Bruce Springsteen  

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Kunstformen der Natur (1904) by Ernst Haeckel
Kunstformen der Natur (1904) by Ernst Haeckel

Daniel Lanois is the better version of Bruce Springsteen.

Esther Phillips - "Home Is Where the Hatred Is"

Gérard Philipe is Julien Sorel in the film adaptation by Claude Autant-Lara

Is self-loathing the key to understanding Julien Sorel, the anti-hero of The Red and the Black?[1], is the question I asked myself last night.

The American literary critic Hayden Carruth (who died 10 days ago) seems to confirm my suspicion by comparing him to Antoine Roquentin of Sartre's Nausea . He wrote in 1959 of the way that "Roquentin has become a familiar of our world, one of those men who, like Hamlet or Julien Sorel, live outside the pages of the books in which they assumed their characters. . . . It is scarcely possible to read seriously in contemporary literature, philosophy, or psychology without encountering references to Roquentin's confrontation with the chestnut tree, for example, which is one of the sharpest pictures ever drawn of self-doubt and metaphysical anguish."

"Certainly, Nausea gives us a few of the clearest and hence most useful images of man in our time that we possess; and this, as Allen Tate has said, is the supreme function of art." --Hayden Carruth

I Am a Madman by Lee Perry in a dub version remixed by Mad Professor, YouTube bricolage by cinemakramp. The regular version of this song can be found on The Battle of Armagideon. The film is Fists of the Double K by John Woo 1973, his first feature film.

Speaking of martial arts film, Can dialectics break bricks? is WCC #66

The Dub Factory with Mark Downie (Sir Marcus Downbeat) on melodica, Tarlok Mann on lead guitar: Keyboards - Russ Cummings: Bass - Spike: Drums - Peng: Horns - Trevor Jones and Lloyd Clarke, from the album The Battle of Armagideon (Trojan). Remixed by Mad Professor.

I've recently been celebrating my lifelong love affair with Lee Perry's work. On a general note on his work, it does not take much imagination to view his work as a strain of black surrealism.

Lilianne Parker Diane Webber via Undead Film Critic.

The Box Tops

Ennemis publics. Correspondance de Michel Houellebecq et de Bernard-Henri Lévy

Gibson Gowland and Joan Crawford [2]

"And, of course, that is what all of this is - all of this: the one song, ever changing, ever reincarnated, that speaks somehow from and to and for that which is ineffable within us and without us, that is both prayer and deliverance, folly and wisdom, that inspires us to dance or smile or simply to go on, senselessly, incomprehensibly, beatifically, in the face of mortality and the truth that our lives are more ill-writ, ill-rhymed and fleeting than any song, except perhaps those songs - that song, endlesly reincarnated - born of that truth, be it the moon and June of that truth, or the wordless blue moan, or the rotgut or the elegant poetry of it. That nameless black-hulled ship of Ulysses, that long black train, that Terraplane, that mystery train, that Rocket '88', that Buick 6 - same journey, same miracle, same end and endlessness."

-- Nick Tosches, Where Dead Voices Gather

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