Freakonomics Radio - Meet Warren Zanes, the Author and Rocker Behind the Springsteen Movie | Better in Person

Episode Date: August 19, 2026

When he joined the Del Fuegos, his big brother’s band, all Warren knew how to play was a record player. Things went great for a while — and then it all fell apart. So how did he wind up writing definitive books on Springsteen and Tom Petty?  If you'd like to see the video version of Better in Person, you can watch it on YouTube or Apple Podcasts. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This episode of Better in Person is presented by ChatGPT. Put ChatGPT to work on your most ambitious ideas and projects. Download the new ChatGPT desktop app today. Hey there, it's Stephen Dover. And this bonus episode comes from our new TV talk show called Better in Person. To get the full video experience, go to the Freakonomics YouTube channel, or you can look for Better in Person on Apple Podcasts. Our guest this week is Warren Zanes.

Don't worry if you've never heard of it. him. By the time you're finished, you will feel like you've known Warren your whole life. As always, thanks for listening. I knew never self-referenced. Oh. Ever. So my first... That's all I got, Warren. It's all I got.

This is better in person with Stephen Dubner and Warren Zanes. If you've ever chased a dream, the kind of dream that would rearrange your life, you may have wondered, what is, if it comes true. But also, what happens if it falls apart? Warren Zanes has lived both sides of that dream. In the 1980s, he joined the Del Fuego's, a Boston rock and roll band that was started by his big brother, Dan.

They put out a few good records. For Warren, especially, things did not end well. But over time, he would mount an amazing comeback as a rock and roll scholar. He wrote an intimate biography of Tom Petty and an even more intimate book about Bruce Springsteen that was recently turned into a film. I knew Warren and his band way back when

because I was in my own band, the right profile. For a good while, it was really the only thing I cared about. And there was this one night in Greensboro, North Carolina, the Del Fuego's were playing two sets in a bar. I went to see them. Between sets, we were hanging out in the back room, and in walks, Bruce Springsteen. When Bruce came to the rhinoceros club in 85.

You're still touring your first record. Yep, touring the first record. We were coming down from Boston, going down the eastern seaboard, and then across the southwest to L.A. So was it for us the biggest tour yet? Okay. Biggest tour, still small spaces. But a moment of great promise.

You know, it's your first record. You're seeing things you haven't seen before. How were you feeling about that record at that moment? One part of us felt like we just made beggars banquet. But, you know, another part of us worried that we made something terrible, you know, flip-flopping between the extremes. Yeah, yeah. This night, it was a night off for Bruce Spring seeing the East Street band. And we knew that.

How'd you know that? Because we listened to the radio. You're touring, you're listening to rock radio. At that point in time, born in the USA is on its third single. He is a global superstar. It's Madonna, Prince, Bruce in that moment. Just huge acts. And we were in the dressing room.

You were there. And Nils Lofgren came in. And it was like, wow, you know, a member of the E Street band. Did you have a guitar? He didn't have a guitar. We got a backup guitar to him very quickly, though. And we were talking about what songs he could do on stage. Dressing room door opens.

Bruce Springs the Income. in. And he said, I got your album. Backseat Nothing is my favorite song. And we were speechless. You were also probably super high, though, right? To be fair? That we, I mean, that probably from 10 a.m. that day through the time we went to bed. Right. That's the kind of, the kind of shape we were in. But we had a lot of youthful energy where it was, you know, I'm not going to advocate for that particular chemical mix. Yeah. But it was working for us right then.

Also, just to say, you've been sober for like 30 some years now. Yeah, 32 years. Congratulations. Not drinking and drugging. So my kids have never seen me. Yeah. Like you saw me that night Bruce Springsteen came to play with us. Yeah, yeah.

So Bruce walks in. I recall that he was actually singing the song or humming the song. Do you recall that or no? I love that detail. I'm going to use it from here on out. Can I tell you, when you guys had your first record out, we had maybe just signed with your management group. That's how I knew you guys. Yeah. We hadn't played together.

I don't think you'd signed with them just yet. Maybe not. So you were just coming and hanging out with us? I was just coming to. And we hadn't done shows together yet? I don't think so. Oh, wow. I'm not sure, honestly.

