Andrea Lazić

Milan Barunović
 Bruce Frederick Joseph Springsteen (born September 23, 1949) is an American
singer-songwriter and leader of the E Street Band. Nicknamed "The Boss", he
is recognized for his poetic lyrics, his Jersey Shore roots, his distinctive voice,
and lengthy, energetic stage performances.
 Springsteen draws on many musical influences from the reservoir of
traditional American popular music, folk, blues and country.
 Often described as cinematic in their scope, Springsteen's lyrics
frequently explore highly personal themes such as individual
commitment, dissatisfaction and dismay with life in a context of
everyday situations. It has been recognized that there was a shift in
his lyrical approach starting with the album Darkness on the Edge
of Town, in which he focused on the emotional struggles of working
class life
 Since at least 1984, when he made a large anonymous donation to
striking miners in England and Wales, Springsteen has also offered
consistent support to poor and working class people taking direct
action to challenge the systems that sustain oppressive social
relations.
 WRECKING BALL - Springsteen explained at an unveiling of the
record in Paris that the title reflects the fact that, "there has been a
flat destruction of our values over the last 30 years leading to the
inequality we have now. Wrecking Ball is a metaphor for what has
occurred."
 The song is also an ode to hard work, blue-collar dreams, victories
won and lost and Springsteen's home state.
Bruce Springsteen and Popular Music
Rhetoric, Social Consciousness, and Contemporary Culture
Edited by William I. Wolff

Bruce Springsteen: authenticity, community, and politics in the folk tradition

Brus Springstin i popularna muzika

Retorika, socijalna svijest i savremena kultura
Uredio: Vilijam I.Vulf

Brus Springstin autentičnost, društvo i politika u narodnoj tradiciji

 Springsteen’s sense of authenticity is linked to the “folkloric affiliation”
with the underrepresented and the oppressed; however, it is important
to note that his authenticity with regards to the “transcendence of the
everyday” does not come through a worker’s revolution
(Weisethaunet& Lindberg, 2010, p. 476).

 Springstinov osjećaj za autentičnost je povezan sa 'narodnom

pripadnošću' sa onima koji nisu dovoljno zastupljeni i onima koji su
potlačeni, Ipak , važno je napomenuti da njegova autentičnost koja se
tiče 'prevazilaženja svakodnevice' ne proizizlazi iz radničke revolucije
(Vesehonet i Lindberg 2010, str 476).
 Springsteen’s music has always been embedded in the promise and
fulfillment of work within existing capitalist relations; if his work
measures “the distance between the American reality and the
American dream,” he has always been a believer in the American
dream (Springsteen, 2012).

 Springstinova muzika je uvijek bila ugrađena u obećanje i ispunjenje

rada unutar postojećih kaptalističkih odnosa; ako njegova muzika
mjeri 'udaljenost između američke realnosti i američkog sna,' on je
uvijek bio pristalica americkog sna ( Springstin, 2012).
 Furthermore, I argue that Springsteen’s use of religion, or at
least religious metaphors, modifies the Seegers’ use of the folk
medium toward communal transcendence of the everyday.

 Osim toga, zalažem se da Springstinov pristup religiji ili bar

religijskim metaforama uobličava Sigersovu upotrebu
narodnog medijuma u svrhu zajedničkog prevazilaženja
svakodnevice.
 Allen (2014) argued that on Wrecking Ball, in contrast to
Springsteen’s characters in his earlier songs, the realities facing
most of the characters are so dire . . . that the best escape many
of them can envision cannot be found in this world as it
presently is.

 Alen(2014) tvrdi da za razliku od likova u ranijim

Springstinovim pjesmama, u pjesmi Wrecking Ball (Razarajuća
Kugla) stvarnosti sa kojima se većina likova suočava su toliko
strašne...da se najbolji mogući izlaz koji večina njih može
zamisliti, u današnjem svijetu ne može pronaći.
 Otherworldly escape is especially apparent in the second half
of the album with songs like “Rocky Ground” and “Land of
Hope and Dreams” that imagine a utopia beyond the present
world. Nonetheless, the desire for transcendence does not
mean that Springsteen’s characters are simply longing for a
better world.

 Bjekstvo u svijet izvan ovoga je posebno vidljivo u drugom

dijelu albuma, u pjesmama poput ' Rocky Ground (Kamenita
Zemlja)' i 'Land of Hope and Dreams (Zemlja Nade i Snova)'
koje zamišljaju utopiju izvan sadašnjeg svijeta. Ipak, želja za
nadilaženjem ne znači da Springstinovi likovi prosto čeznu za
boljim svijetom.
 Allen called Springsteen’s work on Wrecking Ball eschatological,
rather than apocalyptical, because it belongs to “a new world that
we ourselves transform; we cannot sit back and let it happen by
itself or wait for divine fiat” (p. 203). Springsteen’s use of religious
metaphors in his most recent music seems to be linked to his
desire for political and social community, especially with
audiences in live performance.

 Alen je nazvao Springstinov rad na pjesmi Wrecking Ball

(Razarajuća Kugla) eshatološkim, prije nego apokaliptičnim, zato
što ona pripada 'novom svijetu kojeg mi sami mijenjamo; ne
možemo da sjedimo i pustimo da se to desi samo od sebe ili da
čekamo božansku naredbu‘ (str 203). Springstinova upotreba
religioznih metafora u njegovim najnovijim pjesmama se može
povezati sa njegovom željom za političkim i društvenim
zajedništvom, posebno sa publikom prilikom nastupa uživo.