Abstract
This paper describes the exhibit on 1950s comedian Lenny Bruce. The paper also gives background information about Lenny Bruce and explains why Bruce's form of comedy was so shocking for its time.

From the Paper
"Long before there was John Stewart and Comedy Central, long before David Letterman gritted his gap-toothed smile on CBS, Lenny Bruce held comedic sway as the nation's satirist of record. But unlike John Stewart, or even edgier comedians like Chris Rock and Margaret Cho, Lenny Bruce during his heyday was considered a transgressing presence upon the American comedic stage, rather than a popular mainstay of talk shows and popular entertainment. Today, comedians of strong words and even stronger personalities are common. But before Bruce, much of American comedy was decidedly non-abrasive. Even the Marx Brother's cutting humor was more intended in silliness, than to have a explicit cultural or social bite to it."

Tags:two, five-letter, words, eviscerating, mainstream, monologues, audience, live, performance

Abstract
This music study analyzes the theme of freedom in the song "Born to Run" by Bruce Springsteen. The writer notes that the lyrical content of "Born to Run" often describes the American dream of freedom and liberation from traditional societal values, which involves breaking ties with family and location through the bond of youthful romance. The writer discusses that the driving instrumentation of the song also reflects this type of freedom in the notation and chord progressions used by the artist to accent this theme in his lyrics. In essence, the writer maintains that the song "Born to Run" by Bruce Springsteen reflects the American dream of freedom within its lyrical and musical content.

From the Paper
"The song "Born to Run" has become a classic of American rock 'n' roll music and has become a staple song in the career of Bruce Springsteen. In the title song from the 1974 album Born to Run, Springsteen offered a large scale approach to the rock 'n' roll format by the expansive nature of his lyrical content. The message of many rock 'n' roll songs before this album did not reflect the deepening sense of personal freedom that many Americans desired after the turmoil of the 1960s. Springsteen sought to emulate Bob Dylan's lyrical and anthemic approach to songwriting, but did it on a much larger scale. Although Dylan had certainly depicted the tragedy of the 1960s in his lyrics, Springsteen defined the romantic and interpersonal aspects of freedom and the American Dream in Born to Run."

Tags:liberation, lyrical, songwriting, song

Abstract
This anthropological study analyzes how Bruce Springsteen has become more than a rock 'n' roll musician in his cultural influence on American youth culture. The writer notes that not only has Springsteen been a major musical influence in the rock 'n' roll genre, he reflects the social dreams and desires of American youth culture through a variety of class distinctions and lifestyles. In essence, the writer notes that Bruce Springsteen sings of different class backgrounds. Further, the writer maintains that Springsteen defines a rebellious and individualistic identity in youth culture through his lyrics and musical understanding of American social norms.

From the Paper
"The type of feeling that calls for redemption of the poor people in the world can also be seen in his music on a domestic note. This forms the main corpus of lyrics and music that respond to the deeper troubles that youth sought within the often depressing and economically down turned post-Nixon era of American culture. Bruce Springsteen, although not above singing songs of the more carefree traditional songs of Little Richard, is more apt to be singing about the quest for freedom from authority for young people. After all, Bruce Springsteen had come from a middle class background, and he had known the suffering of being without money or of having a place to live. For instance, in "Born to Run", Springsteen uses a lyrical example of the desperation of youth culture, as the confines of social norms drives the young people to reach beyond barriers through escaping cultural isolationism."

Tags:lyrics, class, cultural, influence

Abstract
This paper explains that Bruce in her book, "The Death of Right and Wrong", appears to have very few reservations as she analyzes the reasons why and how American culture is being corrupted in the name of tolerance and open-mindedness. The author points out that Bruce, who is a lesbian, maintains that it is the gay, feminist, black elite groups that are taking the American culture over the edge and are methodically corrupting the society by trying to make themselves more equal than others. The paper states that the author maintains a weird concept in that she states the main problem with the Leftist elite is that they believe people who accept should also embrace or else they are not being genuinely tolerant.

From the Paper
"Bruce writes in detail about NOW, the organization she was once proud to be associated with. She explains that despite the claims made by NOW about doing thing about issues, the truth is that such organizations are mainly political in nature and all they care about is making big hue and cry. Not much is ever done by such organizations about important issues. Bruce in particular talks about Andrea Yates case in which this woman killed her five children and blamed postpartum depression for this. NOW was most vocal on the case saying that such problems should be highlighted and that there wasn't much being done about it."

Tags:black, elite, leftisit, lebsian, now

Abstract
This paper examines how the career of Bruce Lee (1940-73) is one of the most interesting cases of cultural influence in the history of film. It explains how he revitalized action films in Hong Kong and how, for the first time, Asian films were seen by large audiences in the United States. It looks at how Bruce Lee found success in the Hong Kong film scene, when he failed to gain appeal in America, yet in the end he became a hit in his own right.

