Around the time of the 50th anniversary of the release of his Born to Run album (Aug. 25 of this year), Bruce Springsteen and the album’s engineer and mixer, Jimmy Iovine, took a drive together, listening to it in its entirety. They drove through Springsteen’s original hometown, Freehold, and adopted hometown, Asbury Park, and ended up in front of his old house at 7½ West End Court in Long Branch. The album had reached the middle of its final song, “Jungleland,” at this point. And Springsteen and Iovine just looked at each other, and gave each other nods of approval.
Springsteen — a notorious perfectionist who struggled for months, 50 years ago, to translate what he was hearing in his head to vinyl — said that from his vantage point in 2025, “there wasn’t a note that I’d change, or a lyric that I’d change.”
Springsteen told this story at the Born to Run 50th Anniversary Symposium presented by The Bruce Springsteen Archives and Center for American Music at The Pollak Theatre at Monmouth University in West Long Branch, Sept. 6. Like the album, the symposium was pretty much perfect, with nearly everyone who contributed to it and is still alive showing up to share their memories. And after a full day of panel discussions, the event was capped by a never-before-assembled (and probably never-to-be-reassembled) octet version of the E Street Band — Springsteen on guitar and lead vocals, Stevie Van Zandt on guitar, Garry Tallent on bass, Roy Bittan and David Sancious on keyboards, Max Weinberg and Ernest “Boom” Carter on drums, and Ed Manion on saxophone — playing two of the album’s greatest songs, “Thunder Road” and the title track, on the Pollak stage.
All had also participated in earlier panel discussions. Sancious and Carter, for instance, discussed recording the title track, which was the only one done before they left the E Street Band in August 1974 to concentrate on their own jazz-fusion group, Tone. (Tallent was part of this panel, too.) Manion — the only one of the eight musicians who didn’t perform on Born to Run — joined Van Zandt and Springsteen Archives executive director Bob Santelli (a Jersey-based music journalist in the ’70s) in a panel devoted to the impact of Born to Run on the Jersey Shore rock scene, in general.
Two separate discussions featuring Springsteen explored the writing of the “Born to Run” song, and the rest of the Born to Run album. And in what was definitely the high point of the day, excluding the final performance, Springsteen talked about the album with seven others who were involved in its making: Van Zandt, Tallent, Bittan, Weinberg, Iovine, and the album’s co-producers Mike Appel and Jon Landau.
Appel and Landau — Springsteen’s Born to Run era manager and his current manager, respectively — sat on either side of him during this panel. And Appel called Iovine, who was relatively new to engineering at the time, the album’s “spark plug,” whose energy was essential in getting it done.
It is almost too obvious to say, but this kind of gathering — like the E Street octet — is not likely to ever happen again.
Other panels throughout the day were devoted to subjects such as Springsteen’s relationship with his record label, Columbia (with participants including several of the Columbia employees who supported him even when others were skeptical of his commercial viability); the album’s striking cover (with the photographer, Eric Meola, interviewed by Springsteen’s sister Pamela, who is also a photographer); the Born to Run Tour; and the long-term significance, in rock history, of the album.
The Meola panel was a highlight, I thought, as Meola, who was a very young photographer but an ardent Springsteen fan in ’75, talked about how he got to know Springsteen, made the photo shoot happen, and then approached Columbia with the shots. It’s a wild story, and the kind of thing that could never happen in today’s more corporate music industry.
The Springsteen Archives taped all the panel discussions, of course, with the goal of making them available to the public at a later date. The Archives’ building, which will have a small theater of its own, is currently under construction on the Monmouth University campus, with a spring 2026 opening planned.
I can’t possibly sum up, here, everything that was said, during the day. There were nine panels, and each one could easily fill an article by itself. But just to give you a flavor, I’d like to zoom in on Springsteen’s detailed discussion about writing the album’s title track.
Springsteen said the phrase “born to run” came to him one day, when he was sitting on the end of his bed in his Long Branch home. “I still don’t know where it came from,” he said. Then he came up with the song’s main guitar riff. He was listening to a lot of classic rock music from the ’50s and ’60s at the time, including Roy Orbison, Phil Spector, Duane Eddy and The Beach Boys.
