✒︎ Bareknuckle Poet Anthology Vol.1: 2015 ISSN 2205–7218
BAREKNUCKLE POET ANNUAL VOL.1 2015 2nd Edition 2016 Edited by Brentley Frazer & A. G. Pettet. Publisher: BAREKNUCKLE BOOKS. IMPRINT: Bareknuckle Poets. ISSN: 2205 – 7218. STATUS: Published: 01/11/2016. Copyright: Bareknuckle Books & Contributors. Language: English. Extent: 348 pages. Binding: Perfect-bound Paperback. Interior Ink: Black & white. Dimensions: (inches) 6x 9 CONTRIBUTORS: L. Ward Abel, Robert Adamson, Venero Armanno, Melissa Ashley, Lisa Marie Basile, Mandy Beaumont, Sally Breen, MTC Cronin, B. R. Dionysius, Maria C. Dominguez, Martin Edmond, Michael Farrell, Toby Fitch, Brentley Frazer, Claire Gaskin, Allen Ginsberg, Matt Hetherington, Eleanor Jackson, Anthony Lawrence, Alexandra McCallum, Tim McGabhann, Laura Jean Mckay, Corey Mesler, Reg Mombassa, A. G. Pettet, Mark Pirie, Rufo Quintavalle, Kris Saknussemm, Gary Snyder, David Stavanger, Todd Swift, John Tranter, Joanna C. Valente, Samuel Wagan Watson, Fakie Wilde, Mark Young, Ali Znadi + More
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BAREKNUCKLE POET ANNUAL VOL.1
BAREKNUCKLE POET ANNUAL VOL.1 2015 2nd Edition 2016 Edited by Brentley Frazer & A. G. Pettet. Publisher: BAREKNUCKLE BOOKS. IMPRINT: Bareknuckle Poets. ISSN: 2205 – 7218. STATUS: Published: 01/11/2016. Copyright: Bareknuckle Books & Contributors. Language: English. Extent: 348 pages. Binding: Perfect-bound Paperback. Interior Ink: Black & white. Dimensions: (inches) 6x 9 CONTRIBUTORS: L. Ward Abel, Robert Adamson, Venero Armanno, Melissa Ashley, Lisa Marie Basile, Mandy Beaumont, Sally Breen, MTC Cronin, B. R. Dionysius, Maria C. Dominguez, Martin Edmond, Michael Farrell, Toby Fitch, Brentley Frazer, Claire Gaskin, Allen Ginsberg, Matt Hetherington, Eleanor Jackson, Anthony Lawrence, Alexandra McCallum, Tim McGabhann, Laura Jean Mckay, Corey Mesler, Reg Mombassa, A. G. Pettet, Mark Pirie, Rufo Quintavalle, Kris Saknussemm, Gary Snyder, David Stavanger, Todd Swift, John Tranter, Joanna C. Valente, Samuel Wagan Watson, Fakie Wilde, Mark Young, Ali Znadi + More
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BOSS: The Bi-annual Online-Journal of Springsteen Studies
In 2012, Bruce Springsteen delivered the keynote address at the South By Southwest Music Conference and Festival. His task was daunting: reconnect authenticity to a traditional approach to creating art. By bringing together ideas on authenticity, creativity, and culture, Springsteen’s talk joins a lineage of essays that defend poetry, creativity, and culture, including famous works by William Wordsworth and T.S. Eliot. In this article, I connect Springsteen’s ideas to the “folk process,” which leads to considering Wordsworth’s ideas on the voice of the common citizen and Eliot’s ideas on historical tradition. In the end, I consider Springsteen’s legacy as cultural ambassador for the arts.
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The Biannual Online-Journal of Springsteen Studies
Both anger and hope drive Woody Guthrie’s protest songs. Lyrics like “This Land Is Your Land” offer a hopefully angry voice that continues to be heard in the work of contemporary American singer-songwriters. This essay analyzes the ways in which Guthrie’s voice and vision continue to inform the songs of Bruce Springsteen, Steve Earle, Patty Griffin, Gillian Welch and David Rawlings, and Mary Gauthier. By bringing Guthrie’s hopeful anger that insists on justice and mercy and precludes sentimentality, hostility, and nihilism into conversation with the artists who continue his legacy of activism, this paper looks to the “Seeds” Guthrie sowed.
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The Killers’ music crosses genres and seems to alternate between upholding or challenging the conventions of rock music. This is particularly evident in their depiction of romantic desire. Through their recording career, their work has undergone a dramatic shift in its engagement with love. Early songs often dealt with spurned male lovers who react violently to rejection, culminating in what is known as the band’s Murder Trilogy. However, their more recent work has departed from rock’s critically cited fixation with freedom and sexualized love to concern the struggles of prolonged relationships in which partners face the pressures of romantic disillusionment. Their evolution has conspicuous ties to frontman Brandon Flowers’ own marital and religious commitments. This article traces such thematic changes to investigate relationships between love, masculinities, and spirituality in rock music. Through close readings of The Killers’ music, with particular care for the influence of thei.
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Springsteen’s songs have a stake in our shared world. They also have the depth and the density of the best lyric poetry, and the narrative force and immediacy of the most enduring ballads. This essay reads Bruce Springsteen’s lyrics as literature and as political narratives. Drawing on Rancie`re, Isin, and other political theorists, I examine Springsteen’s politics and the ways of being political he has exemplified for more than thirty years.
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American Music 25(4) (Winter 2007): 441-476.
This article theorizes soul music as a performance ritual derived from the gospel service and analyzes Bruce Springsteen’s adaptation of the genre’s performative gestures for his concert persona. Springsteen translated James Brown’s stagecraft for a white working-class audience through a theatrical style based on physical intensity, high-energy showmanship, call-and-response, self-reflexive monologues, and sermonizing. The soul genre is theorized, historicized (1954-1975), and analyzed as a response to redemptive impulses within modernity (especially African-American). The article makes four claims: (1) African-American musical practices float freely in popular music and Springsteen adapted soul’s underlying ontology for his stage sermons, existential affirmations, and exhortations for social justice; (2) Springsteen became adept at interactive performer-audience bonding by emulating soul singers (and soul revues) during his musical apprenticeship; (3) Springsteen’s unacknowledged debt to the soul tradition has resulted in the fetishizing of saxophonist Clarence Clemons’s blackness in concert; (4) Springsteen should be considered a Euro-American avatar of the soul tradition. There are two analyses of Springsteen’s soul ritual from the 1999-2000 concert tour, and a shorter, concluding section on his performance at the first post-Katrina JazzFest in New Orleans in Spring 2006. Keywords: Bruce Springsteen; soul; modernity; gospel; race; James Brown; performance; ritual; African-American music.
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