But I also wrote for the local, like the village voice of Greensboro. Yeah, so this is me reviewing Bruce's Coliseum show. All right. Arriving in Greensboro the day before the first of his two sold-out Coliseum concerts, Bruce Springsteen sauntered into the backroom of downtown's rhinoceros club, shuffling his feet and singing his favorite Del Fuego's song, Backseat Nothing. And it goes on there. Well, you just, obviously, memory is a kind of pliable medium, so I'm going to add that to my

memory. Okay. So now let's go back to your memory from there. You're a kid, you're what, 19? Yeah, yeah, late teens. So you got Neil Lofgren coming in. Now you got Bruce Springsteen coming in, apparently singing one of your songs, and what are you thinking now?

Well, we knew that the next step was to get him on stage with us. That was going to happen. And that's a thing that he liked to do with fans. He is like the Johnny Apple seed of rock and roll. He is orchards grow as he walks past. No doubt giving us something that he felt he'd been given many times in his life. He is aware of the people who extended hangar. Do you remember the songs you played that night?

It was Hang on Sloopy and Stan. by me. Yeah, right. And when I got up to the stage, it was such a thing. I mean, he does have an aura. And I look and like, there's Nills has a guitar. My brother's got a guitar. Bruce has a guitar. I'm like, I'm turning my amp all the way down. And I just turned it to zero. No, you did not. Yes, I did. Completely off. Nobody would have noticed one way or the other. And I knew, like, implicitly, a memory is going to form, and if you're not playing guitar, it's going to be bigger, fuller memory. Seriously, you had that realization in the moment?

That strikes me as remarkably astute, especially considering your... Maybe it's a kid who's watched a lot of men leave, you know? And there's a pretty great one right there. I'm taking this in, because he's going to leave, too. You know, there are complicated mechanics within every being. You know, at that point in time, I don't know if you remember this, but I had a chipped front tooth, and half of it was missing. They had been knocked off on someone's beer bottle,

and I left it that way for like a year. So when I met Bruce, I was a teenage kid with a chip tooth and a rock and roll band, and at the end of that, tour routing, we met Petty for the first time. And, you know, once again, I was that kid, and he came down to a show. And, you know, both these guys first saw me in that moment. And I can assure you that neither of them said, there's my future biographer. I don't blame them. But I think they nonetheless did an accounting. And that. And, and I, and I, but I think they nonetheless did an counting. And that did matter later on, just as much as it mattered that I evolved from that.

You love the band? I love the band. I had nothing else. Right. Let me say this. Growing up in Concord, New Hampshire, my uncle lived above us and listened to Oldies Radio. So that was Little Richard, Buddy Holly, Chuck Berry. My mother had a great record collection, Stones, Beatles, Dylan, Pete Seeger, Aretha Franklin. When Tom Petty and Bruce Springsteen came along, it was like all that music was fused in artists who we could call our own. And you felt that even as a kid. You knew that as a kid, yeah? Yeah, it's funny how, like, the fight for identities, I think it starts earlier than we think. What do you mean? The fight for identity starts earlier? You want to show up at school with some sense of who you are.

And when you can find music that feels like yours, I think nothing serves that identity building quite like music does. So I've heard you talk about your family a little bit, and it sounds like it was one of those kind of cool Yankee, New England, Artie, ragged at the edges, families. But then years later, I heard you mention that you felt like an unparented creature. Yeah, I mean, my father, I met like 10 times. I don't know. I didn't count them. He is. He's like, I don't know, eight years. But that absence was a formative absence in the home I grew up in. So, you know, my mother was single parent, three kids. There was a lot that wasn't going to happen. Some needs weren't going to be met. And so we got filled up on the culture side, on the emotional development side. it wasn't always as abundant. All right. So how did you end up in a band with your brother then? My mother encouraged the three of us to apply to boarding schools, you know, to go after a better education than Concord, New Hampshire could provide. But we would need to get scholarships.

And we all did that. So I went to Phillips Andover Academy, and two times the school asked me not to return by formal letter. And I was like a boomerang. I kept coming back. And I graduated. In my senior year, though, the Del Fuegos were playing quite a lot of shows in Boston. And I had a black ski mask and black pants and a long-sleeved black shirt. So I could evade campus security. So I'd go out, meet a townie, drive into Boston, stay up all night, creep back in the morning and go to class.

Did you play any music at this point? I played the record player. I'm not even sure that qualifies as an instrument. I think it doesn't actually, yeah. But did you play it well? I think I played it well enough for Dan to ask me to join his band. It's a very generous brotherly thing to do in retrospect. I know that you and your brother went through many phases.

I think you're in a good phase now, right? So it's a little easier? Yeah, check in next week. But can I just tell you, like, I think if you look back at the history of bands, that the number of brothers who want to keep a brother out of the band is way more than ones who want to let one in. Yeah, and the ones who let one in, then they want to keep the brother out.

