMillan,VolunteerStateCommunityCollege,Tennessee Sincethereleaseof_TheRising_in2002asaeulogyforboththesacrificesandlossesof9/11, BruceSpringsteenhasbecomemoreconsciousofhisroleasasignificantvoicecommentingon Americanpubliclifethroughbothhissongwritingandperformancesinvariousmusicalcontexts, aswellastakingthelargerpublicstepofopenlysupportingbothBarackObamaandJohnKerry intheirrespective2008and2004presidentialcampaignsthroughspeeches,writtenstatements, andperformancesatcampaignevents.Springsteen'sworkasasongwriterandperformerhas alwaysbeenfocusedonthedualitiesfoundintheideasofthe"AmericanDream"andAmerican identity,butsince2005hehasspecificallyexploredthehumancostsoftheIraqwarinaseries ofsongsappearingon_Devils&Dust_(2005),_WeShallOvercomeTheSeeger Sessions_(2006),and_Magic(2007),whichfunctionlessastraditionalprotestsongsaboutwar thatarepolemicalinnatureandmoreasmeditationsonhowwarsfoughtforquestionable reasonsnotonlyhavesignificanthumancostsforbothsoldiersandtheirlovedonesbackhome butcanalsodamagethelargerAmericanidentitythroughthecompromiseanddestructionof fundamentalAmericanideasandprinciples.AlthoughthisthemeisnotnewforSpringsteen, sinceoneofhismostfamoussongs"BornintheU.S.A."dealswiththisthemethroughtheplight facedbyareturningVietnamveteran,hisrecentsongsfeatureasustainedemphasisonthis themebyshiftingthecontextofwarfromVietnamtoIraq,whichworkstomakethesesongs andtheirmeaningsmoretimelyatbothpersonalandnationallevels.Springsteen'sdeep concernoverthisissueandhisdesireforthehealingofournationalidentityledtohisearly publicsupportofBarackObamapresidentialcampaignduringtheprimariesandthentopublic performancesbothonbehalfofandwithObamaduringthefall2008campaign.These demonstrationsofpublicsupportshowedthatforSpringsteenitwasnotenoughtojustwrite andperformsongsthatquestionedourinvolvementinIraq,butthatitwasalsonecessaryto activelystepintothepoliticalarenaandworktobringaboutthepoliticalandgovernmental changenecessarytoendourinvolvementinthiswar.Thispaperwilldeveloptheseconnections

byexploringseveralofSpringsteen'srecentsongsdealingwithwarandAmericanidentity,as wellashispublicstatementsandperformancessupportingBarackObama'spresidential campaign,whichworktogethertocreateacoherentandcompellingpublicnarrativethrough whichBruceSpringsteencontinueshisdevelopmentasaneffectiveandsignificantvoicein Americanpubliclife. JohnWayneandBruceSpringsteenStayingHome:HowNotGoingtoWarInfluencedthe CareersofTwoAmericanPopularIcons,LarsRossland,UniversityofBergen,Norway ThismanuscriptderivesfromabookprojectinNorwegiannamedDJEVLAROGSTOEV.EIN SPRINGSTEENSKARKEOLOGI("DevilsandDust.ASpringsteenianArchaeology".)Thisbookis scheduledforpublicationsometimelatein2009.Itcontainstenessaysonthemesandsources ofinfluencesderivedfromBruceSpringsteen'slyrics.Belowarethetitlesoftheessays translatedintoEnglish: 1.FingerontheTrigger(onBruceSpringsteen'spoliticalawakeningingeneralandmore specificallyonhisengagementagainsttheWarinIraq) 2.HowCanIKeepFromSinging?(onPeteSeegerandtheVietnamWar) 3.Bornonthe4thofJuly(onRonKovicandtheVeterans'Movement) 4.TheAmerican(onJohnWayne,theAmericanicon) 5.HomelessDirectorofWesterns(onJohnFord) 6.FruitandWrath(onJohnSteinbeck) 7.WoodyfromtheLandofDust(onWoodyGuthrie) 8.AmericaFirst(onCharlesLindberghandtheAmericaFirstmovement) 9.FordRanch(onHenryFordandthetensionbetweenmodernismandtradition) 10.War,PoliticsandPopularCulture(anefforttoconnectthenineprecedingessays) Duringthisworkalotofoverarchingthemeshavesurfaced.Oneofthemisthethemeofthe presentproposal.Once,whenIpresentedthesubjectsofmyessaysacolleagueofmineasked: "whatonearthhasJohnWayneandBruceSpringsteenincommon?"Atonelevelthisisagood question.ThereasonJohnWaynebecamepartofmycollectionofessayswashisconnectionto JohnFordmoviesandthathestarredinacoupleofquiteinfluentialwesternmoviesforlater popularculture,forexampleSTAGECOACHandTHEMANWHOSHOTLIBERTYVALANCE. Theydohavethingsincommon,however.TheycouldbothberegardedasAMERICANICONS iconsforAmericansandaboutAmerica.Variousdimensionscouldbediscussedinthisregard, likegender,classanddemocracy.Here,thesubjectismorespecific:JohnWaynebecamean Americaniconatatimewhenalotofotherheroesfromvariouspopularculturewerepartof thewareffortduringWorldWarII.JohnWaynehimselfneverdrafted.Insteadheusedthewar yearstobecomeadefiniteAmericanicon.SeveralwritersonJohnWaynehaveunderlinedthe impactofhisdecisiontostayoutofthewaronJohnWayne'slatercareer.FordecadesJohn WaynewasengagedinwarissuesasastrongspokespersonFORAmericaninvolvement.

Morethan20yearsafterWorldWarIItheU.S.tookpartinawarofquiteadifferentkindthe VietnamWar.BruceSpringseenhastoldushowhewenttogethisphysicalandfailed.For decadesSpringsteenhasbeenengagedinwarissuesandhasbecomeaverycelarspokesperson AGAINSTAmericaninvolvement,latelyinIraq. WayneandSpringsteenshare,however,averydeepfeltengagementforAmericanTROOPS. ThisproposaloutlinestherelationshiptowardswarofJohnWayneandBruceSpringsteen, respectively,anddiscussestheserelationships'impactontheircareers. 2. SpringsteenandPedagogy:(BeyHall,YoungAuditorium) Moderator:JohnMassaro,SUNYPotsdam,NewYork SpringsteenintheCollegeClassroom:RocknRollandSocialConsciousness,JamesKelly, CarlowUniversity,Pennsylvania ThispaperdescribesaninclasspresentationonBruceSpringsteen:RocknRollandSocial ConsciousnessthatispartofthecurriculuminanundergraduatehonorscourseentitledMedia andSocialChangeatCarlowUniversity.Itspurposeistoengagestudentsincriticalthinking aboutAmericanvalues,ideology,andbeliefsastheyarearticulatedandchallengedinthemusic ofBruceSpringsteen.Thecourseencouragesbothliteracyandactivismonthepartofstudents tobetterunderstandandaffectsocialpolicythatdifferentiallyaffectsgroupsbasedonrace, class,andgender.ThemusicofBruceSpringsteendirectlyandindirectlyquestionsacceptance ofAmericannormativevaluesrelatedtowork,socialstatus,citizenship,andmaterialsuccess. Thepedagogyemployedinthiscourseassumesthatsuchquestioningmayinspirethosewho explorethemultiplepathsofSpringsteensmusic/lyricstobehaveasifcalledbyahigher purpose,onethatexceedsorevencontradictscustomarygoalsofmakingalivingorpursuing economicprosperity.Springsteensstoriesofthelivesandworkofpeoplecommittedtosucha journeyprovideabridgebetweenactionandmeaning,connectingthepresentmomentwiththe pastandthefuturethroughalternativenormativeidealsandcommitments(Rein&White, 1981).SpringsteenmanagestochampiontraditionalAmericanvaluesofindividualismand pragmatismwhilecallinghislistenerstocollectiveactiontobringaboutfundamentalchangein thedirectionofAmericanpublicpolicy.Insodoing,Springsteenstandssquarelyinthetradition ofsongwriterswhoinvitecriticalanalysisandalternativeinterpretationsofperspectivesthat appeartojustifyAmericanpolicymakersdecisions.ByidentifyingwiththeOutsiderinrelation toAmericansociety,theSpringsteenherohelpsustoclarifyourownrelationshipwithour otherwiseunquestionedvaluesorientationandconcomitantacquiescencetopassivityvisavis prejudice,inequality,andoppression.Thepresentationappliespsychologicalandsociological theoreticalframeworksthatexplainindividualidentificationandcommunityengagementwith socialproblemsaswellasactivistapproachestoorganizingandcoalitionbuilding(Erikson,1968; Alinsky,1971;Kahn,1994).Thisapproachsupportsstudentstoquestionthedifferentialimpactof traditionalvaluessuchaspatriotismongroupsbasedonraceandclass(Rikard,2004).Thepaper demonstratesapedagogicalapproachforstudentstoexperiencetherelevanceofmusicasa

vehicleforcoalescingsocialmovementsthatembraceavarietyofcausese.g.,confrontingpolice brutality,immigrationreform,antiwarprotest,opposingbigotry,andelectingaPresident. Alinsky,S.(1971)Rulesforradicals.Erikson,E.(1968)Identity:Youthandcrisis.Kahn, S.(1994)HowPeopleGetPower.Rein,M.&White,S.,(1981).Knowledgeforpractice.Social ServiceReview,55.Rikard,D.(2004).Patriotism,propaganda,parody,andprotest. 10ThingsYouDontKnowAboutScholarshiponBruceSpringsteen:AReportFromanOngoing CompilationofPublishedResearch,DeniseGreen,MillikinUniversity,Illinois Theauthoriscompilingacomprehensiveannotatedbibliographyofscholarshippublishedabout BruceSpringsteen.Earlyresultsshowmanysurprisingandalsopredictableaspectsofhow musicologists,feminists,philosophers,sociologists,anthropologists,theologiansandbusiness scholarshavereflecteduponSpringsteen'scareer,songsandfanbase.Canyouguesswhich albumorwhichsonghasinspiredthemostscholarlyoutput?OrwhichphaseofSpringsteen's careergotthemostattention?ComelearnmoreabouttheemergingfieldofSpringsteen studiesandhowyoucouldcontributetothisbibliographyproject. BruceSpringsteen:AnEducationalResource,Really?,JinThindal,SimonFraserUniversity, Canada Webustedoutofclass,hadgetawayfromthosefools,welearntmorefromathreeminute record,baby,thanweeverlearntinschool(Springsteen,1984) Actualstudentengagementinthelearningprocessisaconstantchallengeforallteachersinthe modernschoolingsystemandasaresultmostteachingendsupbeingroutineandboring.This criticismofeducationisnotnewandisaresultofvariousfactorsthathavebeenwell documentedfordecades.However,withintheconfinesofaninstitutionalandcurriculum context,teacherscanusevariousresourcesattheirdisposaltoengagethestudentsactivelyin learningandmakeattendingclassesenjoyableandrewardingwhilstdevelopingcriticaland transferableskills. ThispaperexamineshowBruceSpringsteen,asaneducationalresource,canbeusedtoengage andexcitestudentsintheirlearningprocess.Obviously,theworkofSpringsteencanbeusedfor studentsstudyingmusic,songwriting,musicianshipandperformance.However,thispaperis aboutusingSpringsteenandhisworkaseducationalteachingmaterialformoregeneraland broaderrangeofsubjectsacrossvariousdisciplines.Anillustrationofsuchsubjectswas providedbySpringsteeninantypicalinterviewwherehecoveredarangeofissueswhenhe states,wevedonepolitics,work,money,sex,time,deathandthedividedselfbeforesharing histhoughtsonreligionandthespirituallifeasthemystery,Addtothishisstatementaboutthe Erosionofeconomy,justiceanddemocracyandthereappearsawealthofmaterialformost teacherstolivenupmanyclasses. Apracticalexampleofthiscanbeseenindealingwithpolicebrutality,whetheritisaboutacop beatingaguyorcopskillingaguyorindeedinthelargerissuessuchasequality,freedom,civil

rights,war,democracy,AmericanvaluesortheAmericandream.Inthesongs,storiesandlive performanceofSpringsteenlayavastrangeofcurriculummaterialforteacherstouse. ThispaperalsoshowshowtouseSpringsteensworkforgettingstudentstosearchthebigger questionsregardinglife.Questionsthatrarely(ifever)appearintheschoolcurriculumyethave significantimportanceandcanultimatelydeterminehumanhappinessorleadtomisery.The intenthereistoprovideameansbywhichstudentscanmakesenseofsuchtopicsas,love, death,romance,religion,truth,politics,race,sexism,patriarchyand,howeachoftheseapplyto everyhumanbeing.Now,isthatnotsomethingweallcandowith,letaloneourstudents? SpringsteensLyricsasLiterature:AFirstYearCollegeSeminar,LincolnKonkle,TheCollegeof NewJersey ThefirstGloryDaysSymposiumprovedthatthereiswideinterestinBruceSpringsteenbythose whoteachatcollegesanduniversitiesinthiscountryandabroad,anditprovedthat,alongwith thegrowinglistofscholarlypublications,hisworkmeritsstudyfromavarietyofacademic perspectives(e.g.,musicology,literarycriticism,psychology).Itseemslogical,then,that Springsteensworkswouldalsobeaviabletopicforavarietyofcollegecourses.Withouta doubt,SpringsteenisoneofthegreatwritersinAmericanpopularmusic;withthepublicationof morethanadozenscholarlybooksandarticles,alongwithmanynonacademicpublications,it shouldbepossibletohavestudentswriteatleastmoderatelysophisticatedandindepth researchpapersaboutSpringsteenssongs,albums,orcareerasawhole.ThisFallIamteaching aseminartitledSpringsteensLyricsasLiteratureforfirstyearstudentsofvaryingmajorsat TheCollegeofNewJersey.InthispaperorroundtablesessionIproposetodiscussmydesignof thecourse(whichalbumsandsongswewillstudy,whatsupplementaryreadingonthemusic andU.S.culturecorrespondingtothereleaseofthealbums,thewritingandspeaking assignments,etc.),andreportonhowthecourseisgoingamonthin.Iwillalsorefertoacouple ofothercoursesinwhichImadeuseofSpringsteeninasingleclassmeeting,andproposeother coursestowhichSpringsteensworksmightlendthemselves. 3. SpringsteenandCommunityPsychologicalElementsandtheInternetCommunity:(BeyHall, Room229) Moderator:DavidGellman,DePauwUniversity,Indiana Passion,ContainmentandCommitment:EssentialElementsofGroupsAcrosstheLifespanof SpringsteensWork,LorraineMangione,AntiochUniversityNewEngland,NewHampshire ManySpringsteensongsaresituatedinanintense,existential,communalworldofgroup interaction,dynamics,conflictandsupport.Thegroup,withallitsintensityandinteraction,isan importantunitofexperienceineverydaylife,inhealingsuchasinpsychotherapygroups,andin Springsteensmusic.Bygroupismeantreallifegroupssuchasfriendshipgroups,familygroups, workgroups,communitygroups,religiousgroupsandevenvirtualorpsychologicalgroups. Thesearegroupsthatcoherethroughmeaning,interaction,identity,andpurpose,evenifthe membersmightnotalwaysrecognizeorsaytheyareagroup.Althoughwewillusethelanguage

ofgroupdynamicsdevelopedthroughtheacademicstudyofgroupsandgrouppsychotherapy, ourdiscussionisaboutrealworldgroupsandrealworldcommunity. Thispresentationexploresthepower,support,andintimacyofthegroupandcommunity throughSpringsteensongs,highlightingtheprimacyofthegroupthroughoutthedevelopmental lifecycle.Thelifecycleincludesadolescenceandyoungadulthoodwithissuesofidentity formationandintimacyandtheroleofthegrouptocontainallthepassionofthisage;entering theworkworldofgroupsandboththeexcitementanddisillusionmentpossiblethere; encounterswithloss,tragedy,andhealingandtheholdingpowerofthegroupduringthose times;experiencesofthegrouporcommunitydissolution,losingitswayandlosingitssenseof cohesiveness,alongwiththepossibilitiesforrebuilding;andthepassionofthegroupor communityintimesofcelebrationandrejuvenation. Thefollowingworkswillbecitedinthispresentation: InAdolescentDevelopmentandthePlayoftheGroup,Jungleland,SpiritInTheNight,Glory Days,BobbieJeanandGirlsInTheirSummerClothesarehighlighted,giventheir perspectivesonwhatitmeanstobeadolescentandpart,ornotpartof,agroup.InWork Groups,TenthAvenueFreezeout,TheGhostOfTomJoad,ErieCanal,JohnHenry,and ThisAmericanLandarehighlightedforwhattheytellusabouttheworldofworkandits struggles.InGriefandTragedyandtheHealingoftheGroup,manyofthesongsfromThe Risingwouldfit,butthefocuswillbeonTheRising,IntoTheFire,andMyCityOfRuins. ForLossoftheGroupandReconstitutingtheGroup,inlookingatwhatitmeansforagroupto loseitsnorms,values,andmeaning,andhowagrouporcommunityrebuildsandmoves forward,welookatLongWalkHome,GypsyBiker,DevilsArcade,TheLastCarnival, EyesonthePrize,andWeShallOvercome.Finally,withregardtoCelebration/Rejuvenation andtheJoyoftheGroup,thepresentationendswithOutInTheStreet,MarysPlace,This Life,andWorkinOnADream. Throughthesesongs,thispaperdemonstratesthepsychologicalcentrality,power,healing,and valueofthegroupandcommunityinSpringsteensmusicandacrossthelifecycle. IsThereAnybodyAliveOutThere?:ACaseStudyofaSpringsteenOnlineFanCommunity, MaryCulnan,BentleyUniversity,Massachusetts Getthatbigspotlightoutofmyeyesandlightupthisaudience.Oh,thatsmuchbetter.Bruce Springsteen,Hershey,PA,August19,2008BruceSpringsteeniswellknownforbuildinga connectionwithhisaudienceastheabovequoteillustrates,andasanyonewhohasbeentoone ofhisconcertscantestify.Forexample,inthetributehedeliveredatTimRussertsmemorial serviceinJune2008,Springsteentalkedabouthowhealwaysscansthefacesinthefrontrowat anyofhisperformancestofindafacethatwasaliveandfilledwiththemusicthatwere

playing.HealsotalkedabouthonoredhewastocountRussertasamembertheEStreetBand community.Fans,then,playanimportantroleinSpringsteensprofessionallife. ThispaperexaminestheSpringsteenfanconnectionfromthefanperspective,basedona longitudinalcasestudyofoneonlineSpringsteenfancommunity,theBTXcommunityat www.backstreets.com.TheBTXcommunityoriginatedinApril1993whenthepublisherof Backstreetsmagazinelaunchedachatfeatureonthemagazineswebsite.Thepaperwill describewhateventsresultedledtoBTXsevolutionfromamessageboardtoacommunity.It willalsodescribehowthemembersdevelopedthesocialcapitalthatenabledtheactivitiesthe memberssubsequentlyorganizedonbehalfofthecommunity,andalsoallowedBTXtosurvive bothslowperiodsbetweentoursandnewalbums,andafataldatabasecrash.Thepaperwill concludebydescribingBTXtodayasacommunitybasedonmultiplesubcommunities. IJustMightMeetBruce:UnderstandingtheImpactoftheInternetonParasocial RelationshipswithBruceSpringsteen,BradYates,UniversityofWestGeorgia,Georgia Parasocialinteractionistypicallydescribedbysocialscientistsasaonesidedinterpersonal relationshipinwhichonepartyknowsagreatdealabouttheotherparty,buttheotherdoes not.HortonandWouhl(1956)firstintroducedtheconceptofparasocialinteractionintheir articleMassCommunicationandParasocialInteraction:ObservationsonIntimacyata DistancethatwaspublishedinPsychiatry.Sincetheinceptionofthisnotion,parasocial interactionhasgrownasaphenomenongiventhepopularityoftelevisionandfilm.Parasocial relationshipsbetweenaveragecitizensandcelebrities,fictionalcharacters,athletes,orsports teamsarequitecommon.TheintroductionoftheInternetandothernewtechnologies increasedthenumberofparasocialrelationshipsexponentially.Whetheritisthroughafanweb site,ablog,orsocialnetworkingsiteslikeFacebookandMySpace,moreandmoreindividuals aredevelopingparasocialrelationships.FansofBruceSpringsteenareamongthemanythatuse theInternettofacilitatetheirparasocialinteractionwiththeBossandothermembersoftheE StreetBand.FansiteslikeBackstreetsandGreasyLakealongwiththeofficialBruceSpringsteen websiteofferparasocialinteractionopportunitiesthatdidnotexistbeforethewidespread developmentoftheInternet.Thispaperwillanalyzetheimpactofthevarioussocialnetworking andwebsitesonSpringsteenfansandassesstheirparasocialinteractionontheInternetusinga modifiedversionofRubin,Perse,andPowells(1985)ParasocialInteraction(PSI)Scale. 4. SpringsteenandAmericanRootsTraditions:(BeyHall,Room228) Moderator:JerryZolten,PennStateAltoona,Pennsylvania HowCanaPoorManStandSuchTimes?:TheSoundsofHurricaneKatrinainBruce SpringsteensTheSeegerSessions,DonnaDolphin,MonmouthUniversity,NewJersey ForgottenbytheBushAdministrationandblamedfortheirownmisfortunebytherestofWhite America,thepeoplewhoselivesweredestroyedbyHurricaneKatrinain2005alongtheGulf CoastinNewOrleansandMississippiareaconstantpresenceinBruceSpringsteens2006 collectionofmusic,TheSeegerSessions.DrawingdeeplyuponthetraditionsofAmericanroots