“So I’m thinking, ‘Well, I’d like to write …. I want to write about the basic subjects of rock ‘n’ roll, which was cars and girls, I want to tackle those subjects. But I don’t want to sound like a retro act. So I’ve got to invest them with something that is mine.’ ”
Bob Dylan and Chuck Berry were also key influences on the song, Springsteen said, and he based its intro on the beginning of Little Eva’s 1962 hit “The Loco-Motion.” “So I’m mixing all this up into a gumbo, just in my little room, in West End Court,” he said.
“The thing I had to do, was I had to somehow find a way to take those subjects (i.e., cars and girls) and make them current, make them speak to the times. Now, the times is 1974 … it’s just post-Vietnam. So people are less innocent, they’re not as innocent as (The Beach Boys’) ‘Don’t Worry Baby.’ There’s more cynicism in the air. There’s this sense that the country can go terribly wrong, which previous to that, people didn’t … I don’t think they felt deep, you know. And so there’s this tremendous lack of innocence. So I know I’ve got to put my characters in the car, but I’ve got to put all these things in the car: the lack of innocence … and a lot of dread. And that was the way that I took those subjects and shaped them to the times.”
He said he saw “Born to Run” as the archetype “that was going to define the story that I was going to tell” in his future songwriting, as well.
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Another snippet, from the group discussion of making the album:
Iovine compared the process of making it to “The Wizard of Oz.” The world was in black-and-white, but what Springsteen was hearing in his head was in color, “and everybody just did everything they possibly could to make (the recording) color,” Iovine said.
Springsteen responded to this thought: “I was a serious young man. It was all or nothing, because in the rest of my life at that time, I had nothing. And so this was all I had. I had to bet on myself 100 percent.”
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The symposium was one of many events in what basically has amounted to a Born to Run celebration week.
On Sept. 3, original E Street Band member Vini Lopez, The Pat Roddy Band, James Maddock, Williams Honor, Jake Thistle, Pat Guadagno and Richard Blackwell played the Born to Run songs and other material at a concert at The Pollak Theatre. Read my review HERE.
On Sept. 5 at The Pollak Theatre, filmmaker Thom Zimny (a frequent Springsteen collaborator) showed vintage black-and-white footage of The E Street Band in 1974, working (mostly) on “Jungleland” at 914 Sound Studio in Blauvelt, New York, and getting a bite to eat at a nearby diner. This was followed by a dynamic, almost theatrical performance of “Jungleland” at The Bottom Line in New York on Aug. 16, 1975, with Springsteen turning his back to the crowd and dancing, at one point, and dropping to his knees, as if the intensity of the moment had made him collapse, at the end. “Only Bruce and Jon (Landau) have seen this (before now),” said Zimny of the film, as a whole.
Following the symposium on Sept. 6, Max Weinberg’s Jukebox performed at The Stone Pony in Asbury Park. The concert, which had been scheduled for the larger, outside Stone Pony Summer Stage, was moved indoors because of rain, and split into three separate shows, so that all ticket-holders could be accommodated. Garry Tallent joined the band on the Animals hit, “We Gotta Get Out of This Place”; Danny Clinch played harmonica and sang on “Shake Your Hips”; and Jill Hennessy, Reagan Richards and Lisa Sherman sang backing and occasional lead vocals. (See videos below.)
Today (Sept. 7), the Springsteen Archives is hosting an academic conference on Born to Run, with the best papers to be published, later, in a book.
During the symposium’s lunch break, I (and many other attendees) took the short walk to Monmouth University’s DiMattio Gallery, which is showing an exhibition titled “Born to Run at 50: Photographs by Eric Meola,” featuring the iconic black-and-white photo Meola took for the album cover, as well as many other images from the same photo session. Many were almost as worthy of an album cover, though I don’t think there is any question that they chose the right one. This exhibition runs through Dec. 18, with no admission charge.
There is also no admission charge for “Bruce Springsteen in Long Branch: An Exhibition Telling the Story of Born to Run,” which the Springsteen Archives is presenting at The Long Branch Arts & Cultural Center through Nov. 15. Visit longbranch.org/158/Arts-Cultural-Center.
For more on all Springsteen Archives news, events and offerings, visit springsteenarchives.org. ___________________________
Here is a gallery of photos from the symposium, taken by John Cavanaugh:
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And here are some videos of Max Weinberg’s Jukebox at The Stone Pony:
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