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BRUUUUUUUCCCCEEEEEE!

VH1 is airing the first two songs from Bruce Springsteen's concert tonight in East Rutherford, N.J.

This (and a string of Today Show performances last week) are to promote his new album, Magic, which Rolling Stone just gave five stars.

Bruce%20Springsteen%20Magic.jpg

Bruce is one of those polarizing pop culture figures about whom few are lukewarm.

He inspires rabid devotion in his fans -- a number of whom I call friends, a few of whom occasionally scare me.

Others sort of go: "Born in the U.S.A., right? Blue jeans? Flag? Right."

My generation grew up with the synth-heavy "Born in the U.S.A." album defining Bruce -- which is sort of a shame since there are better (Darkness on the Edge of Town, Nebraska) and more definitive (Born to Run) Bruce albums.

Bruce hasn't had much trouble selling albums since landing on the cover of both Time and Newsweek in the same week during his first wave of fame in the 70s. And critics have always taken him seriously, even when giving him the occasional (not always undeserved) poke. But there was for years, among the hip, a sense that Bruce's over-the-top earnestness was fit only for ironic appreciation -- like ignoring the crap production and ridiculous scripts of the Deathwish movies because maaaaaan, they're AWESOME.

But since reuniting with the E Street Band and releasing "The Rising" in 2002 it's become "cool" to, in all seriousness dig Springsteen.

Here's what Rolling Stone had to say in last year's "Hot Issue" (this year's is out now), in which Bruce was named "Hot Influence":

"These days, E Street is the coolest, most crowded thoroughfare in rock: Hipster acts from the Killers to Ben Kweller are snapping up glockenspiels and words that rhyme with "highway" as they rush to give themselves Bruce-inspired makeovers.

"I took these great Springsteen songs for granted," says Brandon Flowers, frontman for the Killers. "I didn't realize how amazing his albums were -- it blows my mind how good he was when he was also so young."

Meanwhile, Arcade Fire have been covering "State Trooper," and the Hold Steady use so much tinkly, theatrical piano on their new album that they're in danger of being mistaken for a Springsteen cover band.

Why is Bossiness so hip? With constant touring, TV specials and multiple album releases, Springsteen has been as visible as ever recently. Plus, ever seen Bruce circa 1975 -- beard, shredded undershirt, worn jeans, crazy hat? Screw Jersey -- that dude belongs in Williamsburg."

A year later, and with a new rock album, Bruce is keeping it going. Some journalist friends of mine recently took their youth journalism group to a Bruce concert in Hartford -- and it doesn't seem ridiculous, like a dad dragging his kids to see Clapton.

How many artists at his age, with his level of mainstream success, win new generations of admirers and continue to be covered by
and exert influence on emerging rock acts?

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Bruce Springsteen came on the scene right as I was checking out of it. I was never much of a fan in the late 70's or 80's, until, for some reason, Tunnel of Love. I was in Vancouver at the time. It was "One Step Up" that first got me, the the title track, and then the whole record. After that I got a hold of Nebraska. I guess I liked the quieter Springsteen. Then Streets of Philadelphia came out, what, in 93 maybe, and soon after "The Ghost of Tom Joad." So, after that I sort of grooved on Bruce whenever the interest arose, but I was not a huge fan. I bought The Rising when it came out, having heard an interview. I was really moved by that CD and started more to him. He turned me off a little last year with all his political yapping, but I have heard the new CD is great.

Joe Killian said:

The stuff I've heard off of the new record is very good.

I didn't much care for the Pete Seeger covers on "We Shall Overcome."

Nothing wrong with the way they were done and I recognize that the music is culturally important -- I just couldn't get into it.

I try to never let politics bother me too much when it comes to art. I don't have to agree with someone's politics to think their music, acting, etc. is terrific.

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