Yeah. Also, to want a brother in who doesn't really play music yet. Well, I'm just saying you must have been a real badass. Like, they need you in the band even though... I've thought about this for decades. So I did have something that I think, the others didn't have and it was just in the spirit department not to say they didn't have a spirit of their own yeah but if anyone was going to burn the house down it was going to be worn and

that's good for rock and roll it is good for rock and roll yeah so what kind of guitar player were you in the first year let's say uh not much of one i mean and i've been consistent with that uh you know When Dan said, he asked me to join, I said yes, and then I asked what instrument. Okay. And he said guitar. So we went shopping. I bought a guild semi-hollow, a silver-tone amp. It's like you're one of the first boy bands.

You're just assembled by some outer intelligence. You're like Minuto. You're like the... I like to think more like the sex pistols, who were a boy band. Exactly. They were put together by Malcolm, right? Yeah, totally. Yeah.

Right. But we went out, we shopped, we got a guitar, and then we went to the record store, and he got the Rolling Stones now and said, go listen to this and try to play it. And there was really that two guitar sound was what we were after. Who'd you like more in that band, Keith or Brian? Brian was such a tragic figure that I didn't want that. I already felt like a nascent tragic figure, and I didn't want a tax. and I didn't want to attach myself to that, but I had blonde hair, and it kept happening that I was associated with that.

But Brian was so much more than a guitar player that I didn't identify with that. What did you guys fight about in your band? Because that's kind of what bands. We didn't fight at that time. I mean, we really didn't. Something was unfolding. They put out a single before I joined the band,

and, you know, 2,000 copies, and Robert Plant got one. He talked about the band in Rolling Stone. Sam Phillips got a copy. He also talked about it in Rolling Stone, and we were all watching it unfold. And that bound us as a unit. And our point of view on it was a shared point of view. We ate the same food.

We used the same bong. You know, we listened to the same records. We definitely drove in the same shitty vehicles. You were a part of a gang, and it was the best time. I liked hanging out with your band. You guys were a fun band to hang out with. I think we played with you, I don't know, four or five, ten times. Thank you.

I was really impressed by how hard you lived and how well you played, because we couldn't do that. We were relatively... Yeah, we recognized that you guys were lightweights. I do remember, I liked swapping music. I remember I got some really good music from your brother Dan. Did you listen to Sil Johnson? Yeah, Sil Johnson, I remember absolutely.

Yeah, no, there was a lot of, you could still forage in record stores. I loved it. So there was a lot. I feel like there was a lot of trading going on. Well, your cassettes, and we didn't know what underworld you went to to find this. Oh, Rolling Stone stuff. Well, you gave us, there were Petty outtakes. And when we went to Petty and said,

we love Parade of Loons, he looked at us like, where did you find that? And then, of course, the Keith Richards tape of him playing in his hotel room after he had been busted for heroin in Toronto, I think it was. That one never left me, and I went and I learned a couple songs from it. Would you learn? I learned apartment number nine, and we had it all.

And we had it all was the one. And that song, you know, it's been covered by Tina Turner, Dolly Parton. Waylon. It's incredible. Willie and Keith played it not long ago. Yeah. Warren Zanes played in the Delphuegos for five years. They had a minor hit with a song called I Still Want You from their second record.

They made it to MTV. They made a beer commercial. And they toured with Tom Petty and the Heartbreakers. He sang on one of our records. It wasn't too much after that that I quit the band. I want to talk about quitting? Yeah, it's a simple story. And I think older siblings sometimes have a hard time seeing younger siblings as something.

other than a younger sibling. And I think my brother, though he recognized my spirit and wanted that in the band, didn't want to share the creative work. You wanted to get songs on the album and stuff like that? Yeah, I mean, I was writing. I showed him things.

And, you know, his last comment to me before I quit was, you know, I think you're there. I think the songs are equal to mine and you got to go form your own band. And I felt so betrayed. And that's all you need to say for me to say, I'm done, I'm gone. If you can send me back to square one and not see the investment I made in this band

and how it served you, I'm out of here. And what I wasn't thinking was I was going to nothing. It was really psychically for a young person. It was brutal. And I was still out in Los Angeles. And it was right in that time where Tom Petty and his family had a Christmas party. Their home had been burned down. It was an arson case.