music,SpringsteenconnectswithhistoricfolkartistslikePeteSeegerandWoodyGuthrie,while recontextualizingtraditionalfolkmusictoincorporatenewlypoliticizedmeaningsand experienceswithrespecttoraceandclass.ThisworkanalyzesthewaysinwhichSpringsteen usesbothhurtsongsandnewarrangementsoftraditionalfolksongstoexpressthecollective painandsufferingofaspecificgroupofpeople. TraditionandOriginalityintheSongsofBruceSpringsteen,PrudenceJones,MontclairState University,NewJersey InBruceSpringsteen'scompositions,originalityoccurswithinwelldefinedboundariesof tradition.Byplacinghisworksquarelyinamusicaltradition,Springsteenopensadialoguewith hismusicalintertexts.ThemosttransparentexamplescomefromsongsinwhichSpringsteen participatesinfolkcomposition,penningnewversestosongssuchas"HowcanaPoorMan StandSuchTimesandLive"and"BringThemHome"asawayofunderliningtherelevanceof theseoldsongstocurrentevents.Originalcompositions,suchas"AmericanLand"and"Landof HopeandDreams,"thatstronglyrecalltheirantecedentsofferpointedcommentaryonthose earlierworks,inthecaseof"AmericanLand"viaachangeintoneaswellastempoandinthe caseof"LandofHopeandDreams"vialyricsthatdirectlychallengetheoriginal.Particularlyin earlieralbums,traditionprovidesameansofmakingthepersonaluniversal.Themodal compositionof"TheRiver"lendsatimelessqualitytoanarrativethatcontainselementsof autobiography.Thispaperwillexaminetherolesoftraditionandoriginalityincreatingmeaning inSpringsteen'scompositionsandwillapplythisanalysistotherecordingof_Nebraska_. ITooktheTitleandIWroteThisSong:SpringsteensSongTitles,IntertextualityandtheFolk Tradition,RobertLeBlanc,UniversityofRhodeIsland BruceSpringsteenhasgainedareputationforborrowingtitlesfromwellknownAmericanfilms andpopularsongs,andthenproceedingtocreatesongsthatusethesetitlesinentirelynew contextswithentirelyorpartiallyoriginalmelodiesandlyrics.Hisspokenprefacetohissong ThunderRoadfromhisfamed1978Passaic,NewJerseyconcertnarrateshiscreativeprocess ofbeingstruckbyaculturalartifact(aposterfora1958ArthurRipleymoviestarringRobert Mitchum)andthenredeployingitstitleinnewyetfamiliarcontexts.Mypaperwillobserve thiscurrentinSpringsteenssongwritingtowardadiscussionofitsimplicationsforhis participationandinnovationswithinAmericanfolkandrootssongwritingtraditions.Hissongs thatreanimateexistingsongtitlesmakeaffectbasedconnectionstoawidenetworkofcultural traditions,callingouttofarflungcornersofAmericanmusicwithtitularreferencestosuch diversefiguresasHankWilliams(MansionontheHill),FrankSinatra(DancingintheDark), andLouChristie(TwoFacesHaveI).Thefactthattheserecycledtitlescanenterpopular cultureasstampedbySpringsteensoriginalsongwritingvisiondespitetheirprofessionof originarydebtstoearlierworksascanbeespeciallyobservedwiththehugepopularityof DancingintheDarkattestsasmuchtothesignificanceofintertextualitybasedwordplay withinAmericanpopularcultureastoashortmemoryofitsparticipantsortotheir disinvestmentintheauthorandtitlefunctions.MydiscussionofSpringsteensreuseoffilm titleswillconsidersuchotherinstancesasAllThatHeavenAllows/AllThatHeavenWillAllow

andwillconsidertheaestheticmovesinherenttothesesongsredeploymentofaclassicfilm narrativeintothecontextestablishedbySpringsteenscastofcontemporarysongwritingtropes andcharacters. ThisaestheticmovecanbeinterpretedtogetherwithSpringsteensreuseofexistingsongtitles inwholeorfragmentedformtofurtherourcriticalunderstandingofhisplacewithinafolk songwritingtradition.Thisrootsmusictraditionhaslongviewedthecurrentsthatcirculate withinpopularcultureasbothacommongrounduponwhichtoaddressthelistenerandasfair gameforthepurposeofintroducingchallengingvariationsonatheme,withearliergenerations offolkandrootsmusiciansfrequentlyrecyclingthesametitleorbasisforafamiliarsong.John FishersessayEntitlingsuggestsabouttheaestheticsoftitlesthataverylargepercentageof titlesaregiveninordertodifferentiate,butmyworkherewillarguethattitlescanalsorecall andconnectnewideastorecognizableculturaltouchstones.Atthesametime,my considerationwillalsoleadtoanexaminationofSpringsteensuniqueroleindrawingtogether disparatethreadsofpopularculturetoillustratebothculturalcommongroundand heterogeneousexperience. 5. SpringsteenandMortality,AbsenceandLoss:(BeyHall,Room227) Moderator:TBD EverySoulLivingandDead:SpringsteensIntimationsofMortality,AlexanderPitofsky, AppalachianStateUniversity,NorthCarolina FromadragracersfatalcrashinLostintheFlood(1973)tothedemiseofacircusperformer inTheLastCarnival(2009),BruceSpringsteenssongshavealwaysbeenlacedwithphrases, images,andnarrativesrelatingtodeath.ItssurprisingthatSpringsteensfascinationwith mortalityhasreceivedsolittleattentionfromcriticsandfans.Theevidenceofthatfascinationis visiblethroughouthisbodyofwork.Thesagesofthesubwaysitjustlikethelivingdead.Theres somethingdyingonthehighwaytonight.Menwalkthroughthesegateswithdeathintheireyes. Takehisbodytothegraveyardandoverhimtheypray.Thisisaprayerforthesoulsofthe departed.Ihearthebloodofmybloodcryingfromtheground.Onenighthewokefromavision ofhisowndeath.EntirealbumsNebraska(1982),TheGhostofTomJoad(1994),TheRising (2002)focusinsistentlyonhomicide,fatalaccidents,grievingsurvivors.Eveninlovesongs, Springsteenhabituallyincludesintimationsofmortality.Sheknowsthatitkillsme.Whatitslike toliveanddie.Letthemgototheirdancesofthedead.InthispaperIwanttosuggestthat althoughreferencestodeathhavealwaysplayedimportantrolesinSpringsteenswork,his meditationsonthesubjecthavechangedfundamentallyovertime.Earlyinhiscareer, Springsteenusedindirect,oftenmetaphoricallanguagerelatingtodeathtointensifythesense ofdramainhisnarratives.Intheeightiesandnineties,deathceasedtobeanabstractionin Springsteenssongsbecausehischaractersarefrequentlytroubledbythoughtsabouttheirown mortalityandthedeathsofothers.Morerecently,Springsteenhasshiftedhisfocustosurvivors,

thewaysinwhichlifegoesonwhenthedeadareburiedandthebereavedtrytorecoverfrom theirlosses. MayYourHopeGiveUsHope:TheRising,WorkingThroughAbsence,LossandMourning, RoxanneHarde,UniversityofAlberta,AugustanaCampus,Canada Ina2004interviewwithRollingStone,BruceSpringsteenreturnedtothenowfamousstory aboutthefanwhostoppedintraffictotellSpringsteen,thedayaftertheattacksof11 September2001,thathewasneeded.Springsteenmused,"Yeah,theydontreallyneedme,but ImproudiftheyneedwhatIdo.Thatswhatmybandis.Thatswhatwewerebuiltfor"(76). Springsteenisfairlyobliqueaboutwhatitisheandhisbanddoandarebuiltfor,butby2001, fansaroundtheworldhadcometorelyonhimformusicalexperiencesthatofferedanongoing commentaryonandcritiqueofcontemporaryAmericansociety.Whatweneededafterthe attackswassomeonetoputintowordscollectiveandindividualpainandloss,anartistwho couldmodelthewaytoworkthroughabsenceandmourning.SpringsteenandtheEStreetBand werebuilttoanswerandTheRisingmorethanmeetsthisneed.Farmorethansimply responsetoorreplayoftheattackontheWorldTradeCenterorthePentagon,Springsteens songsaddressandworkthroughtheaftermathofemotionaldevastationcausedbytheevents of9/11.Refusingtoblurthedistinctionbetweenabsenceandloss,toofferpatanswersor convenientclosureswhennonewereorarepossible,andtoavoidthedeeplypainfuljourney thatcomprisesworkingthroughgrief,TheRisingfunctionsasasiteofculturalmemoryand mourning. Consideredalongsidetheoreticaldiscoursethatanalyzestheoperationsofmourning,and responsestoabsenceandlosscausedbytrauma,thesongsonTheRisingofferfarmorethan witnessoreventestimony.ForSpringsteen,mourningallowsanengagementwithtraumathat insistsonareinvestmentinlife.TheRisingisadreamoflife,andtheabidingmovementinthe albumisoneofascension.Ina2002interviewwithNightlinesTedKoppel,Springsteen respondedtothesuggestionthatthealbumgesturestowardstheresurrectionbynotingthat theimagesoftheCatholictraditioninwhichhewasraised,arealwaysverycloseandthey explainalotaboutalotaboutlife.However,heexchangestheideaofresurrectionforthe moregeneralimageofascension:Iwastryingtodescribethemostpowerfulimagesofthe 11th...whensomeofthepeoplecomingdowntalkedabouttheemergencyworkerswhowere ascending.BysidesteppingthespecificallyChristiantenetoftheresurrection,andbyrejecting outrighttheideaoftranscendenceanupwardmovementbutoneinvestedintheideaof surpassingsomethinglesserforonceandallSpringsteenoffersinTheRisingaperpetualrising towardlightandlife,acontinuingupwardmovementthatengenderstheworkingthrough traumaarticulatedbyDominicLaCapraandinsistsontheworkofmourningdescribedby JacquesDerrida.Alongtheway,theBossconsidersandrejectsideasaboutandimpulsestoward vengeance,andheoffersinsteadtheeroticasameansofworkingthroughlossandmourning andre/turningtolife.Audio/Visual:ComputerProjectorforLaptop SpringsteensGiftofEmpathy,GerryHudsonMartin,BusinessArchitects,Maryland

FormethereareseveraltoptenlistsofreasonstoloveBruceSpringsteensmusicand performances,butmostimportantisthegiftofempathyhedisplaysthroughsomanyofhis songs.Thisremarkablegiftenableshimtoenterintoandthenexpressforustheemotional experienceofajoblessvet,afriendwithAIDS,acoldbloodedkiller,ahotbloodedunemployed shooter,amarinewidow,andsomanyothersfromlastcenturyscanon.Since2000his continuedreflectionsincludetheworldofananguishedpoliceofficer,aconflictedsoldier, dedicatedfiremen,thedeathsof2closefriends,thecomplexloveofmothersandsons,and evenaprostitutesjohn. Springsteenbelieveshisbandwilllastaslongasyoulookdownintotheaudienceandcansee yourself,andyouraudiencelooksupatyouandcanseethemselvesandaslongasthose reflectionsarehuman,realisticones.FromIsthereanyonealiveoutthere?toCanyouhear me?inOutlawPete,helinkshischaractersandhisaudiencethroughempathy. Communityisthesourceforindividualexpressionsofempathy.Likethepoetswhoempty themselvesthroughnegativecapabilityandabandontheadolescentsartofselfexpression, Brucessongsbegantotakeonacompassionrootedincommunityandvoidofego.Ratherthan continuingusingthestagetogivehisownstorytoconnectto,heincludedmorestoriesof Americasbackstreets.InGalvestonBay,aftersomemysteriouspowerofempathywithenemy refugees,forgivenessfinallytriumphsoverprejudiceandadesireforrevenge. Mostimportanttohislaterworkofempathyishowtheindividualconnectstocommunity throughasharedfateofmortality.Springsteenisincreasinglypassingovertotheexperience ofdeath,andcreativelyimaginingwhatmeaningithasforusonthissideofthatunknowable void.Heacknowledgesthedeathsofaclosefriendandofhisbandmateintwosongsthatshow thedeepconnectionstouniquelovedones.Therecanbefewmoreempathicexperiencesthan: Wewon'tbedancingtogetheronthehighwire Hangingfromthetrapeze mywristswaitingforyourwrists. HisbeautifulsonghonorshisbandmatewithaversionofaCatholicconceptofacommunionof saints,buttheyareoverbones;wearealltrulyuncertainofourfatebeyonddeath. Amillionstarsshiningaboveuslikeeverysoullivinganddead HasbeengatheredtogetherbyGodtosingahymn Overtheoldbones. InTampathefirstconcertafterDannyFedericisdeath,theconcludingwailOnthebackstreets untiltheend,hidingontheBackstreetsletyouexperiencethefeelingsofWendyIwanttodie withyoutonight,butnowtheyarerelatedtorealdeaths. Intheendtheresstilljustameannessinthisworld,andyetpeoplestillfindareasontobelieve. Hisgiftofempathyinformsourindividualexperiencesandourhumancommunities,andleads tothetriumphofhopeoverdespair,atleastforawhile. 6. SpringsteenandSenseofPlace:(BeyHall226) Moderator:StevenRogers,IndependentScholar,Maryland

BruceSpringsteenandtheAmericanLandscape,FrancescoCassiani,Italy FromLeoMarxtoSacvanBercovitch,manyscholarshavedescribedtherelevanceoftherole playedbytheAmericanLandscapeinrepresentingamajorcontributiontotheconstructionof theideathatthewordAmericaexpressestoday. InalotofSpringsteen'salbumsgeographyandthesenseofplacealsoplayanimportantrole. Underastrictlyquantitativepointofviewitcanbeeasilynoticedthatthesereferencesto geographyandlandscapemostfrequentlyoccurinthesongsthatbelongtosomespecific albums:"Nebraska"and"TheGhostofTomJoad". Startingfromtheanalysisofthetypologyoftheplacesmentionedbytheauthor,Iwentonto considerhowthispeculiarpresencehasaclearreflection inbothmelodyandlyricswriting.Itisonlyincertainalbumsthatwecanfindaconsiderable differenceintherespectofhowSpringsteenrealitiestothegeographyofhisnation. Thisputshisworkinaperspectivethatmightleadustoconsiderhismusicandlinesasoneof theclassicsofAmericanliterature.Springsteenhasn'ttriedtofindnewwaysofexpression,but hehasdefinitelytriedtorenewthatideaofAmericaandgiveacontemporaryinterpretationof "thedream". ThroughthemusicalanalysisofthesongsinthesealbumsIhavefoundoutwhatinthemelodies hasbeentransmittedthroughtraditionandisnowevident:blocksofmelodystructurehave beentransmittedthroughthecenturiesandhavebeenusedalmostwithoutmodificationby Guthrie,DylanandSpringsteen. Fromamusicalpointofviewthough,thereisaroadwhereSpringsteenisleadingapersonal newway.Thatishisverypeculiar"phrasing"ability.InmystudyIwasabletoshowthatinthe samemusicalstructureheiseasilycapabletofitin8aswellas22syllables. Fromaliterarypointofview,thatintentiontostronglyunderlinethis"senseofplace"leadsus directlytothefactthat,ashehimselfhassaidinaninterview:"thepoliticsareimplicit".Itleads ustothedepictionofhispersonalvisionoftheAmericanDream. Thesenseofplaceisthepoliticalanswertodeteriorationofthehumanconditioninthe Americansocialsystem. Geography,LandscapesandPlacesinBruceSpringsteensWork,MaryaMorris,CityPlanning Consultant,Illinois ThispresentationwilladdressSpringsteensuseofscenecontinuityinhislyrics,whichisa prescribedsetofrealandfictionalplacesthatformafoundationfortellingstoriesaboutpeople. Itdrawsonnumeroussourcesthatincludehisrecordsandalbumlinernotes,variousreviews, critiques,essays,andSpringsteensownexplanationsofhisuseofplaceininterviews, performances,andothermedia.Thispresentationwillfocusspecificallyonhisfourmostrecent albums,Devils&Dust,TheSeegerSessions,Magic,andWorkingonaDreamwhiledrawingon hisentirediscographytoprovidecontextandillustratecontinuityinhisuseofplacebased themesandimagery.ItexpandsupontheworkIpresentedatthe2005GloryDaysSymposium, "FromMyHometowntoThisHardLand:BruceSpringsteensUseofGeography,Landscapes,

andPlacestoDepicttheAmericanExperience."Thatpresentationcovered(That2005 presentationformedthebasisofapaperofthesametitlepublishedinGloryDays:ABruce SpringsteenCelebration.InterdisciplinaryLiteraryStudies:AJournalofCriticismandTheory9.1 (2007). DeliverMeFromNowhere:PlaceandSpaceinBruceSpringsteensNebraska,FrankFury, MonmouthUniversity,NewJersey In1972,BruceSpringsteenwasaskedbystudioexecutivesatColumbiatochooseadesignfor hisfirstalbumcover.ColumbiawaspushingforaNewYorkCitythemedalbumcover,but Springsteenhadalreadyinextricablytiedhismusicalidentitytohispersonalidentity.Helater wouldtellareportertheyearafterhisfirstalbumwasreleased,ThemainreasonIputAsbury Parkonthetitleofthealbumwasbecause[ColumbiaRecordsexecutives]werepushingforthis bigNewYorkthing,thisbigtown.Isaid,Wait,youguysnutsorsomething?ImfromAsbury Park,NewJersey.Canyoudigit?NewJersey.'Springsteensstanceonthealbumcoverwas abouttheidentificationofpersonwithplace;inthislight,itwasnotsurprisingthatSpringsteen wentbacktohismusicalrootstotheJerseyShorestoppedintoasmallshoponthe boardwalkandchoseapostcardthatwouldnotonlysupplyhimwiththegraphicforthealbum coverbutalsoitstitle:GreetingsfromAsburyPark.Thealbumcoverwasapublicstatement thatwouldreverberateinitsearnestnessandconsistency,asthepreponderanceofplaceasa recurringconcerninSpringsteensoeuvrewouldcometomanifestitselfinhismusictimeagain. Indeed,itwouldnotbeastretchtosaythatplaceisanimportantcriticalparadigmthrough whichtoconsiderSpringsteenswork.Asimpleoverviewofhisalbumtitles,forinstance,shows acleargeographicemphasis. OfallSpringsteensalbums,however,Nebraska(1982)representshismostsustainedand complextreatmentofplaceinacareerthatshowsapreoccupationifnotanobsessionwith theindividualvisvishisorhersurroundings.Theromanticteenageprotagonistsofthefirst threealbumsandthedefiantheroesofDarknessontheEdgeofTownandTheRiverwouldgive waytoasegmentofhumankindthatmightotherwisefallintotheobscurityoftheirbackdropsif notforSpringsteensattention.SpringsteenportraysthefiguresofthetentracksofNebraskain starkterms,moreinreliefagainstthebackdropoftheirsurroundingsratherthanincommunion withthem.Thetitleofthealbumanditsfirsttrackimplyasdoesthecoverphoto,which,along withGreetingsisoneofthefewinhiscareernottofeatureashotofSpringsteenhimselfa spiritualwasteland,anemptinessthatpervadesthechillingacousticsofthesongsand Springsteenspoetics.Thealbumitselfpositsastrongnarrativityofplace,andinfactitisthe notionofplacethatunitesthesingleepisodesofthealbumconceptually.Thispaperthusseeks tocontextualizetheaestheticsofthealbumaccordingtoboththephysicalandmetaphysical landscapesSpringsteensingsaboutinNebraska,analbumwhichcantrulybesaidinits conflationofphysicalandmetaphysicallocalestodramatizeanightmarishworldperhapsbest articulatedinoneofthehauntinglinesfromthealbum:NewJerseyinthemorninlikealunar

landscape." TrackingPlaceandIdentityinSpringsteensTracks,MikeCadoandTeresaAbbruzzese,York University,Canada Withacareerthatnowspansalmostfourdecades,BruceSpringsteenisrecognizedasoneof themostinfluentialpopularmusicartiststohaveemergedinthelatetwentiethcentury. Springsteenismostprominentlyassociatedwithplaces,bothrealandimagined,specifictothe Americanrustbeltregion.Theimportanceofthisparticulargeographicalconnectionis highlightedintherecentRockandRollHallofFameexhibittitled,FromAsburyParktothe PromisedLand:TheLifeandMusicofBruceSpringsteen.However,hisappealextendsfar beyondthelocationallimitsoftherustbelt:Springsteenisreveredwidely,notonlythroughout theU.S.,butacrossNorthAmericaandelsewherearoundtheglobe.Whilethefactthathehas recentlybecomeakeyfigureontheU.S.nationalpoliticalscenehasnodoubtenhancedhis following,partofthereasonforhiswidespreadpopularity,aswewillarguehere,isinhis particularhandlingandembodimentofplaceandidentity.Settings,narratives,andcharacters thatononelevelaregeographicallyspecifictotheU.S.rustbeltalsohaveabroader,more universalappeal.Histreatmentofrelationshipsbetweenfathersandsons,husbandsandwives, boyfriendsandgirlfriends,andemployersandemployees,aswellashisexplorationsof adolescentrebellion,personalstruggle,entrapment,anddreamsofescapespeaktoawide crosssectionofglobalhumanity. ThepurposeofthispaperistoexamineBruceSpringsteensrepresentationsofplaceand identityinthefourCDcollectionreleasedin1998andtitled,simply,Tracks.Weareespecially interestedinthethemesofescapeandstruggleinthiscollectionandhowthesethemes conveyedthroughacomplexofimagery,narratives,andsoundarticulatetheroleofplacein theeverydaylivesofordinaryAmericans. Thepaperisdividedintothreemainsections.Thefirstoftheseintroducesthetheoretical underpinningsofouranalysisandpointsouttherelationshipoftheseconceptualconsiderations toboththeconstructionandrepresentationofplaceandidentity,aswellastothequestionof howmeaningsareproducedandembodiedthroughmusicalperformance.Inthesecond section,weofferanoverviewofthebodyofworkpresentedonTracks.Wehavechosento examineTracksfortwomainreasons.First,suchanapproachallowsustobringinunexplored songsorasSpringsteen(1998)callsthem,theonesthatgotawayintothemanyandrichly crossdisciplinaryconversationsthatexistaboutthisartistandhiswork.Secondly,afocuson Trackshelpsshedaretrospectivelightonthemanbehindthepublicstagepersona,TheBoss. Finally,insectionthree,wediscussthevariousmetaphoricalandmaterialexpressionsofplace thatareembeddedinSpringsteensnarrativesofescapeandstruggleinTracks.Insodoing,we revealhowtheconstructionofidentityiscontingentupontheseexpressions.

