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Maybe there is an element of cultural cycles here; as I've explored in previous posts, previous aesthetics seem to be picked up at different stages, and re-forged into a more contemporary milieu. Yet the socio-cultural-economic context may also play a part; Springsteen's America is one of rusting industrial plants, unemployment, and limited future prospects for the youth of society, yet suffused with an undercurrent of romantic notions of hope and escape. Perhaps the resurgence of Springsteenism has something to do with parallels in the social fabric; perhaps today's youth need a Born to Run of their own. Part of Springsteen's appeal is the urgency in his voice; the sense that this all means something. Do the student protests of November 10 have a voice in popular culture - and if not, will one arise?
Bruce Springsteen: Darkness on the Edge of Town
Japandroids: Darkness on the Edge of Gastown
Titus Andronicus: A More Perfect Union
The Arcade Fire: Modern Man
And for a super special bonus, here's perhaps the finest piece of Post-Springsteen recorded in the past decade or so:
The Constantines: Young Lions
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