By Eric Alterman
Bruce Springsteen, The Boss, is an genuine American hero. Eric Alterman investigates the fellow, his song and his audience.
Eric Alterman is a columnist for The country and NSNBC. he's a contributor to Rolling Stone, Elle, vainness reasonable, the recent York instances and The Washington submit.
Read Online or Download It Ain't No Sin To Be Glad You're Alive: The Promise of Bruce Springsteen PDF
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Additional resources for It Ain't No Sin To Be Glad You're Alive: The Promise of Bruce Springsteen
Stieglitz described their art collection: ‘splendid examples of Matisse, Picassos, Duchamp, a Cézanne watercolour & a Cézanne lithograph – several Brancusis – in marble, wood, & bronze’. Such images had hung on the walls of his tiny rooms at 291, and O’Keeffe had seen much similar work there.
A real surprise [and] . . I felt they were a genuine expression of yourself. ’44 O’Keeffe stumbled over her ﬁrst reply: ‘I don’t exactly get your meaning’, but she pressed on, ‘I am so glad they surprised – that they gave you joy. ’45 48 And so began the ﬁrst notes of what slowly grew into a love affair, and the tumultuous shared creativity of dual careers. 46 On 3 May 1916 O’Keeffe received a telegram containing long-dreaded news. Her mother had died the day before, on 2 May, and so ended the long struggle with tuberculosis.
Picasso shown in America. Major ﬁrst viewings of African tribal art as aesthetic objects, rather than ethnographic curiosities, followed in 1914, and that winter the new charcoal Cubist papiers collés, drawings by Picasso and Braque, also went on view. A sculpture exhibition of the works of Constantin Brancusi, his ﬁrst in America, came that spring, another introduction for American modernists. Earlier, in 1909, Stieglitz had experimented with another new idea closer to home, and showed the latest tendencies in American abstract painting in the exhibition Younger American Artists, which included works by Arthur Dove, John Marin and Marsden Hartley.