7. SpringsteenandAmericanRootsTradition:(BeyHall,Room225) Moderator:MarthaNellSmith,UniversityofMaryland TheTiesThatBind:BruceSpringsteen,Patriotism,andMisinterpretation,JamesCameron Howes,CambridgeUniversity,andLisaKirch,UniversityofMaryland PharaohsArmyGotDrownded:FromMadamMarietoPeteSeeger,MarthaNellSmith, UniversityofMaryland,andLennyCassuto,FordhamUniversity,NewYork InBetterDays,Springsteenbemoansbeingarichmaninapoormansshirt.Inthe documentaryaccompanyingtheSeegerSessions,hesaysthatthevitallypassionatemusicof PeteSeegerneededtoberecontextualized,andresituatesthosesongsbythespectersofIraq andKatrina.HowCanaPoorManStandSuchTimesandLiveisoneofthemostmoving, astoundingworksofprotestmusicsinceOhioandWaistDeepIntheBigMuddy,butthe entirealbum/concertisfullofpassionatepolitics,andrepeatedlyremindsitsaudienceofhow musiccaninfactmatter(socially),andhowthetroubadours/playersthatbringittouscanmake adifference,theirstagetranscendingaparticularnightandservingasaplatformforimagining realculturalandsocialchange(inharmonywithsuchperformersasthoseonPlayingforChange (http://playingforchange.com). Weproposeapanelconsistingoftwocoauthoredpapers(LennyCassutoandMarthaNellSmith; JamesCameronHowesandLisaKirch)withrespondentAlanRauch.[Cassuto,Smith,andRauch haveeachpublishedonSpringsteenandHoweswrotehisthesisinBritainonSpringsteen.] TracingthefigureofhungerinSpringsteenswork(andhowitsbecomelessprominentinhis lyricsinrecentyears),wewillmuseuponhowSpringsteenmayhavebeenseenasbeingin artisticcrisisarguablyhungerwasthesourceofhisinspiration,andwhenhegotfull (successful),hewasatmoreofalossaboutwhattowriteandhowgoingbacktohisrootsand learningfromhisprogenitors,specificallyPeteSeeger,gavehimhismojoback. Butsignificantly,fromtheChristicInstituteBenefitconcertsthroughTheGhostofTomJoad,The Rising,Devils&Dust,Magic,andWorkingonaDream,Springsteenarticulates,inwholeorin part,adrive(ahunger?)tobecommittedtosomethinglargerthanhimselforhisown relationshipandhefounditinpoliticalexpression.Theseriousnessandcommitmentbywhich heengagesthepoliticalgoeswellbeyondhiswillingnesstobeprofiledintheNewYorkTimes MagazineasSteinbeckinLeather,andwewillexaminevariousevolutionsofhismusically politicalpoesis. Cassuto/SmithsSteinbeckinLeatheranalyzeswaysinwhichSeegershowedSpringsteenhow tobepoliticalinmiddleage,howtobepartofacauseandhimselfatthesametime. SpringsteensSeegerexperienceunlockedsomethingthatweseeinMagic(andinWorkingOna Dream,whichinfusestheveinofTunnelofLovewiththeovertlypolitical).Howes/KirchsThe TiesthatBind:SpringsteenandPatriotismtraceswaysinwhichaniconwhoreachedhis commercialandculturalzenithtiedtotheveryideaofwhatiswastobeAmericansoughtto wrestthatimageandthecontentofhismusicfromthosewhowouldmakeitotherthanwhat

heintended(Reagan)andtherebybegantoforgeanewpatriotismthat,probably unconsciously,borrowsandlearnsfromabasictenetoffeminism:thepersonalispolitical. 8. SpringsteenandFamily:(BeyHall,Room223) Moderator:RichardGrosse,LCSW,Virginia SpringsteensLongWalkHomeasaFatherandActivist:TheTwinArcsofPoliticsand Parenthood,JohnDuffy,FreelanceWriter,Pennsylvania,andBrendanFlynn,Physician, Colorado SpringsteensLongWalkHomeasaFatherandActivist;TheTwinArcsofPoliticsand Parenthood Overthepastthirtyfiveyears,themusicofBruceSpringsteenhastocometorepresenta uniquelymoderncodeofAmericanethics,oneinwhichthepromisesofdemocracyarefulfilled bothbytheindividualandthecommunityheorsheisapartof.Onlyrecentlyhasthiscodebeen expressedasaspecificpoliticalideology.Springsteensjourneyfromthetroubled,alienatedson ofaworkingclassfamilytoacaring,dedicatedfatherhimselfiskeytounderstandingthat ideology. Springsteenhassharedcandidlytheunfulfilling,andsometimescombativerelationshiphehad withhisfather:arelationshipwhereyoungBrucesdreams,ideals,andneedforvalidationwere unmetordismissed.Overthecourseofhiscareerhowever,Brucesfeelingsabouthisfather haveevolvedthroughstagesofanger,hatred,pity,empathy,forgiveness,andafterhisdeath, finallytoadmiration. Inourpresentation,throughtheuseofinterviews,stories,andlyrics,wewillshowhowthe evolutionofSpringsteensrelationshipwithhisfather,andhisgrowthasafatherhimself,ledto theblossomingofanearlybluecollarpopulismintoabroadlyprogressivepoliticalandsocial view.WewillalsodiscusshowBrucehasappliedtheselessonsinraisinghisownchildren,and theuniquechallengesheandhiswifefaceaswealthycelebrityparentswithbluecollarroots. Springsteensultimatepersonalandprofessionalgoalistohelpbuildacommunitywhere dignity,hardwork,faith,andcompanionshiparebothcelebratedandrewarded.Wecannot expecttofindtheseinourcommunity,hismusicstates,unlesswecanprovideandacceptthem inourmostintimatespaces;fortofindthatplaceinthewiderworld,itmustfirstbesecuredat home.

TunnelofSolitude:MaleMythsandBrotherhood,MichaelThomas,MonmouthUniversity, NewJersey AsafollowuptomyfirstGloryDaysSymposiumpaper,TunnelofHumility,aCreativeNonfiction essay,mynewessayarguesthattheworkofBruceSpringsteenidentifiesanunspokenneedfor deepemotionalconnectionsbetweenmen.WhilefocusingonMagicandWorkingonaDream,I presentpersonalexperiencesgrowingupasanidenticaltwinandexplorehowSpringsteen's lyricsandmusichaveledmetonewunderstandingsaboutsolitude,communicationandthe oftenhiddenvulnerabilitiesofgrowingupmale.Springsteen'sworktellsstoriesofloneliness, violence,andsolitude,butinthistelling,Springsteenasasongwriterfulfillsandhealsthelossof manyestrangedorbrokenmalerelationships.Asatwin,atsomepoint,Ihadtogiveupmyown uniquebrandofbrotherhood,"twinhood,"becauseitwasawayofbreakingawayfrommy familyandachievingindividuality,livingasanadult.Inmanyways,Springsteen,atthisstageof mylife,hasbecomethemirror. HighwayPatrolman:AnApplicationofSiblingTheoryandResearch,JonathanCaspi,Montclair StateUniversity,NewJersey BruceSpringsteen'ssong"HighwayPatrolman"tellsthestoriesoftwobrothers,JoeandFrankie Roberts.Inhisrelativelyshortnarrative,Springsteenquiteexpertlycapturesmanysibling themes.Heparticularlyhighlightsthetensionofdividedloyaltiesandthedynamicof"thegood child"and"badchild"oftenascribedtosiblings.Althoughnotexplicit,themesofbirthorder, environmentalstressors,socialclass,andfamilyrulesarealsopresent. Thispresentationwillapplysiblingresearch,empiricallyderivedknowledgeandcurrentsibling theoreticalframeworkstothenarrativeinHighwayPatrolman. FromSontoFather:BridgingtheGapThroughtheMusicofBruceSpringsteen,Dennis Graham,HarrisburgHighSchoolArkansas AstapleoftheearlyalbumsofBruceSpringsteenwerethefathersongsthatdetailedthe oftentimesstormyrelationshipbetweenfathersandsons.Thesesongswereoftenpunctuated duringliveperformancesbySpringsteennarrativesthataddedtothesongspoignancy.The fathersongshowever,underwentametamorphosisafterSpringsteenbecameafather.This papertracestheevolutionofBrucesfathersongsfromtheperspectiveoftheangryyoungman tothatofthedotingfather.Thepaperisdividedintothreeparts,thedivide,thebridge,andthe otherside,thattracesthistransitionfromsontofather. 9. SpringsteenasNarrativePoet:(BeyHall,Room222) Moderator:MichaelWaters,MonmouthUniversity,NewJersey OfQueensandCandyAisles:Desire,DecayingSocietyandtheLiteraryTraditionofQueenof theSupermarket,BillWolff,RowanUniversity,NewJersey

ThoughBrianHiattinRollingStonewrotethatthe"twistedpopfantasia"of"Queenofthe Supermarket""hasaSixtiesAMradiovibereminiscentofManfredMann's'PrettyFlamingo,'the songhasreceivedsomeoftheharshestcritiquesofanySpringsteensong,ever.ThePhiladelphia Inquirersuggestedthatit"mightbetheworstsongSpringsteenhaseverreleased."TheDetroit Newswasmorecertain:"TheworstsongBruceSpringsteenhaseverwritten."AndBlender cookedupadevastatingcomparison:"Atthe3:00mark,itaccidentallyturnsintoaMeatloaf song."UponfirsthearingthesongI,too,wonderedjustwhatwasgoingonwiththishokey, piningsong. However,becauseoftheinfluencetheBeatgenerationhashadonSpringsteen,onecannothear theword"supermarket"withoutmakinganimmediateconnectiontothemostfamousofall supermarketpoems,AllenGinsberg's"ASupermarketinCalifornia."Inthispoem,Ginsberg invokesandobjectifiesWaltWhitman(justasSpringsteen'sheroinvokesandobjectifiesthe cashier)whilefantasticstreamingofconsciousnessdescriptionsofdirectionlesslivesamongst theavocadosandtomatoessuggestthatneonAmericahaslostitsway.ThisisSpringsteen's supermarketonefilledwiththedesiresofworkingclasspeopleattheendofthedaylonging forthosethingsjustoutofreach:groceries,overtaction,love. And,yet,itisalsoaplaceofinaccessible,cloakedroyalty.Thequeenofthissupermarketlike Mary,theQueenofArkansas,whoselooselovehastheheroteeteringoffthetightropeisso builtupinthehero'smindthatthoughsheisamerefootawayshemightaswellbeperchedon athronehighabovethemindlessmasses. Sexualdesire,lifelesshumanity,anddecayingsocietyinthesupermarket(orgrocery)havearich literarytraditioninworkbyJohnUpdike,CharlesBukowski,DeniseLevertov,LangstonHughes, andRandallJarrell,amongothers.Theword"supermarket,"firstusedin1933,hadasimilar negativeconnotationofadeclineinsocietyandpillagingofsmalltownlifethat"bigboxstore" hastoday.ContemporaryexamplesinpopularmediaofsuchlossincludeTheClash's,"Lostin theSupermarket";Pulp's"CommonPeople";thepetstoreinRocky;RetailRodeoinTheGood Girl;andthesupermarketinMoscowontheHudson,whereRobinWilliams'characterisso overwhelmedbytheamountofcoffeeintheaisle,ascomparedtoRussiawherehehadtostand onacoffeeline,thathecollapsesuncontrollablyrepeating,"Coffee.Coffee.Coffee.Coffee." Thispresentation,then,willcontextualize"QueenoftheSupermarket"withintheSpringsteen oeuvreaswellasthesocioeconomictraditionsofsupermarketsinliterary,music,andscreen history.Asaresult,wewillseethatthesongbreaksnewgroundforSpringsteen'swritingabout men,women,andsociety. BirthofTheBoss:SpringsteensRhetoricalDevelopment,ScottWagar,Miami(Ohio)University Springsteensactivityasapoliticaladvocateinrecentyearsoffersplentyofpotentialmaterial forrhetoricallymindedscholarstoanalyze.ButtherootsofSpringsteensovertattemptsat

persuasioncanbetracedbacktohisearlierwork,whereheislessopenlypoliticalbutarguably nolessrhetorical.InthispresentationIdiscussSpringsteensdevelopmentasapersuader,or _rhetor_,fromhisfirstrecordstohisrisetosuperstardominthemid1980s.Thisanalysis revealsaninterestingtrajectoryofrhetoricalnessthathelpsmakesenseofSpringsteenslater, moreunabashedrhetoric. AnOperaontheTurnpike:MusicalFormandNarrativeMythintheEarlyWorksofBruce Springsteen,BarryLong,BucknellUniversity,Pennsylvania Onhislandmark1978album,DarknessontheEdgeofTown,BruceSpringsteenspeakstothe harshrealitiesofselfandotherbyrecallingthesinsofsomebodyelsespastinheritedfrom thebiblicalAdam.Inmanyways,thisrecordmarkedadepartureforthesongwriterfromearlier narrativesthatromanticizedandembracedthetangledviolenceandfervorofsuchdelineated charactersasSpanishJohnnyandPuertoRicanJane;aseverancemadepermanentinthelost innocenceofTheRiver:Isadreamalieifitdontcometrue,orisitsomethingworse? Springsteenspriorcompositionshoweverofferedmusicalstakesasambitiousashischaracters andtheirattemptstomakeastandintheunderworld.Extendedformsmirroredthescaleofthe dramaasorchestrationsscoredscenechangesinmannersasmuchSixtiessoulascontemporary rock.ArchetypalworkssuchasLostintheFlood,Incidenton57thStreet,andNewYorkCity SerenadetransportedsuchEastCoastclubsassuburbanPhiladelphiasMainPointandNew YorkCitysBottomLineintofigurativeoperahousesonenightatatime.Thispaperwill examinehowBruceSpringsteensuseofmusicalformacrosshisfirstthreealbumssupportsa setofnarrativemythsthatvalidate,cohere,andinquire.Theraritywithwhichsuchsongshave beenperformedinthedecadessincetheirconceptionunderscoresboththeirseminalityandthe songwritersmusicalandlyricaldeparture. SATURDAY,SEPTEMBER26BREAKOUTSESSIONABSTRACTS 2:153:45pmBreakoutSessions,MonmouthUniversity 1. SpringsteensInfluence:ExtendingtoSports,YouthandthePoliticsofCulture:(BeyHall231) Moderator:JerryZolten,PennStateAltoona,Pennsylvania HowBruceSpringsteenInspiredMyBook,HowardShapiro,Author,Pennsylvania HowdoBruceSpringsteenandthesportofhockeygotogetherorhaveincommon?Onthe surfaceyoumightthinknothingatall.However,digalittlebitdeeperandyoullfindthatthey bothcanhelpkidslearnalotaboutlifeandthesituationstheymaybegoingthroughorhave wentthrough.

BothBrucesmusicandthegameofhockeyaretwoofmyfavoritethingsandwhenIsetoutto writemyfourthchildrensbook,HockeyPlayerForLife,Iwantedthetwotointersectinaway thatwouldenhancethestory,whilealsomakingitmorefunformetowrite. Thestorywasgearedtoolderchildren,reallytenyearoldsonup,andwhatstartedoutasatip ofthecaptoBrucebyincorporatingintothestorynames,placesandtitlesfromBrucessongs becamealittlelikeamissiontointegratesomeofthethemesthathesingsandwritesabout andapplyitintotheworldIcreatedformystory'sprotagonist,thirteenyearoldTomLeonard. WhileitwasfuntosprinkleinthereferencessuchasTomsteambeingnamedtheMagicRats andhimplayingstreethockeyunderneathAbramsBridgeandicehockeyattheFairviewIce ArenaIkindofhitawall.IknewwhereIwantedthestorytostartandIknewhowIwantedto endit,itwasthemiddlepartthatIwashavingtroublewith.AroundthattimeIstartedtowatch themakingofBornToRunDVDandbywatchingthatandhearingBrucetalkaboutthemaking ofthatalbumandthethemeshewasexploring,IsuddenlyfoundwhatIwaslookingforthe middlesectionofthestory! Whilethethemes/messageshetalkedaboutintheinterviewsegmentsontheDVDsuchas escapismormovingonfromwhereyouwereat(asheexploredinThunderRoadandBornTo Run)arenotreallythemesmanytweenersexperience,Idecidedtostretchthingsalittlebit andworkonsomethemesandmessagesthatchildrencouldunderstandandrelateto.Suchas Tomsdesiretoleave(possiblyescape)hissmallPennsylvaniatownandleavehisfriendsbehind andplayforanallstarteaminToronto.Theconflictthatarisesfromhisleavingtown,leaving hisfriendsbehind(thedoorsopenbuttherideitaintfree)andwhenhecomesbacktotown andhisoldteamwilltheteamandhiscoachaccepthimback? OthersongsthatIwantedtoworkintothestorywereIndependenceDayasTomandhisDad buttheads(papagotobednowitsgettinglate,nothingyoucansaycanchangeanything now)andTomscoachgivesafireandbrimstone,winonefortheGipperlikespeechwherehe worksinsomeofthethemesfromNoSurrender. Iendedupfindingoutandcomingtotherealizationthat,indeed,Brucesmusicandlyricshave messagesandthemesthatchildrencanpickuponandapplyintheirlives.Thekeyisthatthey havetolistenintentlyandmaybeaskquestionsbuttheycanlearnalotaboutlifefromlistening tohissongsandreadinghislyrics.AndintheendmygoalwhenIwrotemytwohockeybooks wastotryandteachkidsthattheycanlearnalotofvaluablelifelessonsfromplayingthegame ofhockeyandIendeduplearningthattheycouldalsolearnalotfromthethemesand messagesBrucewritesandsingsabout.