From the Paper
"The Hong Kong film industry blossomed in the 1920s and, after the Peoples Republic of China nationalized the Shanghai film industry, the British Protectorate of Hong Kong became the principal source of Chinese-language films as the four Shaw brothers established "the largest studio complex ever built in Asia" and began turning out popular fare at an incredible rate (Dannen 31). In 1970 one of the Shaws' producers, Raymond Chow, formed the Golden Harvest production company and set about the task of carving out his own niche. Shaw was a martial arts fan and when he had the good fortune to sign Bruce Lee his company was made."

Tags:hong, kong, film, industry, action

Abstract
This paper will discuss the career of Bruce Springsteen and his rise to becoming more than a rock n' roll star in his musical style. By explaining his lyrics, and critical evaluations of the performer we can see how is a voice for the people and a socially influential musician.

Abstract
In this article, the writer discusses that Bruce Lee and Jackie Chan are claimed by the people of Hong Kong as symbols of film and other achievement. Paper refers to course materials to explain importance of Hong Kong's shift to martial arts action films in the late 1960s, the extreme success of Lee's films and how both Lee and Jackie Chan stressed philosophy as part of martial arts. The writer notes that both were very popular in the US, Chan following Lee whose films suited a special time in America of much interest in Asia.

From the Paper
"The early 1970s success of kung fu films in the United States saw Bruce Lee become a well known person in the West. David Desser noted how Warner Brothers had earlier seen the appeal of the television series, Kung Fu, starring David Carradine as a Shaolin priest in the American Wild West, half Chinese and half American. (2000, 24) This popular series helped Americans to become familiar with the martial arts as a tradition other than mere violence. Philosophy and training under a master remain ..."

Abstract
In the late 1950s and early 1960s auteurism came to dominate film criticism. This theory can be defined as, "a critical approach to film that emphasizes the essential role of the director as the author of the work," with every aesthetic choice reflecting his or her personality. Many different approaches to more closely defining how to study, classify, and measure the value of auteurs were created. One of the most influential of these articles was Andrew Sarris' "Notes On Auteur Theory in 1962", which defined directors in terms of their ability to create films with technical competence, a style that reflected his or her distinct personality, and interior meaning. This study focuses on Bruce McDonald, a Canadian director. An analysis of his films in this paper shows his validity as an auteur according to Sarris' theory and at the same time shows the problems of studying directors as individual artists working within the constraints of cinema.

From the Paper
"After "Notes On Auteur Theory in 1962" was published several arguments against Sarris' theory arose, and these can be applied to Bruce McDonald's auteurism as well. Beginning in the late 1940s Hollywood journalists debated the importance of diverse collaborators on a filmmaking team. According to some critics auteurism underestimated the importance of the collaborative nature of filmmaking. Sarris' theory certainly finds that the director is the center of film production, and as such is the auteur, but this does not take into consideration the role of other important "auteurs". These could include the screenwriter, cinematographer, and editor. In McDonald's case his career is founded upon some key collaborations. On four of his seven feature films, the script was written at least in part by Don McKellar, another prominent Canadian actor, director, and writer."

Tags:mckellar, movies, hollywood, roadkill

Abstract
This paper is creative fiction full of passion, love, romance, heartache, and a depression-filled void within a female writer as she tries to find her way as a struggling writer. The author describes honest-to-God happiness that only springs from being feverishly in love with someone you never expected to meet; regardless, though, they were suffocating. The author concludes that if nothing else, Bruce reminds her that it?s the scenery we need to notice; all the rest will fall into place on its own accord.

From the Paper
"I couldn't wait to put this bumpkin on paper. I write. It's what I do, who I am. I'm an elitist in that sense. A Writer. Hallelujah praise the sheer genius of this girl, Lord Jesus Christ, she writes. It goes without saying that when I meet a person my inclination is to guess, most often correctly, what their story may be. So I, of course, had Bruce figured out completely the first night I saw him sitting across the table from me at Road's Bar on Hason Street."

Tags:artists, writer, love, passion, romance

From the Paper
"This paper will be concerned with Bruce Springsteen and his relationship with the state of New Jersey. Bruce Springsteen was born in Freehold, New Jersey on September 23, 1949. Freehold is a working-class town which is located eighteen miles inland from Asbury Park, the "once fashionable but now dismal beach town that Springsteen immortalized in songs". It has been noted that: "Both of these Central Jersey towns . . . take pride in their past. Asbury Park was once a thriving resort with luxury hotels and a busy boardwalk. Freehold was the site of an important battle during the Revolutionary War; there's still a museum in town with artifacts from the battle".

When Springsteen was growing up in Freehold, his family was far from wealthy. His father usually worked as a bus driver, but had difficulty holding down a steady job. His mother worked as a ..."