Customer Reviews

Born in the U.S.A: Bruce Springsteen and the American Tradition

5 star:		(5)
4 star:		(3)
3 star:		(0)
2 star:		(2)
1 star:		(0)

 

 

This is the kind of book that makes you think; sure, some of the conclusions are far fetched, but at least Jim Cullen offers an interesting and original perspective. Cullen firmly places Springsteen in an American tradition; puts the man and his music in a broader perspective, and he does this convincingly. The book is obviously a continuation of the article on Springsteen he published before, read this first. To say that his comparisons and his analyses are tenuous is easy; you really need to read the book carefully to be able to appreciate Cullen's interpretations, that is what they are, interpretations. Cullen doesn't seem to pretend otherwise and rightfully so because the assumptions he makes cannot be empirically proven, they don't have to be, art cannot be dissected mathematically. Therefore, if you are a more experienced reader, preferably in academic writings, AND a fan of Bruce Springsteen, this book is food for thought and well worth the money.

Whether you're a fan of springsteen's or a student of american history, this is a must-read. This book is by no means a biography, it is a study of his work and its' meaning and context. I have no idea what this fella from spain is talking about calling these essays overblown and that Cullen has no right to compare someone of springsteen's stature to whitman. Cullen does an excellent job of discussing his theses - two of the most intriguing being how springsteen's viewpoints on parenthood and women grow and mature throughout his body of work (how many other rock stars work have that degree of sophistication?). Well-written, well-executed, anove all, SMART. More books about like this - serious studies on a musician's work and not his/her life and lifestyle - should exist.

Jim Cullen's book carries a weighty premise: Bruce Springsteen is the cultural heir of Emerson, Whitman, Lincoln, and The American Kings (Martin Luther King and Elvis Presley). Cullen divides Springsteen's themes into useful categories and explores them in the context of America's great artists, thinkers, and cultural movements. Although it reads a little like a dissertation in places, I found Cullen a credible Springsteen expert. His discussions illuminated dimensions of Springsteen's work for me, as well as provided interesting but arguable perspectives on other American artists and cultural figures. This isn't a pop biography, but it rewards the thoughtful reader.

Both a recent convert to the Springsteen synod of the First Church of Rock n' Roll and a rogue scholar pursuing the aims of Deweyan democratic community, I have considered the possibility of a scholarly study of Bruce Springsteen's music. Such a study would consider (ideally) several themes: One, most importantly, is to situate Sprinsteen's music within a certain American literary and musical tradition; another is to present Springsteen's work as, in some respects, part of national dialogue on questions of citizenship, patriotism, manhood, etc.; yet another is to consider Springsteen's music as a sort of ethical practice, almost as an Aristotelian guide to character development. Jim Cullen's book, although it falls short of my ideal in many respects, does offer an interesting and, I think, ultimately compelling vision of the possibilities of scholarship on Springsteen.

Cullen's argument that Springsteen belongs to a literary tradition beginning with Walt Whitman, and including Mark Twain and John Steinbeck, is persuasive. Although his comparisons of these authors with Springsteen, both stylistic and thematic, are a little thin, the similarities are made evident. (One weakness of Cullen's argument is his failure to consider the most notable differences between Springsteen and Whitman, et al.) Springsteen's is an aesthetic of the everyday, offering a picture of lives and landscapes that form the stuff of life for most Americans, but are often overlooked (interestingly, by both conservative proponents of high modernism and and leftist supporters of avant-garde art). His stories are drawn from the very streets on which he grew and lived, from the events affecting his society, and from the plight of those left behind in the wake of society's progress ("The Ghost of Tom Joad" and "Nebraska" are most exemplary of this dimension of Springsteen's work -- having rather little to do with his own life). Thematically, this is the very stuff of Steinbeck and Whitman.

Cullen also makes an interesting case that Springsteen be seen as a proponent of American republicanism. (Not to be confused with the Reagan sort of Republicanism -- Springsteen is certainly not right-wing.) This is the political tradition to which Whitman, Lincoln, Martin Luther King, Jr., and (not mentioned by Cullen) John Dewey belong. It is a tradition which promotes and protects the rights of individuals, but always sees these individuals as members of a community. Springsteen's work, as a whole, it seems to me at least, in part traces a movement from individualism (consider the romantic idealism of Born to Run) to community (embodied in the group performance of "If I should fall behind" during the 1999 performance). His more recent work, "The Ghost of Tom Joad" and "The Rising" particularly, is concerned explicitly with the importance of community in the face of both internal and external challenges.

Overall, while Cullen's book does provide an interesting and compelling case for the 'serious' study of Springsteen's work, I think it does have a few significant flaws. For one, which I have already suggested, his comparisons of Springsteen with other literary figures are somewhat superficial. More detailed comparisons (involving, in part, more thorough examination of Springsteen's lyrics), even where this brings out the differences, would strengthen the argument. (In general, Cullen's presentation of the general historical and cultural settings of Springsteen and other artists is too superficial -- especially as compared with the studies in his other work on American popular culture.) For another, I think his analysis of Springsteen's political significance would benefit by a more individualistic interpretation (paired with his republican analysis). While I think it is true that Springsteen's political vision fits closely with that of Whitman, etc., it is also true that the direct impact of Springsteen's music (as is true of any art), is registered on the individual level. I believe that our moral identities are shaped, in large part, through identifications with various models, which may be culled from popular culture (among other sources, of course). Springsteen's music maintains a serious and generally consistent moral vision, and provides a model of moral character worth emulating. (This seems to be true of Springsteen the man as well.) And thus his music may actually serve as a valuable democratic resource.