So,intheendmaybethegameofhockeyandmusicofBruceSpringsteendohavesomethings incommon,childrencanlearnalotfrombothofthem.Theyjusthavetoseethebiggerpicture otherthensimplywhowinsorlossesthegameorwhohasthebeststatsinhockey.Plus,not simplylistentothechorusorthetitleofaBruceSpringsteensong,butreadandlistentothe lyricsandtryandgleanfromthatwhathissongsarereallyabout. SpringsteensCivicCenters:StagingPublicCultureintheAgeoftheArena,DanielGilbert, MacalesterCollege,Minnesota ThesportsarenastandsasoneofthemostcentralcomponentsofBruceSpringsteen'screative history.Indeed,whilethebarsandclubsoftheJerseyShorestandassymbolictouchstonesfor theartist'sorigins,theciviccentersofNorthAmericancitiesandsuburbsloomfarlargerin Springsteen'slongcareer,particularlyintheyearssincethe1980s.Howhasthisparticular architecturalformshapedSpringsteen'smusicandwiderculturalresonance?Examining Springsteenandhismostcentralformofperformancespacetogetherasemblemsofurban changeinthesecondhalfofthetwentiethcentury,thispresentationpositionstheartist'swork atthecenterofabroaderanalysisoftheuses,meaningsandpoliticsofcontemporarypublic culture. CathedralsofSport,CathedralsofRock:SpringsteenandtheStadium,BobTrumpbour,Penn StateAltoona AlthoughNorthAmericanstadiumshavebeendesignedprimarilyasvenuesforsport,theyhave evolvedintovenueswheremusiciansroutinelyperformbeforevastaudiences.FromtheBeatles historicperformanceinNewYorksSheaStadium,toBruceSpringsteens2009SuperBowl performanceinTampaBay,Florida,thestadiumhasbecomeavenuethatsuggestsanartisthas arrivedonagrandscale.WhentheBeatlesperformedatSheaStadium,itwasuniquefor musicalperformerstoappearinlarge,majorleaguestadiumsbeforeamassivecrowds,butas timeprogressed,stadiumperformancesbecamemorecommonplace,withhighlyefficient marketingstrategiesandadvancedcommunicationtechnologiesmakingselectedperformances trulynationalandinternationalinscopeandscale.Whenperforminginexpansivevenuesofthis nature,performerssuchasSpringsteenhavetoconfronttensionsbetweentheauthenticityof onesproductandallegationsbysomeofconformityandsellingout.Forsome,Springsteens decisiontoperformintheSuperBowlwassomethingthatoughttoberegardedwithskepticism andcriticism.However,manyothersregardeditasapositivestepinSpringsteensmusical journey,andanopportunityfortheBosstowidenortofurthersolidifyhisappeal.This presentationwillexplorehowBruceSpringsteentookonthischallengeinhis2009SuperBowl performance,andhowabroadrangeofaudiencesreactedtohisinclusioninthismajorsporting event.TheimplicationsofperforminginvaststadiumsversusSpringsteensoftenromanticized earlierperformancesinsmaller,moreintimatevenueswillbediscussed,aswilltheroleofthe stadiumasalargerpartofourculturallandscape.

 2. SpringsteenandAmericanIdentity:(BeyHall,Room230) Moderator:KevanYenerall,ClarionUniversity,Pennsylvania SearchingforthePromisedLand:BruceSpringsteenandtheAmericanDream,DeanitaHicks, ArkansasNortheasternCollege,Arkansas Formuchofhiscareer,SpringsteenhasfocusedontheaspirationsoftheAmericanpeopleto reachthePromisedLandandachievetheillusiveAmericanDream.HissearchforAmericas promiseandpotentialappearsearlyinhisworkandhasintensifiedduringthefourdecadesof hiscareer.AlthoughSpringsteenhasmorethanachievedtheAmericanDreampersonally,he continuestotraceitsprogressforothersinapersistentexplorationofwhatitmeanstobean American,especiallyintheaftermathofourpost9/11lives.NearlyallofSpringsteenswork looksatsomeaspectofwhatitmeanstoliveandworkinAmerica,buttwosongsinparticular illustratetheconsistencywithwhichhehasexploredAmericanlifethroughthedecades.A comparisonofMyHometown,from1984sBornintheU.S.A.,andLongWalkHome,from 2007sMagic,demonstratesSpringsteensincreasingconcernforthepromiseandthefailureof theAmericanDream.AshehasgottenmoreopenlyinvolvedinrecentPresidentialelections,his workhastakenonanewsenseofurgency,oftenshowcasinghisambiguousrelationshipwith America. ThehometownsSpringsteenwritesaboutinthesetwosongsaresymbolicofthehomeand senseofplaceandcommunitythatmostallAmericansdesire.However,sincemanyof Springsteenssongscanbereadinmorethanoneway,bothhometownsmayalsorepresentour senseofplaceascitizensofanation.SpringsteenstillholdsouthopefortheAmericanDream, andhestillwishestoseethePromisedLand,butinMyHometownthereisadistinctsenseof disillusionmentwhenthenarratorlooksaroundhisdyingtownandcontemplatesmovingon.In LongWalkHome,producedaround23yearsafterMyHometown,onesensestheurgency withwhichthenarratortriestoreturntohishome,knowingitmayneverbethesameagain,or atleastitwontbethesameashehasperceiveditinthepast.Bothsongscontainthemesof lostcommunity,lostsenseofplace,autopianpastthatthenarratorregretsisnowgone,anda senseofhopeevenasthingslooktheirdarkest. IwishtoillustratetheevolutionofSpringsteenslyricsandconcernsaboutAmericaby explicatingthesetwosongsinlightofthefactthatmanyofhisalbumsarethematic.Thesetwo albumsaredealingwithsomeofthesamethemes.Althoughmanyofusfeelanewsenseof hopeaboutourcountryinlightofrecentpoliticaldevelopments,itissafetosaywestillhavea longwalkhometorealizethekindofcountrythatwehaveenvisioned,andthisisnotloston Springsteen.IntroducingLongWalkHomeinahot,crowdedvenue,Springsteensays,The countrywecarryinourheartsiswaiting,andIbelievethelyricsofthesongimplythatweare stillsearchingforthatcountry. OutlawPete,BarackObamaandAmericasHybridIdentity,BenjaminRailton,Fitchburg StateCollege,Massachusetts "OutlawPete"seemstobeasongthatfocusesveryfullyonquestionsofhistorynotonlyinits vaguelyhistorical(WildWestish)setting,butalsoandmoreimportantlyinthewaysinwhich

thetitularheroisforcedintheclimacticversestoconfronttheongoingpresenceoftheviolent pastthathehastriedtoleavebehind.ButIwouldarguethatjustasimportanttothesong's climax,andparticularlytoitshauntingandbeautifulclosingverse,isanimageofthefuture: Pete'smixedracedaughter,thefairskinnedNavajogirlwhorepresentsboththeonetrulygood thinghispastactionshaveproducedandthemostcomplexwayinwhichhislegacywillbe remembered(literally,byher,butalsofigurativelyinher)intothefuture. Itisinalllikelihood(atleastasrelatestothatfinalimage)acoincidencethat"OutlawPete"is theopeningsongonanalbumthatwasreleasedonlymonthsaftertheinaugurationof America'sfirstmixedracepresident,BarackObama.Butitis,Iwanttoargueinthistalk,a profoundlysymboliccoincidence,fortwodistinctbutequallysignificantreasons:mostofthe nationalnarrativesaboutObamahaveelidedhismixedraceidentityinfavorofunderstandable butlimiteddefinitionsofhimasthefirstAfricanAmericanpresident;andyetObama'sownself definitions,insuchcrucialtextsashisfirstautobiography(DreamsfromMyFather)andhis seminalspeechonrace("AMorePerfectUnion"),emphasizeandanalyzehismixedheritage andidentity. Ibelievethatitisonlybypayingsimilarlyextendedandanalyticalattentiontothatheritage,and throughittothemultiplewaysinwhichAmerica'spastandpresentidentitycanbedefinedas likewisehybrid,thatwecantrulyengagewithournationalhistoryandfuture.And,asusual, BruceSpringsteencanhelpusdothatwiththatevocativefinalconnectionofpasttofutureas embodiedbyPete'smixedracedaughter;andalsowiththedeeplymovingfinalimageofthe songwithwhichmytalkwillclose,"41Shots(AmericanSkin)."Thatis,themorewecan recognizethehybrididentitiestowhichallAmericansareconnected,themorewecan understandjusthowfullyweareall"baptized...ineachothers'blood." SpringsteensStoriesofAmerica,RobertMcParland,FelicianCollege,NewJersey IfAmericaappearstobestrugglingforanew"story,"ameaningfulnarrativeaboutsocialand politicallifeinAmerica,aspoliticalscientistMichaelSandalofHarvardhassuggestedin Democracy'sDiscontent,BruceSpringsteenisoneartistwhohasbeenrespondingtothatneed togivevoicetoourstories.Hiswork,inthissense,issolidlywithintheAmericanfolkmusic tradition.Inthispaper,IexploreSpringsteen'suseofnarrative(storytelling)anditsrelationto folkmusicandtheinteractivenatureofhisperformances.InSpringsteen'sworktherehasbeen astrongrelationshipwithawidespanofrockmusicforms.HisconnectionwithAmerica'sfolk musicisequallysignificant.EarlycriticalassociationswithBobDylanandhisturntowardPete Seeger,orWoodyGuthrieandJohnSteinbeck'sGrapesofWrath,arenaturalandfolkmusicis integraltohiscraftasasongwriterstorytellerandasaperformer.Inthispaper,myfocusison thebodyofworkthatSpringsteenhascreatedsinceTheRising,particularlyDevilsandDustand theSeegerSessions.ThisreflectionseekstoexaminethestrongconnectionbetweenBruce Springsteenandhisaudience:howheactsasavoiceofthepeople.Withattentiontobothhis musicandhislyrics,IintendtoinvestigateSpringsteen'ssenseofthepulseofAmerica.

3. SpringsteenandtheArtofStayingRelevant:(BeyHall,229) Moderator:MelanieHenwood,MelanieHenwoodAssociates,UnitedKingdom TheRising:ASongEvolvesfromGrieftoProtesttoTriumph,BrendaVanHorn,Writer,New York TheobjectiveofthispaperistopresentafansperspectiveonSpringsteensperformanceofthe songTheRisingfromitsintroductionin2003asthetitletracktoTheRisingalbumthroughto itspresentincarnationontheWorkingOnADreamtour. Thispaperwillillustratehowthesonghaschangedinperformanceandinrelationshiptothe othersongsinconcerttoreflectthepolitical,socialandeconomicstatusofthecountry.While themainfocusofthepaperisonTheRising,othersongswillbeanalyzedandpresentedto illustratethetechniquesthatSpringsteenemploystokeephismusicrelevantandmeaningfulto theerainwhichtheyareperformed.Specificfocuswillbeonthepoliticalsituationfrom2001to 2009. Thewriter,alifetimefan,willdrawprimarilyonpersonalexperiencegainedfromattendingover 50Springsteenshowsin30yearsandsecondarilyoninterviews,periodicalandnewsarticles andotherresearchsourcestopresentthefindings. Dorothy,Mary,HoldenandPete:ExploringMultipleInterpretationsofSpringsteenLyrics, TheresaDeckebach,CabriniCollege,Pennsylvania BruceSpringsteenhasoftendiscussedamindfulness,whenwritinglyrics,inallowingroomfor variedinterpretations.Notonlydoesthishelphiswidevarietyoflistenersmakepersonal connections,butitalsoinvitesthosesamelistenerstorevisitthesongsatdifferentpointsin theirlivesandexperiencetheminnewways. Thistalkwillexplorethepowerof"flexiblelyricism"andhowSpringsteen'sskillhasbrought forth"livingsongs"thatgrowandchangewiththetimesandthelisteners.Wewillalsodiscuss how,forexample,asonglike"Mary'sPlace"canbeaconcertpartytunewhile,atthesame time,beaheartwrenchingprayerfromawidow.Andconsider"OutlawPete",thetalltale aboutAmerica'slandgrabbingpastandaddictiontoconflict?Oraparableaboutman'sinability tochange?Orsimplyarockopera? IbeganreflectingonSpringsteen'smusicin1978whenaskedtodoanassignmentin8thgrade.I lookedatthelyricsandmusicalityof"Factory",itsdroningmelodyandmonotonousrefrains, andhowitshednewlightonhowmyownfathermust'vefeltathismanyjobs.Andthirtyyears later,Icontinuetoreflectonthispoetandhisart. Audio/Visual:ComputerProjectorforLaptop

SpringsteenandtheStrugglewiththeDistributedNarrative,PatrickCooper,USAToday, Virginia Thecloudedwrathofthecrowdisalotmorecloudythanitusedtobe.Envelopedinthis century'swealthofsocietalconversations,wehidebyfact,notbychoice,andwehavetogrow inaparadoxicallyconnectedworldwhereeveryoneandnoonenoticesourstory.Dowesit down?Standup?It'shardtotelltheactionsapartanymore. Thechallengeforthenarrativefollowsclosely.Howdoesthestorytellerbegintospeakforthe massesorevenforself?Culturalandpersonallensescomeinadiversitythatexceedsour comprehension.Unabletotakeitallin,weeachpushagreatdealawayandturninward, observingourselvesandpublishingtheseobservationsmorethanever.Technologyforself expressioninemail,blog,song,video,comment,ortweethasdriventhepropagationof lensesandperspectivesbutalsoallowedusthisplacementinthenarrativesprawl.The storytellersamongus,theoneswhowanttolookacrosstheland,havetocollect,interpretand filterbeforeevenbeginningtocreatethenarrativeandfarbeforeanystorytellingcanoccur. Thechallengeforthestorytellerhasalwaysbeentoliveintheworld,andnowtheworldis distributedandcrowded.ForSpringsteen,he'sseenbothaspectsinhiscareerbutneveratthe sametimeuntilnow.Thewild,bicoastalcastofcharactersinhisearlyworkcameinhisfirst decadeofmusic,andthetruecrowdscameinthesecond.Asthemassespackedin,the charactersbecamearchetypesorangledexaminationsofself. Butinthisdecade,asthecrowdshavestayedandasnewmediaresearcherJayRosen's"people formerlyknownastheaudience"haveamplifiedthemselvestonewlevels,wehaveseen Springsteen'ssongstorytellingruninthreepreviouslyunexploreddirections:todeepcharacter minutiae,toaplacebeyondcharacterandinaflipofpartofthe'80sapproachtoselfas angledexaminationsofcharacters.Springsteenthestorytellerhasalwaysliveddeepwithinthe crowd,butdecreasingvisibilitytherehasforcednewnarrativeresolutions. WhileSpringsteenmayclaimtostayawayfromtheInternetproper,digital'ssocialexplosion anditsnarrativeeffectshaveclearlyinfluencedavinyltroubadour'snewstories. 4. SpringsteenandTranscendence/Performance:(BeyHall,Room228) Moderator:DavidBernstein,Westat,Lititz,PennsylvaniaandRockville,Maryland FindingGraceintheConcertHall:CommunityandMeaningAmongSpringsteenFans,Linda Randall,NewYork BruceSpringsteensmusicandperformanceshaveprovidedanemotionaloutlet forthousandsoffansallovertheworld.Usingthestatementsofthesefans,aswellasthelife andmusicofSpringsteen,thispaperdocumentsthereasonswhy,aswellasthewaysinwhich

fansareinspiredtocreateacommunity.Thiscommunityreflectsboththeiremotionaland spiritualattachmentaswellastheirattemptstoliveaccordingtothemoralpreceptstheyfind throughthismusic.Springsteenhimselfhaslaidthegroundworkforthiscommunitythroughhis words,music,anddeeds.Tomany,thesefeelingsandvaluesareasvalidandaliveasanyother spiritualtradition,andarealegitimatespiritualoutlet. Thethoughtsandactionsofthesefans,andthemotivatingforcesbehindthem,allowaglimpse intohownontraditionalspiritualvaluescanbeformedandactedonoutsidethegatesofwhatis normallyseenasconventionalchurchgoingbehavior.Byacknowledgingthelegitimacyof personalspiritualconnectionoutsideasectarianlandscape,itishopedthatappreciationand tolerancefordifferentbeliefsystemsandsystemformationscanbecultivatedandnourished. SpringsteenLive:TranscendentalCelebration,DavidGarrettIzzo,AmericanPublicUniversity, NorthCarolina Springsteenlive(andallart)isavehicleformysticaltranscendence;therushofthegreatestlive performerinrocknrollhistoryisthefoundationofhislegend,orasJacksonBrownesaidatthe NoNukesConcertsof1979:Iknowhim! I'mtalkingabouttheenergy,thewistfulyearning,theinexplicableexhilaration,thesporadic senseofinvincibility,thehopethatstingslikechlorine.WhenIwasyounger,rockmusic articulatedthesefeelings,andnowthatI'molderitstimulatesthem,buteitherway,rock'n'roll wasandremainsnecessarybecause:whodoesn'tneedexhilarationandasenseofinvincibility, evenifit'sonlynowandagain?(HornbyRockofAges,NewYorkTimes, www.nytimes.com/2004/05/21/opinion/21HORN.html). Thesincerepoet(ormusician)wantstohelphimselfandhisaudiencebytemporarilydisplacing thedisorderofdailyrealityandreachingfortheorderedrealmofthatpsychicEdenlatently residingintheunifiedconsciousness.Thepoetwishestoimaginebeingthere,evenfleetingly,in atemporaryreturntothatsubliminalworldoftranquilorderthatunifiesegosinsteadof separatingthem.Springsteenliveistheunityof20,000(or80,000)fansenthralled,transformed byacollectivesubjectivitythatisthedesireofthese20,000individualstobeonevoice,one mind,forathrillingthreehoursthatprovesthattheyareonesoul,commiseratingtheneedsof theirmutualsufferingandjoy. Theartisoneoutcomeintheprocessofevolvingconsciousness.Artdemonstratesthatthe creativeimpulseandtheartcreatedaretherepresentationalreflectionsofanerasessence,its momentofisness,itszeitgeist.Theartistsattitudetowardshismomentofisnesscannot existwithouttheemotionaleffusionsthatresultfromtheinfluenceofthezeitgeistthatforms him. Allart,evenwhenitisdealinginvulgar,profanereality,issupernaturalbydefinitionbecauseit isthetranslationof,ruminationsupon,andrecollectionsofwhatwereonceevenifonlya secondbeforeimmediateexperiences,nevertheactualityofthem.Art,tobethemost evocativefortheaudience,worksbestwhenitbecomesamirrorinwhichanaudiencemay becomeconsciousofwhattheirownfeelingsreallyare.InJuly2002,Springsteensalbum,The Rising,concerned9/11anditsaftermathwithimpressionisticsongsthatwerenotnarrativesof

eventsbutemotionaloutcomesofwhattheeventsmeanttopeople.Springsteenspokewith survivorsandfamilymembersofnonsurvivors.Hesynthesizedtheiremotionsratherthantell theirstories.Eachlistenerformshisorherownindividualimpressionsbasedononesindividual memoriesthatarepromptedbySpringsteenswords.Theultimatevehicleforthetransference ofthesesongstoanaudienceisBruceinconcert.SpringsteenliveisaJoyceanepiphanyof mysticaltranscendence. EvangelismfromEStreet:BrotherSpringsteensSalvationShow,SusanWoge,PennState University,ShenangoCampus,Pennsylvania EvangelistshavebeenanimportantpartofAmericasincethiscountrysbirth.Thesetraveling preachers,throughtheirmessagesofconversion,perseverance,andredemption,senda messagetotheworkingclasscitizensofAmerica;amessagethatthroughspirituality,allmight findsalvation.Americansflocktorevivalsseekingsalvation,healing,andtheassurancethat throughChristianitytheymightfinddeliverance. BruceSpringsteen,likeanevangelist,offerssalvationtotheworkingclass.Hismusic,fraught withreligiousimageryandsymbolism,promisesredemptionthroughfaith,hardwork,and perseverance.Hisconcerts,liketentrevivals,attracthordesofpeople,upliftedbySpringsteens hypnoticpresence,seekinginspirationandhopefromthisrockandrollevangelist. ThispaperdiscussestheimpactofevangelismontheAmericanworkingclass,anddetailshow BruceSpringsteen,likeallgreatcharismaticevangelists,drawsanaudienceofworkingclass Americansthroughhismessageofhopeandinspiration,andofferssalvationtothefaithful. MakingSenseofNoSense,JinThindal,SimonFraserUniversity,Canada Thetimeis30minutesaftermidnightonApril28,2008.Thenewdayisminutesoldandthetaxi hasarrivedontimeforatwohourjourneyfromtheremotevillageofPialan,innorthernIndia, totheInternationalAirportatAmritsarinthestateofPunjab.Thisjourneywasaninterruption toasixweek,welldeservedvacationthatincludedatriptoseetheresidenceofHisHoliness, theDalaiLama.Theinterruptionwasduetoauniquecallingthatmostpeoplecannot understand. Thissocalledcallingwouldstartwiththetaxiridethroughtheearlyhoursofthemorning leadingtoasevenhourfortyminutesflighttoBirmingham,England.Thiswouldbefollowedby atightwindowof45minutestodisembark,collectbaggageandcatchtheprebookedtrainto thecityofManchesterinvolvinganothertwohours.Finally,atramjourneyof25minutesanda walkof15minuteswiththeluggageonthebackshouldensurearrivalatthefinaldestinationof afootballstadium.ThestadiuminquestioniscalledOldTraffordandisthehomeoftheworld famousManchesterUnitedFootballClub.Atapproximately8.20pmthesamedayBruce SpringsteenandTheE.StreetBandwillplay,forthefirsttimeintheirhistory,atthesoccer stadiumknownastheTheatreofDreams. Forafan,itishardtocontaintheexcitementknowingthatifallgoesaccordingtoplanfaithwill berewardedandtheTheatreofDreamswilltransformintoTheLandofHopeandDreams.

