You're young and you're always in pursuit your young manhood. You're trying to figure out - what does that mean? What does - you know, there's a lot of pressure on young men to sort that out. And, you know, we tend to gravitate towards one-dimensional iconography as far as what it means to be a fully grown man. And you can get lost in so much of it out there.

We gotta get out while we're young, 'cause tramps like us, baby we were born to run.

You know, my music utilizes things from the past, because that's what the past is for. It's to learn from. It's not to limit you, you shouldn't be limited by it.

You ask for your audience's investment in your music; you're in a relationship with them. And their relationship with the E Street Band is separate from whatever else I might do. I like the idea of us being something that people rely on.

When you have three teenagers, it gives a whole new meaning to "homeland security."

Pessimism and optimism are slammed up against each other in my records, the tension between them is where it's all at, it's what lights the fire.

Plus, you know, when I was young, there was a lot of respect for clowning in rock music - look at Little Richard. It was a part of the whole thing, and I always also believed that it released the audience.