This book is a fine read and a fairly unique interpretation of Springsteen's work. As an early serious effort to assess Springsteen's cultural and political significance it will of course have some problems, but these can be excused for the simple fact that so few other authors have tackled this subject in this manner.

Whether you're a fan of springsteen's or a student of american history, this is a must-read. This book is by no means a biography, it is a study of Springsteen's work and its' meaning and context. I have no idea what this fella from spain is talking about calling these essays overblown and that Cullen has no right to compare someone of springsteen's stature to whitman. Cullen does an excellent job of discussing his theses - two of the most intriguing being how springsteen's viewpoints on parenthood and women grow and mature throughout his body of work (how many other rock stars work have that degree of sophistication?). Well-written, well-executed, anove all, SMART. More books like this - serious studies on a musician's work and not his/her life and lifestyle - should exist.

p.s. I originally wrote this way back when. I recently got a new e-address and am in the process of updating all my old postings. So, yes, you may see this review twice. It is worth noting that since the time I originally wrote this, I've re-read various sections, and was impressed with how well they stood up to repeated readings. So - yes, I stand beside my original review and then some.

Jim Cullen has taken the time and effort to articulate what the true Springsteen fan has known for years. That the Boss's music has always been about much more than cars, girls and good times. Cullen uses the critical eye of an accomplished historian to peel back the many layers that underlie Springsteen's songs. Cullen's analysis demonstrates why Springsteen's songs have their unique power as they combine an introspective philosophy of life with the power and emotion of great music. In short, Cullen shows why Springsteen is ultimately more than just a great rock and roll performer. He is in fact a great and uniquely American artist in the best tradition of John Steinbeck and Walt Whitman whose work should stand the test of time. Must reading for any true Springsteen fan.

Mr. Cullen has done an often inspiring job of revealing the layers of depth beneath the iconic surface of this fascinating "pop star." Avid Springsteen fans like myself will probably find invaluable historical cords in Cullen's analysis that link the singer to a "republican" tradition in this country that probably represents the best practical legacy America has to offer the world. It's a rewarding surprise to find Springsteen's work paralelled with, say, a Whitman verse. Nevertheless, Cullen is also careful to avoid over-inflating his subject's importance, even while placing him alongside Emerson, Twain, Martin Luther King, and Elvis. The author's conclusion is brilliantly simple and clear despite the wide scope he brings to Springsteen's themes: Springsteen's work, like that of those other cultural luminaries, is a rich and rewarding tributary of the most enlightened stream of our culture.

I highly recommend Geoffrey Hine's book on Born in the U.S.A. I had forgotten how good this album is. There were lots of good insights into Springsteen's creative process particularly how he was more successful when he started to pare down his lyrics for works such as Born in the U.S.A. There's fine research on the genesis of songs such as the title song. Also, there is a lot of additional information on the making of Nebraska, one of Springsteen's best works. You have to laugh when you read how politicians and pundits like Ronald Reagan and George Will praised the work of Springsteen at the time. They didn't quite get it. Finally, there is an excellent discography of Springsteen's work at the end of the book. A great read which I thoroughly enjoyed

This book seems like a college term paper extended to book length. Although the central theme is Springsteen's work, the book seems to almost wander randomly around American history and culture. The author stretches credibility when he compares Springsteen to Jefferson, Lincoln, Whitman, etc. I am a huge fan of Springsteen, but Jim Cullen seems to have lost any objectivity in presenting his thesis on the subject.

While there is no doubt that Cullen knows his Springsteen, he makes such a bumptious move to assume intentionality on the part of Springsteen that it is difficult to read this book without laughing. It is problematic and strained to make connections between Springsteen's work and the myriad of themes (historical, political, literary, and religious) that Cullen brings up here; he would not need to frequently preface his comments with the phrase "...it might seem ridiculous..." if indeed the supposition he then sets forth were not in fact ridiculous or at the very least stretching credulity. It makes me wonder how, as a scholar, Cullen could allow himself to fall into this trap of assuming intentionality; if I were marking this book as a paper, I would be writing "How do you know this?" or "unsubstantiated assumption" on nearly every page.

Besides all this, I must admit to getting a lot of good laughs out of this book, especially in the little errors that seemed to have slipped past Cullen's watchful eye, such as his depiction of Hendrix's "Hey Joe" as an anti-war song. I would also love to pass this book along to Dr. David Tracy, who is a colleague of the professor I work for, to see if he would agree with Cullen's co-opting of his writing in support of one of Cullen's Springsteen theories.

Springsteen fans may be devoted, but they are not stupid and I hope they are not so gullible that they would take this book without a major grain of salt.