Thatis,ofcourse,ifthereisaspareticketavailableattheboxofficeofthissoldoutconcert? Therealquestionis,whywouldanyonedothis?Whatdrivesreasonablymature,reasonably sensibleandoftenintelligentworkingprofessionalstodosuchathing?Anotherexample,along withmanymore,isEricAlterman,theauthorof,Aintnosintobegladyourealivewhohas drivenhundredsofmiles,flownacrossoceans,waitedovernightinticketlines,liedtoparents andprofessors(andnodoubtsometimestoworkbosses!)justtoseeaBruceSpringsteen concert. Thispapercarriesoutadeepexplorationofsuchexperiencesandattemptstoanswerthe question,WhatdrivescertainpeopletosuchextraordinarylengthstoseeBruceSpringsteenin concert?Delvingintopersonalexperienceandexperienceofothers,thispapershedslighton thisstrangeyetrealphenomenon.Although,considerableresearchhasbeenconductedfrom sociologicalperspectivesexaminingpeoplespassionforevents,especiallythoseofsporting nature,littleexistsinthepublicdomainexplainingwhatcompelsindividualstodowhattheydo toseeSpringsteenlive.Whatarethedeepinnerdrivingforces,whichcannotbesimply explainedasobsessionorloyalfanbehavior,thatmakeindividualsleavetheirwork,friendsand familiesinsearchoftimewithTheBoss? 5. SpringsteenandPedagogy:(BeyHall,Room227) Moderator:BarryLong,BucknellUniversity,Pennsylvania CapturingWhatResonatesInandBeyondYourLife:BruceSpringsteenandtheWriting Process,CynthiaCox,BelmontUniversity,Tennessee BecauseBruceSpringsteenhasbeenincrediblygenerouswithinterviewersoverthecourseof hislongandsuccessfulcareer,agreatdealisknownabouttheprocessbywhichhecomposes musicandwritessonglyrics.Forexample,inassessingtheeffortsthatculminatedinhismost recentalbum,heexplained,Iwantedtocapturetheintensityandtheimmediacyofpassionate love,andthenitsresonanceinandbeyondyourlife.AndIwantedittosound,like,classic. Commentslikethisonearerichwithimplicationsforscholarsconcernedwithtransformative powersoflanguageandwriting.ThispresentationwillexamineSpringsteensstatementsabout hiswritingprocessandinterpretthosestatementsinlightofthecompositiontheoriesthat informthestudyandteachingofcollegewriting.First,thepresentationwillconsider Springsteensstatementsabouthiswritingpracticesinlightofexpressivisttheory,which contendsthatknowledgeandunderstandingareachievedbytheindividualthroughhisorher criticalreflectiononhisorherpersonalexperiencesandobservations.Second,thepresentation willexamineSpringsteenswritingprocessintermsofsocialconstructionisttheory,which contendsthatknowledgeandunderstandingarecommunitybasedandcommunitygenerated. Inbothofthesediscussions,particularattentionwillbepaidtoSpringsteensremarksonhis writingfor"Magic"and"WorkingonaDream"andhisreworkingoftraditionalmaterialsfor "TheSeegerSessions."ThediscussionwillconcludebyconsideringwaysinwhichSpringsteens

thoughtsonhiswritinghabitsmightbeusedinthecollegewritingclassroomtofosterstudents appreciationofthemanifoldtransactionsthatoccuranytimeoneundertakesthecomplex activityofwritingforanaudience. TeachingSpringsteentoHighSchoolStudents,PatrickGanz,HighSchoolTeacher,New Hampshire AburnedoutChevrolet,adollarinhispocket,andadreamofwalkinginthesun. AniPod,atextmessage,atleast257channels,andTwittermeplease. Amidstthebackdropofinstantgratificationandinstacommunication,haveSpringsteens themesgrownwornanddated?WhileTheBeatlespsychedelicexplorationandPinkFloyds restlessdisillusionstillholdweightfortodaysteenagers,theromanticismofacharacterintorn jeansandnothingbutadimeandadreamoftenrendersSpringsteenirrelevanttotheyouthof 2009.TodaysWildBillydoesntspendweeksscrappingtogetherpenniestobuythatpieceof dirtychrome;heputsitonacreditcard. Recently,IcreatedandtaughtahighschoolcoursetitledtheLiteratureofMusic.Buildingoff thatexperience,Iaminterestedinexploringthefollowing: AreSpringsteensthemesstillrelevanttohighschoolstudentsandfuturegenerations? CanSpringsteenbetaughteffectivelyatthehighschoollevel? Whatstrategiesshouldbeusedinhighschoolstosuccessfullyrelatetheexcitementanddepth ofSpringsteenswork? Iwillalsodiscussaplay/minimusical/lessonplanthatIcreatedforthepurposeofteaching Springsteentohighschoolstudents. Sex,StereotypesandSocialPsychology:ConnectingSpringsteentoSocialScienceand Education,StevenFein,WilliamsCollege,Massachusetts ShouldaprofessorofsocialpsychologyataprestigiouscollegeplayBruceSpringsteensongsat thebeginningofclassonhumanrelationshipsandhavestudentsanalyzehislyrics?Oneofthe moresatisfyingaspectsofmyjobhasbeenconnectingmyprofessionalrolesasaneducatorand asawriterwithmypersonalinterestinSpringsteensmusic.WhatIproposetodowiththistalk istoillustratethevalueofthisconnection.Morespecifically,Ihavetwogoalsforthistalk:(1) UsesomeofSpringsteenssongs(suchasAmericanSkin,PartMan,PartMonkey,Kingdom ofDays)asaspringboardtointroducesomeimportantandfascinatingresearchfindingsabout stereotypesandracism(andotherformsofprejudiceanddiscrimination)andaboutattraction andsex,and(2)indoingso,Ihopetoshednewlightonsomeofthedeepertruthsand underlyingcomplexitiesofsomeofSpringsteensmusic. ThesuccessofbookssuchasMalcolmGladwellsTheTippingPointandBlinkspeakstothe

relevanceofsocialpsychologyresearchtopeopleseverydaylivesandinterests,ifonlypeople couldbeexposedtoit.Inmyclassesandinsomeofmywriting,IuseSpringsteensmusicasa launchingpointtointroducestudentsandreaderstosomeofthisresearch.Forexample,I discusstheinitialexplosionofcontroversywhenSpringsteendebutedhissongAmericanSkin (41Shots).Thatcontroversyspokevolumesaboutthevolatilityanddifficultyoftalkingabout issuesofraceandviolenceinourculture.Iaddressseveralissuesbasedonthis.Forinstance,in contrasttothehyperbolicreactionsplayedoutinthemediafrombothsidesoftheprotests aboutthetragicdeathofAmadouDiallo,whichinspiredthesong,Ireporttheresultsofaseries ofexperiments,someverynew(withinthelasttwoyears),thatteachvaluablelessonsaboutthe underlyingpsychologyinvolvedinincidentssuchastheDiallotragedy.Ialsoproposetouse someotherSpringsteensongs,aswellashiscoversofsongslikeEyeonthePrize,toaddress relatedissues. Inadditiontoissuesofstereotypingandrace,Iwouldintroducesomefunandverysurprising resultsconcerninghumanattractionandsex,againusingSpringsteenssongstoraiseparticular issues.Forexample,PartMan,ParkMonkeycanbeunderstoodasmorethanjustawry statementaboutteachingevolution,butalsoasanimpressivelyinsightful,andamusing,analysis ofhowsomuchmoreofwhataffectsusinourvarioushumanmatinggamesreflectthe monkeysideofusthanwewouldeverimagine. Ibelievethatpeopleexposedevenbrieflytothisworklearnimportantandinterestinglessons abouthumanrelationships,andthatSpringsteensmusicprovidesagreatentrypointforthis.I alsobelievethatbridgingtheseconnectionsbetweenSpringsteensmusicandtheselinesof researchcanprovidenewandricherinterpretationsofsomeofSpringsteenssongs. 6. SpringsteenandAmericanRootsTradition:(BeyHall,Room226) Moderator:SusanHamburger,PennStateUniversity,Pennsylvania Seeger,DylanandSpringsteen:TheFolkTraditionAliveandWellinAmerica,Marianne Murawski,UniversityofPhoenix,PhiladelphiaCampusandRichardStocktonCollege,New Jersey FolkMusichasbeenameansofconveyingAmericancultureandvaluesforcenturies.FolkMusic isusedtotransmitkeyeventsinhistoryalongwiththeirsocialimpact.FolkMusiccanprovide insightandcommentaryonthesocialandpoliticalstateofasocietyatspecificmomentsintime. Inaddition,itcanbeusedtodrivesocialchangewithsongsthatchallengethestatusquoand emphasizewhattheAmericanDreamcanandshouldbe. ThreeAmericaniconsrepresentfolkmusicofthe20thcenturyatitsfinest.PeteSeegerhas beenamajorfolkfigureformuchofthe20thcenturyandintothe21staswell.Earlyinthe century,Peteledtheunionrallycallforbetterworkingconditionsandfairwagesthroughhis

music.Hehasbeeninvolvedinpreservingthefolktraditionandgivingfolkmusicexposureto manygenerationsoflisteners.Hecontinuestousehismusicandstorytellingasameansof respondingtosocial,political,andenvironmentalissues. BobDylancameonthefolksceneintheearly1960s.InfluencedbySeegerandhisidol,Woody Guthrie,Dylanrepresentedanewgenerationoffolkartistswhofocusedonchallengingthe statusquo.Hissongswereoftenintenselypersonalcommentariesabouthislifeandtheworld aroundhim.Hislyricscouldbepoeticandwereoftenusedtocreatevividimagesoflifewhich couldbitterandsatiricalattimes.HismusichelpedtousherintheCivilRightsMovementwhich ledtomajorchangesinsociety.Healsochallengedhimselftoevolvehisownstyleandto expandhismusicintonewdirections. FollowinginthefootstepsofBobDylanandfocusingontheroleoftheindividualinsociety, BruceSpringsteenstartedhiscareerwithsongsofpersonaldiscontentmentandalienation.He usedhislyricstotellthestoriesofworkingclassAmericanstryingtosurvivethestrugglesoflife. Heoftenreferencedthefrustrations,dreams,confusions,anddisappointmentsoftheaverage person.Expandinghissubjectmatterandfollowinginthefolkmusictradition,hismusicevolved topoliticalandsocialcommentaryaswellascallsforchange. BrucereturnedtothetraditionalfolkmusicofPeteSeegerandAmericanaduringhisSeeger Sessionsrecordingsandperformances.Hebreathednewlifeintotheroleofthefolk/folkrock musicianandhelpedtointroducethisbodyofmusicandPeteSeegertonewgenerationsof fans.HisexperienceswithhisSeegerSessionsperformanceshavechallengedhimtoexplore newdirectionswithhisownmusicandrockperformances. Allthreeoftheseiconshavesungabouttheproblemsofpeopleandsociety.Theyreportonthe challengesandissuesofspecificperiodswhilealsokeepingalivehopesanddreamsofthe people.ThispresentationwillfocusontheimpactofPeterSeegerandBobDylanonBruce SpringsteenandhowSpringsteenhasusedtheseinfluencesinhismusic,storytelling,andhope forthepresentandfuturegenerations. BruceSpringsteenandPeteSeeger:FromWorldsAparttoLinksinAChain,AmyWinston, LincolnCountyEconomicDevelopmentOffice,Maine ThispaperconnectsBruceSpringsteenandPeteSeegerasmusical,culturalandpoliticalforces.I examinetheirrelationshipinthecontextofSpringsteensrecenttributealbum,appearancewith Seegeratthe2009PresidentialInauguration,Seegers90thbirthdaycelebration,and SpringsteenshomagetoSeegeronhislatestalbum.Idothisbytakinganhistoricalperspective, analyzinghowtwoartistsfromverydifferentbackgroundscametosuchparallelpurposeswith theirlifeswork.SpringsteenhasnotimitatedSeeger,norhashetakenthetorch,butinstead hassoughttoreinforceandextendsimilaridealsandchallenges(forallofus,culturally),andin doingsobecome(inSeegerswords[cf.Dunaway2001])alinkinachainofgreatAmerican

singersongwriters. PeteSeegergrewupinanacademicfamilyandmaintainedacloseattachmenttohisfather.He wentontoHarvard,servedintheArmy,andbecameafolkmusicpioneer.Conversely,Bruce Springsteengrewupworkingclasswithacloseattachmenttohismotherandbecameapioneer ofAmericanrockmusic.Despitetheirdifferentroots,genres,andgenerations,thetwohave methodicallyconvergedasforcesinverysimilarways.Botharereveredsongwritersandlive performerswithreputationsforbeingartisticallyandcommerciallypure,andarerenownfor theirabilitytogetaudiencestoparticipateinconcertsaswellascauses.Asstatementartists SeegerandSpringsteenhavebothshownanuncannyabilitytoaddresspolitical,economic,and culturalissuesthroughmusicandservice. UnlikesuchothermajorinfluencesonSpringsteenasDylanandGuthrie,Seegerlenthisvoiceto politicalchange.Springsteensforayintothepoliticalarenain2004and2008madeexplicit alreadyestablishedstancesonlabor,equality,waranddemocracy.Thelevelofactivismand endorsementrepresentedadepartureforhimreminiscentofSeegerssupportforWallace50 yearsearlier.Additionally,Iexaminebothartistsrolesinmenthecivilrightsmovements throughmusicandtheexamplesinhowtheyconducttheirlives.Seegereffectivelyusedhisrole aslaboractivisttoempowertheaverageworkingmanwhileSpringsteenoftenexhibitshis charismaticleadershipthroughacombinationof(attimesliterally)preachingandatothertimes takingonthepersonaofastrugglingmaninsongtoillustrateconflict(innerandexternal)and incitepowerfulemotion.IplantoelaborateonparallelsofSeegersenvironmentalleadership ontheHudsonRiverviatheClearwatersloopwithSpringsteenseconomicandcultural revitalizationofAsburyParkanddiscussthesignificanceofColumbiaRecordsandstrong businessmanagers. Ishowhowtheseartistsarelinkedthroughanacademiclensusinganthropologictheoryand musichistoryastheframework. 7. Springsteen:Relevance,IconographyandPerformance:(BeyHall225) Moderator:JamesCoughlan,JamesCookUniversity,Australia Music101:HowDoYouStayRelevantinanEverChangingRecordingIndustry?:HireaHot Producer!;BrendanOBrien:SpringsteensFirstRealProducer,AaronFurguson,Monmouth University,NewJersey Throughouthisearlyrecordings,insteadofhiringaprofessionalproducer,BruceSpringsteen reliedonasmallgroupofconfidantstoassistwiththeproductionofhismusicalvision.These confidants,whilenotproducersinthetraditionalsense,werebandmember,SteveVanZandt, andformerandcurrentmanagers,MikeAppelandJonLandau.Itwasnotuntilthereleaseof themultiplatinumselling,BornintheUSA,thatSpringsteenpromotedChuckPlotkinfromhis mixingrole,totheroleofcoproducer.Thisproductionteam,Springsteen,VanZandt,Landau, andPlotkinproducedBornintheUSA,Springsteen'sbiggestcommercialsuccess(15million sold).Springsteen'ssparinglyuseoftheEStreetBandandVanZandt'sdeparturefromtheband meantthatthetrioofSpringsteen,Landau,andPlotkinproducedtheTunnelofLoverecording

sessions.ThistrioproducedSpringsteen'ssubsequentsoloalbums.In2002,thereturnoftheE Streetbandandsubsequentrecordingsessionsforwhatwouldturnouttobethealbum,The Rising,alsowasthefirsttimethatBrucehiredaproducer,BrendanO'Brien.Thispresentation examinesreasonsforO'Brien'shiringandhisimportancetokeepingBrucerelevantinafast changingrecordingindustry;O'Brien'sroleintherecordingprocess;thedifferenceinrecording techniques(incomparisontoolderSpringsteenalbums)andadiscussionofthesoundofO'Brien producedSpringsteenrecords. TheSynergyofRelevance,MichaelEwing,SouthernConnecticutStateUniversity,Connecticut Wellintohisfourthdecadeasarecordingartist,BruceSpringsteenremainsrelevant.Thispaper exploreshowMr.Springsteenhasmaintainedhisrelevance.Afterdefiningrelevance,thepaper focusesonhowBruceSpringsteensrelevancehasbeenenhancedbya)thequalityofhisrecent recordings;b)theenergyofhiscurrentliveperformances;andc)thedepthofhispublic persona.Regardinghislatestreleases,MagicandWorkingOnADream,Mr.Springsteen grappleslyricallywithtopicsmeaningfultohisfanbase:struggleswithinfidelity,radiothat seemsnowhere,awarthatsamistake,theimportanceoflove,andtributestothosewho havepassedon.Mr.Springsteenminesamultitudeofmusicalgenres,includingR&B,distorted blues,bubblegumpop,straightaheadrockandfolk,notmerelytoprovidesomethingfor everyonebuttousetherightstylefortherightlyric,demonstratinghisunderstandingofthe emotionalresonanceandrelevanceofeachstyle.Theliveperformancesbuildonthisvariety, mixinghisclassicswithreveredcovers,enliveningthepresentbyreestablishingtheconnection withthepast.Hispublicpersona,includinghispoliticalactivitiesandworktoalleviatehunger,is deepanddeeplyfelt.Thesethreeprongssynergizetocreatearelevant,potentartistwho continuestowriteimportantsongs,performenergeticshowsandestablishapublicpersona thatisanagentforchange. TheReceptionofBornToRun,LouisMasur,TrinityCollege,NewJersey EversincethevideoofSpringsteen'sLondondebutin1975wasreleased,therehasbeenmuch talkaboutSpringsteen'sreceptionoutsideoftheUnitedStates,especiallyinEngland.Thispaper seekstoclarifytherecord,examiningcloselywhatcriticssaidaboutSpringsteengenerally,and BorntoRunspecifically,inthefallof1975andhowthoseevaluationsshapedSpringsteen'sown reactiontohisgrowingfame. ShamanBruceFromGoofballtoRockIdoltoPoliticalActivistContradictionand AuthenticityatBrucesShows,LoriDavidson,Photographer,Massachusetts Howisitthatonepersoncanhavesomanyrolesandsitonsomanypedestalstosomany people?WehaveallseenBruceplaycountlesstimesandeachshowherevealsmoreofhimself andisashapeshifterandshamantosomanylookingforthatsmallsliceoftimetoleavetheir worriesbehindandjustrockoutforthenext3hoursorso.

Whatisitaboutthisperformerthatsomanypeopleseewhattheywanttobe(ordidn'thavea chancetobecome)onstagenightafternight?Fromhousewivestoschoolteacherstomedical studentstolawprofessors,policemen,nurses,scientists,newscasters,theunemployedthe underemployed.Weallknowthediversitythatcomesto"EStreetUniversitytolearnatthe feetofTheMaster.Buthisfansallseedifferentthingsandtakeawayfromeachperformance differentmemories. HowisityoucangetaperformerwhotalksaboutsoxasaChristmaspresents,seekingglobal changeonhumanrightsissues,andtalkingaboutthepleasuresoforalsexallinthesame deliveryboy?ANDhavetheaudienceinawetheentiretimeateachperformance?Nowthese thingsmightnothaveallhappenedatoneconcertbuttheyhavecomefromthesamecreative spiritthatisBruceSpringsteen. Whatisitthatforme,afterpersonallyattendingover75shows,someofmyfavoriteonesare whereBruceisthegoofball?Whenhemessesuplinesofsongssunghundredsoftimesor missesqueuesandhastorestarttheentiresongagain.Theseareglimpsesofhistotalcommon ness(yeshedoesscrewupjustliketherestofus)andsometimesthisiswhatmakesthebest shows.HowaboutattheSomervilleTheatreshowoneofhisonlyruleswasnoquestionsabout thehairandhedidntwantanytestimonials Canonepersontakethismuchidolatryandstillremain"normal"?Canhissmalltownrootsbe whathewantedtorunawayfromasanadolescentbutalsobeasoneofhisbiggestselling points? ThispresentationwilltakealookatdifferentimagesofBrucekickassguitarist,poet,activist, father,standupcomedianandseewheretheymeet,merge,morphandculminateintoamazing performancesforover30years. 8. SpringsteenandCriticalTheory:(BeyHall223) Moderator:RoxanneHarde,UniversityofAlberta,AugustanaCampus,Canada BruceSpringsteenandtheEndoftheWorld:Artistic(Mis)RepresentationinMarvelComics StephenKing:TheStand,WilliamWoods,SchreinerUniversity,Texas CentraltothesuccessandcriticalacclaimofMarvelComicslatestepic,StephenKing:The Stand,istheabsolutelystunningpencilworkofartistMikePerkins.Oneofthecentral characters,guitaristandsongwriterLarryUnderwood,joinstherestofthecastinthiscomic bookversionofKingsapocalyptictaleofgoodversusevilfollowinganoutbreakofCaptainTrips asuperflucreatedbythemilitarywhichwipesoutninetypercentoftheworld.Springsteen fansmightnoteastrikingsimilaritytotheirherointhegraphicnovel.Panelafterpanelfeatures averySpringsteenlikeLarryUnderwood:distinctivelyItalianAmerican,arockstaridolwith matineegoodlucksinbluejeans,cowboyboots,andtightshirtclutchingontohisFender

telecasterashebattlesthebadguys.Perhapsthisdepictionmerelyrepresentsabriefhomage toaveryimportantculturalhero.Butperhaps,onadeeperlevel,itrepresentsasubtlenodto thelongstandingrelationshipbetweenSpringsteenandKing.Itisnomerecoincidence,afterall, thatKingopenshisclassicwiththelyricsofSpringsteensJungleLand:Theyreachfortheir moment/Andtrytomakeanhoneststand. BruceSpringsteensYeatsianVision,MarkBourdeau,SuffolkCountyCommunityCollege,New York IwouldliketoreturntoandexamineathemetowhichIhadreferredinmyproposalforthe 2005symposium.Givenmyfocusonpsychologyinthattalk,aswellasthetimeconstraints inherentinthepresentationformat,IwasunabletoexaminealiteraryconnectionthatIhave continuedtoconsiderinrelationtoBrucesmusicandlyrics.Therelevanceandpossible influenceofAmericanauthorssuchasJohnSteinbeck,FlanneryOConnor,andCormac McCarthyhavebeennotedinmanydiscussionsofBruce;however,amoreobliqueconnection existswiththegreatIrishpoetWilliamButlerYeats.AccordingtotheeditorsoftheNorton AnthologyofPoetry,5thed.,TheTower(1928)andTheWindingStair(1933)representthe matureYeatsathisverybest[....]Lifeisajourneyupaspiralstaircase;aswegrowolderwe coverthegroundwehavecoveredbefore,onlyhigherup;aswelookdownthewindingstair belowuswemeasureourprogressbythenumberofplaceswherewewerebutnolongerare. Thejourneyisbothrepetitiousandprogressive;wegobothroundandupward.Considering Brucescareerfromthisperspective,Icontendthatashecontinuestogrowasanartist,he looksbacktoandintegrateshisearlierself/musicintohiscurrentperspective:e.g.,Tunnelof LoveisanupdatedversionofTheRiver,andTheGhostofTomJoadisNebraska13yearslater.I plantofocusonthewaysinwhichMagicandWorkingonaDreamrepresenttheintersectionof thepersonalandpoliticalinwaysthatparallelanddevelopthethematicconcernsofTheRising andDevils&Dust. Desire,ViolenceandTruth:BruceSpringsteeninDialoguewithReneGirard,RichardWeber, Ohio SinceTheRisingBruceSpringsteenhasrenewedhissustainedcommitmenttoaddressingurgent social,political,andculturalissuesasanartistandconcernedcitizen.Hesjoinedpartisan campaignsintwopresidentialelections.DevilsandDustandMagichavebeencalledprofound expressionsofthestateofthenationatthetimesoftheirrelease.WeShallOvercome reconnectedtodeeperreligious,folk,andcivilrightstraditionstosustainpeopleinatimeof confusionandchallenge. ThoughSpringsteensjudgmentsontheBushAdministrationspoliciesandbehaviorhavebeen sharplyvoiceinsongandword,heuseslanguagethatevokesadeeplyfeltvisionofAmerican valuesandloyalties.HowarewetojudgewhetherSpringsteensrhetoricalandimaginativegifts arebeingusedinawaythatismorelikelytounifyandreconcileandinspirehopeformost

(certainlynotall)Americans?Assumingthatthatisararegoaltoevenaspireto,howmightan artistandactivistlikeSpringsteengoaboutit?Canweidentifyimagesandideasthatmight explainthepowermany,inAmericaandbeyond,feelintheperformedandrecordedmusicof Springsteentoopenuppossibilitiesandconnections. Iproposetobringtogethertheinsightsondesire,religion,violence,community,andfaithof ReneGirardwithSpringsteenssongsonthosesubjects.IthinkthatGirardsworkcanbe identifyandclarifysomeofthesourcesofSpringsteensculturalinfluence. CulturaltheoristReneGirardisoneofthemostprovocativeandstrikingintellectualsofour time.Hisliteraryandanthropologicaldiscoveriesshowthathumandesiringarisesfrom imitatingthedesiresofothers,e.g.rolemodels,ratherthanfromindividualinstinct;the scapegoatmechanismistheprocessallgroupsusetoestablishsacred,socialorder;andthe bibleilluminatestheroleofviolenceattheoriginofreligionandculture,andinourpresent situation. Becausehisworkcontinuestoexertaninfluenceacrossliterarytheory,philosophy,andthe socialsciences,hesbeenhailedbyMichelSerresastheCharlesDarwinofthehuman sciences.Hehasacomprehensivevisionofpsychological,sociological,politicalandreligious processes,and,likeDarwin,atheorythatexplainsboththeiroriginsandthepowerofthese interactingprocessestocreatenewformsofpersonalidentity,religion,politicsandculture. Cervantes,Stendhal,Proust,Dostoyevsky,andShakespearewerethefirsttoteachGirardthat mimeticdesireisthechiefidentifyingcharacteristicofhumanbeingsandthefundamental insightofhisthinking.Mimeticdesireisakindofunconsciousimitationofothersthatopens humanstotheworld.Onesdesiresareborrowedfromthedesiresweseeatworkin models,e.g.,onesparents,rockstars.Theybecomemediatorsofdesire,buttypicallywe arentawarethatwearepickingupdesiresfromthosearoundus. Mostoftenmimeticdesireleadsusintorivalrywithourmodels,becausewebothnoware desiringtoobtainthesameprestige,object,socialposition,etc.Mimeticrivalryescalatesaswe insistonthedifferencebetweenourselvesandourmodelevenaswearebecomingmorealike bydesiringthesamething.Weespeciallywanttodenythatourdesirehascomefrom anywherebesidesourown,uniquepersonalinstincts. Girarddetectedaconsistentpatterninalaterworkoftheauthorshestudied.Theyare beginningtorecognizethetrapsthattheirunrecognizedmimeticrivalrieshaveledthem,and thathavestructuredtheirliterarywork.Girardfindsthatoftensubtleimagesofillness,defeat, forgiveness,andespeciallydeathandresurrectionappearattheconclusionsoftheseartists works.EveninsomeonelikeProustwhoisnonreligious,thistypeofimageryisusedtothisnew awarenessofthepossibilityoftranscendingmimeticrivalry. Therearealotofimagesandstoriesinthelastfivealbumsthatwewillconsiderassuggesting thatthatkindofawarenessisworkinginSpringsteensmusic.IthinkReneGirardcanprovideus withinsightfulquestionsandcriteriatoexplorethepersonal,social,andreligiousstoriesof BruceSpringsteen.

 9. SpringsteensInfluencesandSpringsteenInfluenced:NewJerseyandBeyond(BeyHall,Young Auditorium) Moderator:MaryaMorris,CityPlanningConsultant,Illinois BruceandNewJerseyinthe21stCentury,RichardLee,HallInstituteofPublicPolicy,New Jersey BruceSpringsteensrisetofameinthe1970swasinextricablylinkedtohisworkingclassNew Jerseyroots.YoungpeoplethroughouttheGardenStateeasilyidentifiedwithlyricsthattold storiesaboutdragracingthroughthestreetsofAsburyPark,parkinginsecludedloverslanes andconfrontingdisapprovinggirlfriendsfathers.However,byusingNewJerseyexperiencesand placestoconveythespiritofmiddleAmerica,Springsteensmusicandhismessageresonated farbeyondtheGardenState.Overthepast30years,hehasbecomeaninternationalsuperstar whocontinuestoattractcapacitycrowdstovenuesallovertheworld. Inthispaper,IwillexplorehowSpringsteenhasmanagedtoretainhisconnectionwithNew Jerseyandtheworkingclass,eventhoughhissuccesshasmadehimatremendouslywealthy man.Iwillchroniclethepolitical,societalanddemographicchangesthathavetakenplacein NewJerseyoverthepast30yearsandplaceeachofSpringsteensrecordingsinthecontextof thesedevelopments.IalsowillplaceSpringsteensnonmusicalactivities,suchashisdecisionto takeanactiveroleinthe2004and2008presidentialcampaigns,inthissamecontext. IpositthatSpringsteensmusicandactivitieswillreflectthechangesthathavetakenplacein workingNewJerseyfamiliesoverthepast30years,therebyaccountingatleastinpartfor hiscontinuedpopularity. Audio/Visual:ComputerProjectorforLaptopComment:Myprofessionalexperienceincludes severalactivitiesthatwillbevaluableinwritingthispaper:In1980,theNewYorkTimes publishedanopedIwrotesuggestingthatBorntoRunbedesignatedNewJerseysstate anthem.From1981to1983,IwasawriterandeditorfortheAquarianWeekly,aweekly music/entertainmentpublicationthatfocusedonNewJersey.Inthiscapacity,Iwroteabout Springsteen,coveredhisfrequentguestappearancesinJerseyshorebars,andinterviewed SteveVanZandt,SouthsideJohnnyandotherrecordingartists.From1984to1990,Icovered stategovernmentinNewJerseyasareporterfortheNewsTribune,adailynewspaperin Woodbridge,N.J.From1990until2005,IworkedforvariousgovernmentagenciesinNew Jersey,includingtheGovernor.AsDeputyCommunicationsDirectorfortheGovernorin2002,I assistedwiththeGovernorsappearanceontheTodayShowwhenSpringsteendebutedThe Rising.Since2005,IhaveworkedattheHallInstituteofPublicPolicy,aNewJerseythinktank. Duringthistime,IhavewrittenseveralpiecesonSpringsteenandhisimpactonNewJersey. GreetingsfromFreehold:HowBruceSpringsteensHometownShapedHisLifeandWork, DavidWilson,NewJersey

BruceSpringsteencamebacktoFreehold,NewJersey,thetownwherehewasraised,toattend theMonmouthCountyFairinJuly1982.HeplayedwithSonnyKennandtheWildIdeas,aband whoseleaderwasaJerseyShorelegendeventhen.Aboutayearlater,herecordedthesong "CountyFair"withtheEStreetBand. Asthisanecdoteshows,FreeholdneverreallyleftSpringsteenevenafterhemadeanamefor himselfinAsburyParkandwentontoworldwidestardom.Hisexperiencestherewerereflected notonlyin"CountyFair"butalsoin"MyHometown,"theunreleased"InFreehold"andmany othersongs.HevisitedseveraltimesinthedecadesafterhisfamilyrelocatedtoCalifornia. Freeholdsrelativeisolationenabledhimtodevelophisownmusicalstyle,derivedlargelyfrom whatheheardontheradioandonrecords.Moregenerally,theboroughslocation,history, demographicsandeconomyshapedhislifeandwork. FactorsThatInfluencedtheDevelopmentofSpringsteensGifts/TalentsasaChild/Young Adult,DonnaVaupel,NJAssociationforGiftedChildren,NewJersey AsamemberoftheNJHallofFame,andknownthroughoutasagiftedartistandpoetasan adult,onewonderswhatchildhoodfactorsorinfluencesnurturedorchallengedthe developmentofhisgifts.Whatkindofstudentwashe?Howdidfamilyandfriendssupporthis talents?Whatcharacteristicsinhispersonalitymotivatedhimtocontinuetopursuehis talents/passiondespiteresistance?Howcaneducators,parentsandothersinacommunity utilizethisinformationtoencouragethetalentsofotheryounggiftedartists?Usingcomments andquotesfrompersonalinterviewsandarticles,thesearesomeofthequestions/issuesthat willbeaddressedinthissession. Manygiftedyoungstersarenotencouragedinregularclassroomsettings.BruceSpringsteenis anexampleofthis.Manypeoplefeelthatthispopulationdoesn'tneedspecialattentionasthey willdevelopwithoutit.Theresearchdoesnotsupportthis,eventhoughBrucewasableto overcomechallengestoachievesuccess.Witheducatorsaspartoftheaudience,Ithinkit's importanttobringattentiontothisaspectofhispersona.AsPresidentoftheNJAssociationfor GiftedChildren,wearetryingtoworkwiththeDeptofEdandparentstohelpprovide environmentsthatwillnurtureandpromotethegifted/talentsofchildren,sotheycandevelop theirfullpotential.Giftedadultsdon'tjustappear.Atatimeinourcountrywhenthereisa majorcrisis,wecallfor"thebestminds"tosolvetheproblem.Whatarewedoingtohelpthose "bestminds"aschildren?Springsteenhasusedhisartistictalentsandleadershipabilitiesto changemusicandalsotoinfluencepeopleinpoliticalforums.Theroadwasnotaneasyonefor him,butperhapsthroughabetterunderstandingofgiftednessatearlyages,wecanhelppave thepathforothers,onanationallevel,butcertainlyinNJwherethereisNOmoneyinthestate budgetforgiftedprograms.Weareamongthelowestrankingstatesinthecountryinthisarea., Manygiftedyoungstersarenotencouragedinregularclassroomsettings.BruceSpringsteenis anexampleofthis.Manypeoplefeelthatthispopulationdoesn'tneedspecialattentionasthey willdevelopwithoutit.Theresearchdoesnotsupportthis,eventhoughBrucewasableto overcomechallengestoachievesuccess.Witheducatorsaspartoftheaudience,Ithinkit's importanttobringattentiontothisaspectofhispersona.AsPresidentoftheNJAssociationfor

GiftedChildren,wearetryingtoworkwiththeDeptofEdandparentstohelpprovide environmentsthatwillnurtureandpromotethegifted/talentsofchildren,sotheycandevelop theirfullpotential.Giftedadultsdon'tjustappear.Atatimeinourcountrywhenthereisamajor crisis,wecallfor"thebestminds"tosolvetheproblem.Whatarewedoingtohelpthose"best minds"aschildren?Springsteenhasusedhisartistictalentsandleadershipabilitiestochange musicandalsotoinfluencepeopleinpoliticalforums.Theroadwasnotaneasyoneforhim,but perhapsthroughabetterunderstandingofgiftednessatearlyages,wecanhelppavethepath forothers,onanationallevel,butcertainlyinNJwherethereisNOmoneyinthestatebudget forgiftedprograms.Weareamongthelowestrankingstatesinthecountryinthisarea. 10. SpringsteenandPolitics/Activism:(BeyHall,Room222) Moderator:JimMusselman,President,AppleseedRecordings SpringsteensRightSide:ALiberalIconsConservatism,DavidRosenwasserandChristopher Borrick,MuhlenbergCollege,Pennsylvania InthemidnineteenthcenturyWaltWhitmanadvisedagenerationoffellowwriterstobe radical,beradical,benottoodamnradical.InofferingthisadvicetheGoodGrayPoet recognizedthetenuouspositionoftheartistassocialcritic.Toaffectsocietalchangeanartist mustoftenchallengeconventionalwaysofthinkingandliving.Yetinthesechallengesartistsrisk alienatingtheiraudienceandthusjeopardizetheirabilitytostimulatesocialchange.Given theseconstraintsartistsmustperenniallystruggletoreachafragilebalancebetweenbecoming soradicalthattheirworkisignoredorsoconformistthattheychangenothing. ThroughoutmuchofhiscareerBruceSpringsteenhasusedhisarttodirectlychallengemany aspectsofcontemporaryAmericanlife.Whilethesecritiquesaremultifaceted,itisgenerally acceptedthatSpringsteenschallengesareorientedtowardstheleftwingofAmericanpolitics. FromhiswarofwordswiththeReaganWhiteHousetohisdirectassaultsontheactionsofthe BushAministatrtion,Springsteenhasbeenapersistentcriticofconservativeleadersandtheir policies.Mostrecently,Springsteensprominentroleinthe2008presidentialcampaign,capped byhispreinauguralperformanceattheLincolnMemorial,helpedcementhisprominentplace ontheleftwingofAmericanpolitics Yeteventhroughhislongtimeantagonismoftheright,Springsteenhasremainedapopular mainstreamartistwhoseaudienceincludesmanyofthesameolderwhitemalesthatarethe bedrockofthecontemporaryGOPinAmerica.HowisitthataliberaliconsuchasSpringsteen hasmanagedtopreservehisappealacrossideologicaldividesintheUnitedStates?Inthispaper wearguethatSpringsteenhasconsistentlyutilizedbothsymbolsandlanguagethatarewidely embracedbyAmericanconservatives,thusmitigatingmuchofthepolarizingeffectsthathisart mightotherwiseproduce.Fromhisfocusonthehonorofhardworktohisutilizationofthe averagemanasaworkingclasshero,Springsteenemployeesmessagesthatarerifewith conservativeovertones.SowhatareSpringsteenspolitics?Perhapswewillseehimandhis politicsmoreaccuratelyandunderstandhisbroadappealmoreresonantlyoncewecollapsethe

conventionalbinaryofliberalorconservativeandsituatehiminthemorecomplextangleofleft andright,coastandheartland. TheSubtlePoliticsofWorkingonaDream,ShawnPoole,SchoolDistrictofPhiladelphia, Pennsylvania WorkingonaDreamhasbeendescribedbymanyasanalbumonwhichpoliticalstatementsare mutedordownrightabsent,especiallyincomparisonwithBruceSpringsteenslaststudioeffort, Magic.WhilethemajorthemeofWorking.isconcernedmorewiththeinterpersonalpolitics oflove,friendship,aginganddeath,thealbumstilladdresseswhattraditionallyareconsidered tobebroaderpoliticalconcerns,albeitinaverysubtle(sometimesalmostcryptic)manner, especiallyduringthefirstfivesongs.Thispresentationwillexplorethesubtlepolitical commentarythatcanstillbefoundononeofBruceSpringsteensmostintrospectivealbums. SUNDAY,SEPTEMBER27BREAKOUTSESSIONABSTRACTS 910:30amBreakoutSessions,MonmouthUniversity 1. SpringsteenandtheArtofStayingRelevant:(BeyHall,Room231) Moderator:BobTrumpbour,PennStateAltoona,Pennsylvania TheEvolutionofBruceSpringsteen,MattGilchrist,ChantillyHighSchool,Virginia BruceSpringsteenmayoncehavebeenhailedasthefutureofrocknroll,butsincethenhe hascarvedouthisnicheinthehistoryofmusic,evolvingfromabarbandtroubadourtooneof themostadmiredandrespectedsongwriter/performersofalltime.In1975,headornedthe coversofNewsweekandTime;inthe1980s,heruledthepopsceneasoneofthebiggest performersintheworld;inthe1990s,herecededfromstardom,whiledisbandingtheEStreet Band,onlytoreturninthetwentyfirstcenturyasakeyproponentforareturntotheAmerica herememberedinthepreReagan/Bushyears.Inthispaper,IwillexamineSpringsteensshift fromachartconsciouspopstartoavoiceofcredibility,speakingoutonissuesrangingfrom VietnamveteranstoAIDSvictimsto9/11,andstumpingforpresidentialcandidates.Froma youngmanwhorefusedtobetrappedbytheconstraintsoftheaveragesuperstar,Springsteen hasevolvedintoacrediblevoiceofthisgeneration,maintaininghisoriginalfollowingwhile attractingnewfansalongtheway.IwillexaminehistrendsontheBillboardsinglesandalbum charts,aswellashisemphasisonperformingoverthelastthreeplusdecades,todemonstrate hisplacenotjustinpopculturebutintheAmericanconsciousness.Ashehasshiftedhis attentionovertheyears,hehasalwaysmaintainedafollowingwhileenablingthecasualfanor seriousfanatictounderstandhisviewsandseethroughhiseyesintohisversionofAmerica.

HungryArt:SpringsteenandtheEscapefromMediocrity,JenniferWalter,HeadsUp CommunicationCorp.,Canada Isthereanybodyaliveoutthere?MorethanjustalyricinRadioNowhereoragauntlettossed affectionatelytohisfaithfulfollowers,forBruceSpringsteen,tobealiveistobehungry.Aspiring musiciansaside,theneedtostayhungryresonatesasdeeplywitheliteathletes,idealistic politicians,andeverydayworkingpeopleasitdidwithpioneersconqueringanewworldwith nothinintheirbelliesbutthefiredownbelow.PerhapsitisnotacoincidencethatBruce SpringsteenscharityofchoiceistheFoodBank!Thechallengetostayhungrystillundergirdshis artisticjourneynearly40yearsafterBruceSpringsteenfirstgreetedusfromAsburyPark,New Jerseyandcontinuestofuelthethematicthreadthatrunsthroughsomuchofhismusic:the ongoingquesttoescapefrommediocrity.Stayhard,stayhungry,stayaliveifyoucan/And meetmeinadreamofthishardland. Tracks,LiesandAudiotape:SpringsteenReflectsonHisCareer19982009,WilfredMajor, LouisianaStateUniversity,Louisiana In1998,withthereleaseoftheTracksboxset,thepublicationofhisbookSongs,andhis inductionintotheRockandRollHallofFame,BruceSpringsteenembarkedonawideranging campaigntocreateanewnarrativeforhiscareerasanartist.Thisnarrativeclaimsthathewas signedasasolorecordingartistandgenerallyalternatedsoloandbandprojects,creatinga coherentandevolvingnarrativeacrosshismainstudioalbums.HeorganizedTrackstoreinforce thisnarrative.Forthenextfewyears,Springsteencontinuedtobuildonthisnarrative,citingThe Rising(2002)asareturntoEStreetBandalbumsandthenDevils&Dust(2005)asapredictable followingsoloproject.Asthispaperwilldemonstrate,thisnarrativereallydoesnotaccurately reflecthisrecordingcareerandTracksinparticulardistorts,evenundercuts,hisreal accomplishmentsasanartist.Subsequently,hehashadtoabandonthisnarrative,asWeShall OvercomefollowedbytwoconsecutiveEStreetBandalbums,hasledhimtoreorganizehis narrativeasoneaboutthelatestdecadeofhiscareerratherthanthe25+yearnarrativehetried toimposeatthebeginningofthatdecade. 2. SpringsteenandCriticalTheory:(BeyHall,Room230) Moderator:ScottMcMillan,VolunteerStateCommunityCollege,Tennessee TheFlanneryOConnorofAmericanRock,IrwinStreight,RoyalMilitaryCollegeofCanada Mypaper/presentationexplorestheinfluenceofAmericanshortstorywriterandnovelist FlanneryO'ConnoronboththeformandcontentofBruceSpringsteen'ssongwriting.In interviewsfollowingthereleaseofNebraskaandBornintheUSA,Springsteenwidely acknowledgedthathisvisionandcraftasasongwriterhadbeeninfluencedbytheartof FlanneryO'Connor,firstbyviewingJohnHuston'sfilmadaptationofherfirstnovel,WiseBlood, andlaterthroughreadingherfiction.ThedarklyredemptivesongsonNebraskaoweadebtto O'Connor;andSpringsteenbothalludestoandquotesfromherworksinsomeofthelyrics.In

aninterviewwithWillPercyinDoubleTake(1998)Springsteenacknowledgesthatwhilewriting thesongsforthisalbumhewas"deepintoO'Connor,"andrecollectsindetailhowthereading ofO'Connor'sshortfiction,attheurgingofJonLandau,helpedhimtodevelop"amorescaled down,morepersonal,morerestrainedwayofgetting[his]ideasacross."LikeO'Connor, Springsteenrecognizesa"meanness"(O'Connor'sword)inmodernAmerica,oftenmanifestin someformofviolencethatissymptomaticofalackofbothspiritualandrelationalgrounding. Springsteen'sexplorationofthis"meanness"inhissongs,Iwillargue,particularlyonhistrioof "folk"albumsNebraska,TheGhostofTomJoad,andDevilsandDustowesitsdirectiontohis readingofO'Connor.SaysSpringsteen, "TherewassomethinginthosestoriesofhersthatIfeltcapturedacertainpartoftheAmerican characterthatIwasinterestedinwritingabout.Theywereabig,bigrevelation.Shegottothe heartofsomepartofmeannessthatsheneverspelledout,becauseifshespelleditoutyou wouldn'tbegettingit.Itwasalwaysatthecoreofeveryoneofherstoriesthewaysheleft thatholethere,thatholethat'sinsideofeverybody.Therewassomedarkthingacomponent ofspiritualitythatIsensedinherstories,andthatsetmeoffexploringcharactersofmyown." (DoubleTake37) *[titlequotationfromacommentbyalt.countryartistTobyBurke,inaspecialSpringsteen retrospectiveedition(Legends#4)ofBritishfanzineUncut1.4(2004)] OnBlessingAvenue:TheSearchintheWorksofBruceSpringsteenandWalkerPercy, MichaelKobre,QueensUniversityofCharlotte,NorthCarolina In1989,thenovelistWalkerPercywroteafanlettertoBruceSpringsteeninwhich,after assertinganartistickinshipbetweenthem,heaskedaboutSpringsteensspiritualjourney. Springsteen,whoonlydiscoveredPercysworkafterthenovelistsdeath,laterpraisedthe toughnessandbeautyofPercysclassicfirstnovelTheMoviegoerandacknowledgedina lettertoPercyswidowthatthelossandsearchforfaithandmeaninghavebeenatthecoreof myownworkformostofmyadultlife.Indeed,likeBinxBolling,theprotagonistofThe Moviegoer,whoembarksonhisownellipticallyexplainedsearchtostaveoffdespairandthe everydaynessofhisownlife,Springsteensworkchartsacomparablesearchthatbeginsin earnestwiththeambiguitiesofReasontoBelieveattheendofNebraskaandculminates perhapsintheembraceofearthlyblessingsinKingdomofDaysonWorkingonaDream.Like Binx,Springsteencloselyexaminesthemostmundanecornersofdailylifeinsearchofhintsof thesacredso,forinstance,theatoncearchandimpassionedtoneofQueenofthe SupermarketparallelsBinxsdiscoveryofthegoodnessofcreationintheconstructionofa suburbanschool.AndasSpringsteenultimatelyfindsmeaningandfulfillmentinakingdomof daystheverynameofwhichhintsatitsmetaphysicalcounterparttherealizationof SpringsteenssearchechoesBinxsveiledperceptionattheendofTheMoviegoerofGodsown importunatebonusinanunlikelyconjunctionofsacredandsecularlife.ForbothSpringsteen andPercy,thepresenceofGodisfelt,ifatall,asitshinesthroughearthlymoments,sothat evensomethingasseeminglyworldlyasthesightofthegirlsintheirsummerclothesoffers

whatPercyinhisessayDiagnosingtheModernMalaisecalledaglimpseofthegoodnessand gratuitousnessofcreatedbeing.(Itsnocoincidence,ofcourse,thatthesegirlsappearon BlessingAvenue.)Moreover,ataformallevel,justasPercysevocationofBinxssearchis embodiedinanarrativevoicethatsynthesizesmanydifferentdialectsanddiscourses, Springsteenssynthesisofpopidioms,particularlyinhismostrecentwork,echoesthe polyphonyofvoicesinPercysfiction. EndlesslySeeking:BruceSpringsteenandWalkerPercysQuestforPossibilityAmongthe Ordinary,JuneSawyers,Author,Illinois Aslonelyasisthecraftofwriting,itisthemostsocialofvocations,WalkerPercyoncesaid. Onecouldalmostsaythesameforthesongwritingcommunity,especiallyasexpressedinthe musicand,indeed,mindsetofBruceSpringsteen.LikePercy,Springsteenhasalwaysbeena seeker,asearcher.Whatwerearethetwomenlookingfor?Bothinvolveapilgrimagetofind themselves.Whatsmore,bothexpressanalmostobsessiveinterestinwhatitmeanstobe alive,whichcanbestbedescribedasamoralandreligiousquest. IfAmericannovelsareabouteverything,thenSpringsteensrichbodyofsongsisalsoabout everything.Hissongsexploreaparticulartimeandplacelatetwentiethandearlytwentyfirst centuryAmericabuttheyarealsoaboutideas,mostcompellingly,theideaofpossibility.They arecautiouslyhopefulwhilefirmlyrootedindirereality.Springsteenwritessongsdesignedto makemaximumimpactandyetdoessowithoutbeingpreachyasensitivelinetowalk.The storyofanentirelifeisoftentoldinthetimeittakestosingonesong. Percysessay,TheManontheTrainisaboutthewanderingspiritand.revolvesarounda familiarSpringsteentrope:thealienationoftheordinaryman.Themanofthetitleisa commuter,unattachedfromhisfellowcommutersandhissurroundings.Fromhisseatonthe train,helooksoutthewindowtoseethesamelandscapedayin,dayout,withouthavingany connectiontowhatheisseeingnomatterhowmanytimeshehasseenit.Heisjustpassing through.Nobodyknowswhoheis,andheknowsnobody.Whatmustthisalienatedmandoto becomeconnected?Tobecome,ifyouwill,unalienated?Similarly,hisphilosophicalnovel, TheMoviegoer,isaboutthemundaneeventsinthelifeofanordinaryman,asmalltime stockbrokerwholovesmoviesandwhoisabouttoturnthirty.Writteninthefirstpersonandin thepresenttense,itofferstheSpringsteenesqueimageofmodernmanaloneintheproverbial crowd.Throughouthiswork,Percy,againlikeSpringsteen,commentsonthelivesofothers, observesthewaythingsare,andanticipatesthewaythingscouldbe. ThispresentationwillexaminespecificworksbyPercytoseewhatimpacttheyhadon Springsteenssongwriting,especiallythesongsthatappearonhisintrospectivealbum,The GhostofTomJoad.Specifically,IwilldiscussPercysTheMoviegoer,aswellasseveralofhis essays,includingTheManontheTrainandNotesforaNovelabouttheEndoftheWorld. Whatdothetwomenhaveincommon?Whatsetsthemapart?Amongthethemestobe exploredincludethenotionofcommunity,especiallytheimaginedcommunityofreadersand

listenersasseenthroughthedarkenedlensofalienationandisolation.Percywrotedisaffected fiction;Springsteenhaswrittenandcontinuestowritedisaffectedsongs.Finally,bothmen addressthemoralquestionsaboutthewayweliveandthewaywebehavetowardsone another. 3. ElementsofMagic:(BeyHall,Room229) Moderator:TBD ThePersonalandthePolitical:TheLandscapeofMagic,SusanKeady,Nurse,Alaska "Thepersonalispolitical"becameacatchphraseintheearly1970's,whenHanish(1970)usedit todescribethedistinctionbetweentherapyandactivisminconsciousnessraisinggroups. Althoughthephrasehasallbutdisappeared,analysisofpersonalexperienceinthecontextof powerandoppressioncontinuesinartandlife.NoonedoesthisbetterthanSpringsteen. Springsteenhasalwaysexaminedindividualsandrelationshipsinthesocialcontextofanation thatoppressesonthebasisofclassandpovertyaswellasraceandgender."Magic"maybehis mostfullyrealizedworkonthepoliticalmeaningofpersonalexperience. Wehear"Magic"nowontheothersideofamightydivide,inaworldwhereSpringsteensang TheRising"withafullchoirandjoinedPeteSeegerin"ThisLandisYourLand"attheLincoln Memorial,andthe"Magic"materialplaysminorroleinthecurrenttour.Perhapsthisdistance willenableustobetterhearthetightlycontrolledfuryof"Magic". Despitehisparticipationinthe2004and2008presidentialcampaigns,Springsteenletshis charactersdescribetheirlivesinthemidstofwaranddeception.In'TheDevil'sArcade",the apocalypticcityof"LasttoDie"andthe"perdition"ofTheresa'sbedin"I'llWorkforYourLove", among"thebodieshanginginthetrees"of"Magic",Americansstruggleinthebleaklandscape oftheBushAdministration.Eventheglimpsesoftranscendencein"GirlswithTheirSummer Clothes"and"LongWalkHome"areconstrainedbyloss. Finally,Iwilldescribemyownintenseandidiosyncraticresponseto"Magic"aslisteningtoit duringatimeofcrisishelpedmetolinkmypersonalexperiencewiththepoliticalcontextofthe time.Audio/Visual:ComputerProjectorforLaptop WhyMagicistheBestPostReunionAlbumSpringsteenHasRecorded,ThomasChapman, SeafordSeniorHighSchool,Delaware BruceSpringsteenscareercanbedividedintofourbasicperiods:1)PreColumbia;2)TheRising; 3)TheContemplativeYears;and4)TheReturn.Thefirstthreeperiodsarethestuffoflegend andbiographyJerseymisfitbecomesEastCoastguitarherowithagreatbandanduseshis popularitytopresentacounterpointtoReagansMorninginAmerica.Thehighlightsare summeduponthetwoGreatestHitspackages.Those32yearsofSpringsteenscareer,while

important,arethestereotypeafalseidol.Inreality,Springsteenisnowmorelikehisfather thantherebelwhovowedtowalkinthesun.Thatlegacyiswhythefinalperiod,especially Magic,deservesconsiderationwhenobjectivelyreviewingBruceSpringsteenswork.Itpresents amoretruthfulreality. Springsteencamebackwithavengeancein19981999,closingthebookonthefirst26yearsof hisrecordingcareerbyreleasingTracksandthengoingonaworldtourthatlastedfor16 monthswithareinvigoratedEStreetBand.Ontour,Springsteenrepeatedlymadethepromise thattheReunionwasabeginning,notanend.Likemostofhiscontemporaries,hecouldhave beenforgivenforhyperbole.Instead,the2000sresultedinthemostdiverseperiodin Springsteensrecordedlegacy. Fivestudiorecordingsconstitutetheperiodbetween2001and2008impressiveforaman between50and60.ThealbumsTheRising,DevilsandDust,TheSeegerSessions,Magic,and WorkingonaDreamare,ononehand,typicalSpringsteenblend.Yet,thepostreunionmusic ismorepersonal,topical,andproficientthanmuchofhisearlierwork.Heisalsomore comfortable,moretrusting,andlessconcernedaboutperfection.Theultimateexpressionof thisperiodisthefourthstudioalbum,Magic. Magic,SpringsteensodetoloveinthetimeofBush,encapsulatesthetopicalityandfunof TheRising,addstheintimacyofDevilsandDust,andadoptstheretronaturethatwas continuedonWorkingonaDream.Thesongsincludeforcefulrock(RadioNowhere),cautionary tales(GypsyBiker,Magic,LasttoDieandDevilsArcade),funromance(LivinintheFutureand IllWorkForYourLove),and1970pop(YoullBeComingDown,YourOwnWorstEnemy,and GirlsInTheirSummerClothes).Thestandoutanomalyistheeulogythatwasnotintendedfor thealbumTerrysSong.Inthis,Springsteencomestogripsthathisgenerationisentering twilighthenolongerdreadsoldageordeath,heisadjustingtothispartofthejourney.Magic hasthiscomplexityandanauraldepthfromBrendenOBrianwhichSpringsteenusedtoonly dreamofin1975. AlloftheotheralbumsofthisperiodhavepartssimilartoMagic,butnotononedisc.Theother workshaveseriouspitfalls,Magichasfew,ifany.Wheretheotherworksofthelasteightyears aretoolong.dour,raucous,ormuddy,MagicisaperfectstatementofwhoBruceSpringsteen wasinhisfourthdecadeofhiswork.Audio/Visual:ComputerProjectorforLaptop TheLongWalkHome:ParallelsbetweenSpringsteensMagicandHomersOdyssey, RichardGrosse,LCSW,Virginia BruceSpringsteendrawsourattentiontothejourneyofreturninhis2007releaseMagic.In thetraditionofHomersepicpoem,Odyssey,Springsteenaddressesthephysical,emotional andspiritualeffortwemustmaketocomebacktothetruthanddepthofyourownlives.Inthe Odyssey,Homersmaincharacter,Odysseus,strugglestoreturnhomeaftertenyearsfighting intheTrojanWar.OdysseusjourneyhomeisparalleledinthedozensongsofMagic.In Magic,SpringsteenwritessongsthatreflectourowninvolvementinthewarinIraq,seven yearsofanunpopularleadershipinourgovernment,andtheverydifferenthomecomingnotat allplannedforordreamedof.ThejourneyhometookOdysseustenyearstocomplete.Hewas notonaherosjourneyfulfillingthedreamofconquest,butadifficult,soulsearchingstruggle

withoutdreams,withoutfamily,longingforhome.BothHomerandSpringsteenwriteaboutthis journeyofreturn.Bothwriteaboutfallandredemptionasreoccurringthemesinthejourneyof return.Leavingandreturninghomespeaktoourownexperiencetoday,offeringwisdomthat canhelpuscompleteourownpersonaljourneyhome.InMagic,Springsteenssongsaddress thetrialsandtribulationsofthehumanexistence;greed,desireandselfishness.Hespeaksto thisjourneyoverandoveragain,metaphoricallyoutlinedin"Magic,andculminatinginhissong LongWalkHome.Odysseusalsomakesthelongwalkhome,facingthesesamechallengesin hisjourney.InthispaperIwilldescribetheinherentchallengesandlessonslearnedinour journeyofreturn.IwillshowhowSpringsteensMagicparallelsHomersOdyssey, presentingatimelessmetaphorforourownlongwalkhome. 4. SpringsteenandReligion/Spirituality:(BeyHall,Room228) Moderator:AmyWinston,LincolnCountyEconomicDevelopmentOffice,Maine ACovenantReversed:BruceSpringsteenandThePromisedLand,StephenHazanArnoff,14th StreetY,NewYork BruceSpringsteenscharactersroamthePromisedLandofacovenantreversed.WhileGod choosestheIsraelites,carriesthemoutofslavery,bindstheminserviceforfortyyearsof wanderinginthedesert,andultimatelyleadsthemtotheLandofMilkandHoney,Springsteens heroescomeofageintheLandofMilkandHoneyonlytodiscoveradesertnomanslandona journeytowardsslavery. Thenarrativeperspectivesinthiscovenantaldramaaremany,shiftingthroughouthiscareer.In the70s,heroesspendmonthlongvacationsinthestratosphere,buckingauthoritiesand expectations.Butevenwhenworkorlonelinessnumbsthem,SpringsteensheroesproclaimI believeinaPromisedLandbecausemusic,longing,oragoodfightofferopportunitiesfor hopeful,passionatewrestlingwiththeworld. Inthe80s,thelandscapeofthePromisedLandgrowsprogressivelymorearid.Imagesofrusted outfactoriesanddyingcitiesandtownsconcretizebetrayalofthecovenantbetweenthe Americanworkingclassandthepowersofgovernmentandindustry.Whilehis70sheroes wanderlustchallengesthemtoriseabovewhatishumdrumabouttheAmericandream managingworkingwagesandafamilyevenasfantasiesofadventurefadebythe80smoral corruptionshattersthebasictemplateofworkingclasslife.IfBorntoRunconfrontsthevision ofthePromisedLandwithavowthatweregonnagettothatplace/Wherewereallywantto goandwellwalkinthesun,adecadelaterthequintessentialSpringsteenheroofBorninthe U.S.A.agonizes:Imtenyearsburningdowntheroad/Nowheretorunaintgotnowhereto go. Sincethe90s,thebetrayalsdescribedinSpringsteensworldhavebecomeevermoreintimate, violent,andinevitable.Thetributariesofmiddleclassdreamsandlaborwhichonceirrigatedthe PromisedLandhaveallbutdriedup.Functional,conservativeneighborhoodswithborderstoo

narrowformanyofSpringsteensheroestoabideatthebeginningofhiscareerarenowrotted throughandthrough.Impoverishedimmigrantsoftenmigrantworkers,themostinvisibleof allAmericansseekhardscrabblesurvivalonunforgivingsoil.Nowthirtyyearsdowntheroad, menandwomenwhoshouldbeintheprimeoftheirlivesmournnotonlythelossofyouthful rebellion,butalsothedisintegrationoftheeconomicandsocialfoundationthatthePromised Landwassupposedtoprovide. LikeothergreatAmericanpublicvoicesfromWaltWhitmantoBobDylan,BruceSpringsteen employsthebiblicaltropeofthePromisedLandsupportedbythemesofcovenant,exile, wandering,andredemptiontocritiquethepossibilitiesofAmerica.Closereadingof Springsteen'sreframingofthebiblicalstoryofthePromisedLandrevealsacovenanttravelingin reversemodelinghowartisticfantasycanfuseancientmythologiestomodernlifetoprovide abidingmoralleadershipwithouteasyanswerstodifficultquestionsin"ThisHardLand." BruceSpringsteenand1Corinthians13:113,JamesGarrett,UniversitySchool,Ohio OfthemanyinfluencesonBruceSpringsteen'swordsandmusic,neitherWoodyGuthrienor BobDylan,neitherElvisPresleynorRoyOrbison,neitherJohnSteinbecknorFlanneryO'Connor hasequaledtheinspirationofSt.Paul'spassageonfaith,hope,andlovefromChapter13ofhis FirstLettertotheCorinthians.InthisessayitismycontentionthatthroughoutSpringsteen's careerthemoralityandphilosophyhehasproclaimedhasbeenfoundedonthewordsand beliefsof1Corinthians13:113.In"Badlands,""IntotheFire,"and"MyCityofRuins," Springsteenrefersdirectlythetheologicalvirtuesoffaith,hope,andloveinstirringrecitations, evenprayers,forthestrengthtoendureagainsttheworstofstruggleswhetherlostinthe Badlands,trappedinaburningWorldTradeCenterbuildingonSeptember11th,orabandoned inthedecayofAsburyPark.Yethisreferencestofaith,hope,andloveassourcesforthe strengthtoendureloss,emptiness,andalienationcanbefoundthroughouthisentirebodyof work.Inliveperformances,mostnotablyLiveinNewYorkCity(2001),andinsongsasvariedas "LandofHopesandDreams,""LeapofFaith,""MyLoveWillNotLetYouDown,""I'llWorkfor YourLove,"and"WhatLoveCanDo,"Springsteeninvokesthepotencyoffaith,thepromiseof hope,andthepoweroflove.Finally,inawiderangeofsongsfromBorntoRun,TheRiver,and NebraskatoTunnelofLove,TheRising,andMagic,Springsteen'smanymemorablecharacters liveouttheirliveswithouteitherfaithorhopeorloveorallthreeandtelltheirplaintivetalesof searchingforthesetheologicalvirtuesinordertofindmeaningintheirlives.Itismyargument thatultimatelyneitherfolknorrock,neitherpopularculturenorbooksnormovieshasexerted asstrongandasdeepaninfluenceonSpringsteen'svaluesandviewpointasthisepistlethathe musthaveheardmorethanoncewhilesittinginapewinSt.RoseofLimaChurchinFreeholdas partofhistraditionalRomanCatholicupbringing.Myconclusionisthatthesetheologicalvirtues offaith,hope,andloveofFirstCorinthiansaresofundamentaltoSpringsteen'svoiceandvision, commitmentandcompassion,andstrengthandstrugglethattheyaretheessentialthemesof hiswordsandmusic.AsSt.Paulwrote,"Sofaith,hope,loveremain,thesethree;butthe greatestoftheseislove."Inwords,music,anddeeds,BruceSpringsteenhasagreed

wholeheartedlythroughouthisentirecareer. ThisLifeandthentheNext:ImmanentandTranscendentImagesinSpringsteens EschatologicalVision(withApocalypticBonusTracks),MichaelRiley,AsburyParkPress,New Jersey Rock'n'rollhasalwaysbeenabouttheendoftheworld(ortheendofsomethingaloveaffair, alife,theline,theroad)andSpringsteenhas,throughouthiscareertappedintothis"end times"motherlode.Earlyon,hewrote,asamastersongwriter'spoeticconceit,theseclassic linesfrom"ThunderRoad":"Heaven'swaitingondownthetracks/Ohohcometakemy hand/Ridingouttonighttocasethepromisedland."Butovertime,andparticularlyinthelast decade,hiseschatologicalimageryhasbecomemoreexplicitlytheologicalandmoreurgent. Thealbum"WorkingOnADream"ispositivelyobsessedwithtimeandwiththetimestocome. So,too,aretheChristianscripturessimilarlyobsessedwithtime. Thewriters(andearlyreaders)oftheGospels,theEpistles,andthatfinal,visionsoakedBookof RevelationbytheoldandexiledJohn,can'twaitfortheendofthisworldandthearrivalofthe kingdomofheaven. Evenso,theyunderstoodsomehowbetterthanmanysensationalisticfundamentalistpop theologiansoftodaythatthekingdomtocome,whileonlyGodknowshowfardistant,wasin somesensealreadyafaitaccompli.Centraltotheirfaithwasthesensethatinthelifeand ministryofJesus,thelastdayshadalreadybegun.Thus,theirimagesofthekingdomheldin tensionthatimmanence(it'salreadyhere)andtranscendence(butnotyetfully). Springsteenseemstoinstinctivelyknowthisandhissongwritingisawashintheseimages. Ofcourse,thefunsideoftheendoftheworld,thesex,drugs,androck'n'rollside,isfoundin apocalypticliterature,suchastheaforementionedRevelation:monsters,disasters,angels, demonsandGodfinallysettlingeverybody'shash. Contrarytothedictatesofpopularculture,apocalypticliteratureisnot,primarily,aroadmapof thefuture.Manytheologiansconsiderapocalypticliteraturea"tractforhardtimes,"written usuallyduringatimeofpersecutionoroppressionforthosesuffering.Itisawayofsaying,in code,lesttheoppressorsfindit,"Thingsarehardnow,butyouhangon...Godisinchargeof historyandhewillseeyouthrough.''Inthatsense,itistrulypropheticandintenselypolitical. Thiswasattheheartof"DevilsandDust,''"Magic,''andtheliveshowsontheSessionsBand tour.Considersomeofthesongsandarrangementsfromthattour.Therewasthequiet,almost majestic"WhentheSaintsComeMarchingIn:"Andsomesaythatthisworldoftrouble Istheonlyonewe'lleversee/ButI'mwaitingforthatmorning/Whenthenewworldis revealed.''Ortherighteousviolenceforetoldin"EyesOnthePrize.''OrtherewrittenHowCana PoorManStandSuchTimesandLive?''Confusionandfaithlessnesshavetheirsay,butgraceis attheheartofSpringsteen'sworld:itis"TheLandofHopeandDreams''towhichweare ultimatelyinvited,bothasacommunityandasindividuals. 5. SpringsteenandWorkandClass:(BeyHall,Room227)

Moderator:StantonGreen,MonmouthUniversity,NewJersey BruceandPedagogiesofPossibility:WorkingonDreamstoSaveRealities,DougMorris, EasternNewMexicoUniversity CentraltoBrucespedagogyofpossibilityistheinterpenetrationofeducationandlabor,a dialecticbetweenmutuallyinformingandfulfillingdreamsandworkrootedinstrength,faith, hopeandlovethatcallforformsofeducatedhopetoinspireustotranscendcurrent conditionsofalienationandfrustrationproducedbythechasmbetweenwhatsocietypromises andwhatpeopleareabletoobtain.Itisthistensionbetweenthesystemicdeterminationsof theexistingdominantorderandhumancapacitiestostruggleforqualitativetransformationsin theobjectiveconditionsofsocialandindividualreproductioninthedomainoflabor(working), accompaniedbytransformationsofconsciousness(dreaming),thatisanenginefordreamingof andworkingforurgentlynecessaryalternatives.VitalforSpringsteenistheexplorationofhow wediscoverourdreamsthroughworkandhowwetransformourworkthroughdreams;hence theneedtodreamdifferentlyinordertoworkdifferentlyandtoworkdifferentlyinorderto dreamdifferently.Springsteenspedagogyisthusreflectiveandactiveinthattherecanbeno justificationforwaitingforafavorabletimetoarrive;itisalwaysemergingfromthehereand now,acombinationofourdreamingandourworkingasselffulfillinghumanactivity (Meszaros).Whilethedreamofasubstantivelyfree,democratic,peacefulandequitablesociety mayseemfaraway,Springsteenspubliclyorientedpedagogyofpossibilityrecognizesthatit isfaithinthelaboroflove,thestrengthofhumanhopes,andwhatlovecandothatwill overcomebloodforbloodandeyeforaneyeformsofalienationanddegradationand makeitrealsomeday.Lifeitself,rootedinpedagogiesofpossibility,istheninourheart, oureyes,andourhands,i.e.lifeisimaginative,epistemologicalandtransformativeandthus capableofproducingprocessesofradicalrestructuringsofconsciousness(dreams)andhuman friendlymaterialconditions(work).Inthedialecticofworkingonadream,theroleofdreams (i.e.pedagogyasalwaysapoliticalandmoralsetofprocesses)isvitalforarticulatingstrategies totransformtheobjectiveconditionsoflabor(humanandsocialreproduction),andforthe transformationsintheconsciousnessofindividualsworkingtomaterializetheconstructionofa radicallyalternativesetofsocialarrangementsthroughwhichdreamsinformrealitiesandnew realitiesinspirenewdreamsinaneverevolvingpresent.Towin,however,wemustpay,in thattheremustbesacrifices(work)inthepresenttomakerealthedreamsinthefuture, dreamsthatwillemergefromthelaborofknowingwhatlovecando,i.e.recognizinghowthe fulfillmentandflourishingofeachistheconditionfortheflourishingandfulfillmentofall. Workingonadreamthenmeansexpandingworktoaccommodatedreamsandexpanding dreamstorealizenewandmoremeaningfulformsofwork. OnTheEdge,StevanWeine,UniversityofIllinoisatChicago BruceSpringsteenhasbeenknownfordecadesasawriterandperformerofsongstoriesthat explorethesocial,economic,andpoliticalinjusticesofAmericanlife.Afterhisearlyburstof youthfulrockandrollenergy,andbeforehefoundthenarrativefolkvoicewithwhichhewould shinealightoncrime,war,immigration,andterrorism,hewroterockandrollsongstories

abouttheinternallivesofeverydaypeopleoutontheedge,athememostconcentratedinhis fourthalbum,DarknessontheEdgeofTown.Thesesongstoriesspeaktomomentsof extraordinaryemotionsloss,hope,rage,love,flight,redemptioncomingoutofordinarylife spacesfamily,work,community,home,andcitythatareundergoingbothsocial marginalizationandaliminalstageoflife.Thesesongstoriestakeustotheedgebyexploring howadultlifelooksthroughtheeyesofthosewhoareemergingfromtheirteenyearsand seeingtherestoftheirlivesasifforthefirsttime.Hereweseesonslookingintotheirfathers eyes,thethrillandimpossibilityofsexualityandromance,thevalueandcostofwork,andthe dreamsofwhatlifeshouldbring.Springsteensdefthandlingofthiscomplexterrainthathas producedrockandrollsongstoriesontheedgewhichgivemanythesenseofpersonal transformationuponlisteningandrelistening.Springsteencreatesasenseofbeingoutofthe edgethroughanartistrythatincorporates:thethresholdofadulthood;asocietyclosingin; cinematicimages;thetoneofstruggle;aconstrictedmusicallandscape;authenticemotions; andintensemoralambiguity.Thesesongstoriesontheedgedonotshakethewallsofthecity statelikesomeofhismoretopicalsongs,buttheycanbringusbeyondourownlimitsofsocial awarenessandmoraldevelopment.Ontheedge,weareinaplacewheredreamsaregetting smashedagainstthehardsurfaceofreality,buthopesrefusetodie,andwemuststeel ourselvesforthefightstocome.Tomakeitoutontheedge,wemustfindoutwhatkindof workweshoulddo,seewhomwearetooneanother,loveandkissmoredeeply,andsingwith moreopenhearts.Thatiswhatiscalledforbythesepowerfulsongstoriesoftheedge,written duringaneraofhislifewhichinturnisanedgebetweentheearlierexuberantyouthfulrock thatmakespeoplewanttodanceandthelaterembracingofafolktraditionthatwould eventuallyhavehimsingingtoourcountrysvaluesandillusions. TomorrowNeverKnows:Nostalgia,DreamscapesandWorkingClassIdentity,Elizabeth Seymour,PennStateUniversityAltoona,Pennsylvania Springsteen,throughhismusicandlyrics,hasoftenexploredtheAmericanDreamaslived throughthelivesofhisworkingclasscharacters.Thisnarrativethreadprovidesanongoing commentaryonsocial,culturalandpoliticalchangesintheUnitedStatesfromthe1960'suntil today.Asthehopesanddreamsofthesixtiessocialmovementsprovedincreasinglyillusoryfor many,Springsteen'sstoriesdriftedawayfromtalesexploringcarefreesummerdaystoonesthat weremuchdarker,bleaker,andfrequentlymorecynical.Thesedarkerstorieswereoften interspersedwithlighterfare,togetherexploringthecomplexityofhumanexperience,butwith anaggingdarknesslingeringaroundtheedges.Thesenarrativesexploredreamsfound,lost,and sometimesfoundagainoftenthroughanostalgiclensusedinincreasinglysophisticatedways duringdifferentperiodsofhiswork. ThispaperexploressixEStreetBandalbums(BorntoRun,DarknessontheEdgeofTown,The River,TheRising,Magic,andWorkingonADream)focusingontwokeyperiodsinorderto exploretheconstructionofworkingclasscharactersinpursuitoftheAmericanDream.To plumbthecomplexmeaningsandconstructionsofidentity,thepaperfocusesonissuesof intersectionality,includingimagesofcommunity,family,nationality(patriotism),gender,

ethnicity(race),sexualityandclass.IsituateSpringsteen'sworkwithinabroadersocietal framework,reflectinghisownpersonalexperienceswhilealsoprovidingimportantinsightson Americansocietyasitstruggleswithdreamsfoundandlost.Finally,Iexplorehisusageof nostalgiaanddreamscapes/referencestohighlighttheloss,alienation,frustration,and ambiguitysurroundinghischaracters'uneasypursuitoftheAmericanDream. QueenoftheSupermarket:RepresentationsofWorkingClassWomenintheWorkofBruce Springsteen,LisaDelmonico,FarmingdaleStateCollege,NewYork Aworkingsinglemother,amotherinlawonunemployment,aprostitute,Catholicschoolgirls, andasupermarketclerk:theworldofworkingclasswomenasrepresentedinthelyricsofBruce Springsteen.Springsteenssongsarelayeredwithdescriptiveallusionstoworkingclasswomen: theirstruggles,faileddreams,andfrustrations,andultimately,theirsearchfortransformation intoCinderellaslookingforaPrinceCharming.Springsteenalsofavorablycomparesthese heroinestomiddleclasswomen,definingthemasunobtainableandundesirablethe newscasterinYouCanLookandtheunhappilymarriedrichwomaninthevideoandlyricsfor ImonFire.Carnalityandthevirgin/whoredualityalsoappearinSpringsteensongsaspretty workingclassgirls(Candy,Wendy)trytoleveragetheonlycommodityavailabletothemtheir soontobediminishedphysicalbeautyforstabilityinmarriageorarunawayadventurewitha badboy.Springsteensstereotypesofworkingclassfemininityincludeimagesofwomentrying tonotjustsurvive,buttotransform,andSpringsteenasthenarratorofthesongacknowledges andappreciatestheeffort. 6. SpringsteenandAlienation,LossandDisability:(BeyHall,Room226) Moderator:DavidGarrettIzzo,AmericanPublicUniversity,NorthCarolina CrippleontheCorner:SpringsteensVisionofDisabilityinAmerica,ChrisRosa,City UniversityofNewYork Thelastthreedecadeshavewitnessedtheevolutionofamodern.U.S.disabilityrights movementandthedevelopmentofarelated,burgeoning,distinctiveAmericandisability culture.ThissameperiodhasseentheascendancyofBruceSpringsteenasinternationalrock legendandanAmericanculturalicon.ScholarshavedocumentedSpringsteensroleasasocial commentatorandAmericanpoetwhoseworkthicklydescribesandrichlyexploresissuesthat includework,class,urbanlife,youthculture,race,gender,andU.S.immigrationpolicy.Through acontentanalysisofthelyricsofeveryknownrecordedsongwritten,covered,and/orpublicly performedbySpringsteen,thisarticleexploresthepervasivethemeofdisabilityinhiswork.This themeisfeaturedmostprominentlyinhisdebutalbumGreetingsfromAsburyPark,NJ, reflectedinthedevelopmentofthecolorfulcharactersthatpopulatehisdiverseAmerican landscapes.Blindness,bothliteralandfigurative,emergesasaparticularlyprominentmotifin Springsteenswork.Finally,disabilityisdepictedasaharmfulbyproductofwarinhisantiwar

repertoire.Theresultisasomewhatstigmatizingyet,aboveall,inclusivevisionofdisabilityas partoflifeforagritty,strugglingAmericanunderclass. AnEcologicalModelofAlienationinSpringsteensMagic,LorraineMangione,Antioch UniversityNewEngland,NewHampshire ThesenseofalienationrunsdeeplythroughoutMagic,startingwiththetitlesongthattellsusto Trustnoneofwhatyouhear/Andlessofwhatyousee.Alienationcanbedescribedasaloss ofsenseofself,alossofconnection,asenseofmeaninglessness,afeelingthatoneisaloneand cutofffromothers.Itisaholisticpsychologicalexperience,inthatithasbothcognitiveand affectivecomponents,itcertainlyhasaspiritualorexistentialelement,andcanbefeltand expressedphysically.AlienationintheUnitedStatesisnotanewphenomenon.Itwas consideredtobehighduringthesixties,andaperusalofcurrentpsychologicalandsociological literaturerevealscertaingroupslikelytoexperienceit,suchasadolescents,racialminorities, peoplewhosecultureshavebeendenigrated,alcoholics,thepoliticallydisenfranchised,and thosewithseriousmentalillnesses.WhileinMagicthealienationseemsmorewidespreadand sweepingthanthatexperiencedbyoneoranothergroup,wecanlearnfromthosegroupsand applysomeoftheirthemestothealienationinMagic. Alienationexistsonmanylevelsofpeopleslives,andasitisalwaysalienationfromsomething orsomeone,thereisalwaysacontextorarelationship.WelookatalienationinMagicthrough thelensofUrieBronfenbrennersecologicalmodel,apsychologicalmodelofhuman developmentthatsituatestheindividualsquarelyinhisorhermultilayeredcontext.Weuseit toorganizeanddiscusslevelsofalienationinMagic,fromtheprivateindividuallevel(for example,YourOwnWorstEnemy;RadioNowhere)throughthecommunitylevel(Gypsy Biker;LongWalkHome)tothemacroorgloballevel(LivinInTheFuture;LastToDie). Somesongsinfuseallthelevels(DevilsArcade). Magicisviewedasamasterpieceoftheexperienceofpsychologicalandsociologicalalienation, includingitsphenomenology,etiology,andtheroleorpurposeitplaysfortheindividualor society.WhilewehaveseenintimationsofalienationinSpringsteensworkinthepast,and morethanintimationsonNebraska,inMagicitiscomplete.Afewsongsgivebriefglimpsesofa possiblewayoutofsuchalienation;yetthereislittleinthewayofresolution,andcouragein notofferingeasyanswers. Inthispaperwedescribealienationusingtheecologicalmodeltosituatetheexperiences.We arguethatlossoftrustandlossofhopearethemainprecursorsofsuchalienation,andare deadlytothefabricofanindividual,afamily,closefriends,acommunity,anation,ortheworld. Speculationsareofferedforwhythisalienationexists,aswellasawayoutofsuchalienation, particularlydrawingupontheuseofritualandsymbolsthathavelargerthanlifemeanings,the communalneedforhealing,theimageofworking,andthemetaphorofthelongwalk home.AllofthesongsfromMagicwillbediscussedinthispresentation.

7. SpringsteensInfluenceonBothInternationalandU.S.Fans:(BeyHall,Room225) Moderator:JinThindal,SimonFraserUniversity,Canada AussieTramps:TheSignificanceandMeaningofSpringsteensMusictoAustralianFans,James Coughlan,JamesCookUniversity,Australia Music,aswithliteratureandpoetry,notonlyentertains,butalsopermitstheconsumerto digestandselfreflectupontheirbeingandlifeintheworld.Formanymusicisapotent influenceupontheirlives,withsomegenresofmusictakingonanalmostspiritualdimension. Amongthemostinfluential,inspirationalandselfreflectingsongwriterperformers,asopposed tosolelymusicians,intheEnglishspeakingworldoverthelast34decadesincludesuch performersasJoanBaez,Bono(PaulHewson),BobDylan(RobertZimmerman),JohnLennon, JoniMitchell,andBruceSpringsteen. Thepaperdiscussesdatacollected,viaanonlinequestionnaireduring2006,fromten AustralianSpringsteenfans.Thequestionnairerequestedrespondentstoprovideinformation onvariousaspectsofthesignificanceandmeaningofSpringsteensmusicinthelivesof Australianfans,andthusthestudysoughttopartiallyduplicateDanCavicchis(1998)seminal researchreportedinTrampsLikeUs:MusicandMeaningAmongSpringsteenFans. ThedatafromtheAustralianfanslargelyalignswiththeresultsreportedinCavicchisearlier work.Similaritiesanddifferencebetweenthetwostudiesarenotedanddiscussed.Thepaper providesrecommendationsforadditionalglobalresearchintothetopic. AcrosstheBorder:SpringsteenbyaLatinAmericanActivist,VictorGarciaZapata,National AutonomousUniversityofMexico Morethananacademicdissertation,thepapertalksaboutthepersonalexperienceofthe influencethatBrucehashadonmeasapoliticalactivistandsocialmovementsresearcher. Certainly,mostoftheSpringsteenlyricsarenotdirectlyconnectedtoprotesttopicsbut,mostof histaleshappenedinascenerywherethecontradictionsofthecapitalismsystemareevident. Bruceslyricshavehelpedme,foratleast15years,tounderstandthewaytheAmericansociety functionsinitsundergroundlevels,andhavemovedmetostudythefaultsofapoliticaland economicorderthatpromoteswars,povertyandisolationamongothers. IncludingmyLatinAmericancontextaspartoftheanalysisisimportantnotonlytoexplainmy ownwaytoassumeBrucesteaching,butalsotogivesomeexplanationsaboutBrucesabsence inthispartoftheworldconsideringsomeofhismulticulturallyrics,theculturaldifferencesthat makeBrucelessreceivedinsouthcountries,andhowheisseenbyamexicanjournalistand rockandrollfans. Triple5Rock:WhyBruceMeansSoMuchtoCleveland,MarkBourdeau,SuffolkCounty CommunityCollege,NewYork

TheimagesofBruceSpringsteenandhisfamilyonstageinClevelandwithBarackObamaandhis familyduringthe2008presidentialcampaignhavebecomesymbolicformanypeople,especially giventhehistoricalsignificanceofObamaselection.ForClevelanders,however,themeaning runsevendeeper,asweadoptedBrucemanyyearsago,andhispresencehascontinuedto grow.Foryearsandyears,beginningbeforeBorntoRunwasevenreleased,everyFridayat5:55 p.m.,WMMS,theradiostationthatsolidifiedClevelandsidentityastheRocknRollcapitalof theworld,rangintheweekendbyplayingBorntoRun,followedbyEarthQuakesversionof FridayonMyMindandIanHuntersClevelandRocks.Itdidntmatterwhereyouwere EdgewaterPark,theFlats,SquiresCastleyouhadtheradioonatfiveminutesto6,andBruce tookyouonthatride.Similarly,itsnocoincidencethatthemovieLightofDay,withits emphasisonthepowerofrocknrolltogivemeaningtolivesthatseemcrushedbydeadend jobsandthecollapseoftraditionalvalues,issetinCleveland.Bruceaddressesissuesthatmatter tomanypeople,ofcourse,butClevelandersunderstandlifeinwaysthatNewJerseyans understanditJerseyhastheoilrefineries;wehadariverthatburnedandourshared workingclassbackgroundsgiveusaconnectionthathasneverbeenbroken.