And they were living in Charo's house in Beverly Hills. True story. I don't know why that's funny. It just is. There's something about the cultural mix. Also, just the idea of Charo having a house. I imagined her, like, floating. down in a cloud of something awesome. I always remember there was like a Picasso

print of Don Quixote and Sancho Panza and they just always stayed with me. But at that party, Tom and his wife Jane gave me this Beatles magazine as a Christmas present. Oh, that's nice. Oh, meet the Beatles. Yeah. So it's from the year I was born. And I have I have so few artifacts from my life, but I went to Jane Petty and I said, Jane, you gave me a Beatles magazine for Christmas, and I know there's a beetle in this building. Because the second he came in the front door, whether you saw it or not, it's the beetle power. Come on. People are like, George, George, George, Harris, just shut up, George, George, and so I knew it, and I went to Jane.

She said, come to here. took me down this hallway, opened the door, Kurnet prodded me in the family of a push. And I'm holding this magazine, and she said, Warren's got something impending. Impending. That was the word. And she shut the door, and I'm suddenly in a room,

and it's Tom's office, and behind the desk is George Harrison playing a guitar, and to one side, there's Tom playing guitar, there's Jeff Lynn, you got three of the traveling Wilburys weeks before they became a band. And then Mike Campbell, Tom Petty's guitar player. And it almost appears that I've run into the room. And, you know, it was...

With a Beatles magazine, and George Harrison sitting there playing guitar. And it was the 80s. And there were some overindulgence going on. in the territory of fashion. And I embodied it. Yours? Oh, I thought you were saying them. I thought you were saying they were overindulging in drugs.

You were saying you were overindulging in. In fashion. What are you wearing here? I had this embroidered jacket that was very floral. You know, I was wearing a... Is it all the way down to your boots? Yeah, I don't even need to go into it. Just imagine the worst.

But long hair, you know, long, blonde hair. They stopped playing in George Herald. Harrison says, it's Brian Jones back from the dead. And then he starts playing a song about a dandy, and everybody's laughing. And I'm standing there holding this Beatles magazine. As a beetle makes other people laugh at me. He gets to the end of the song, and I just put the magazine forward. He takes it, and he signs it for every beetle because they learned one another's signatures.

That's what I'm looking at? Yeah, so he did each person. Walk me through that. It says to Warren, you have something impending. Good luck in the future. I do appreciate it. George Harrison. And then after he did it, I'm like, he's signing for the others. Right. And he just signs their name or does he write a note from John and Paul? No, no, he just signs their names. And then he gives it back to me. And what's his affect now? Is he... His... Does he know that you're a young person to be respected? No.

He is making his pals laugh. And how many things has he signed? Let alone, you know, how many is he signed for Ringo Starr? But after he handed it back, I was standing there with it. And Tom Petty was... beginning to end really kind to me. And he, he saw my social discomfort and said, it's okay, you know, you can hang out. Like, and I said, no, I can't. And I left the room with my Beatles magazine that I treasure today. And you saved. Amazing. It's amazing. I mean, I can't imagine what

that feels like for you because it's like going from inside to outside to inside to outside back and forth. Yeah, you consider yourself in a band some fundamental part of that organism. And then suddenly you're told it can function just as well without you. And if you're young, this is a psychic rug being pulled out from underneath you. And it wasn't a happy landing. I remember going to a little bit after this Christmas party. going over to Petty's house, and I'm sitting in his office with him, and we were just smoking some of my mother's pot. Which is called what?

Conquered grape. Just for home use, she wasn't a dealer? No, she wasn't a dealer, but when we were on tour with Tom Petty, he finally said to us, I can't keep coming to your dressing room to smoke your pot. Can you connect me with your dealer? and we said, well, it's our mother. And he said, next time she's in Los Angeles, please have her come out to the house.

And she did that. She did. Yeah. So he knew kind of what we came from. But that afternoon at his house, it was just the two of us in his office. And there I was a guy who was no longer in a band. And he was asking me, like, what are you going to do next? and I was, I still had some bravado in me, enough bravado to say, well, I'm going to put a band

together and I'm going to show him, meaning my brother. And Petty looked at me and said, Los Angeles isn't where bands come from. This is where they come to, but they come from other places and you got to go back home. And it was not what I wanted to hear. And, he was right. This episode of Better in Person is presented by ChatGPT. ChatGPT work moves beyond answers into getting real work done. It's a new experience in ChatGPT for bigger multi-step projects across web, mobile, and desktop. You can give ChatGPT work a goal and have it gather context, choose an approach, create the output, and continue iterating all while you stay in control.

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today. I remember being shocked and thrilled years ago to hear that Warren Zanes was still alive. Because if I had to put money on it when I knew you, when we were kids playing in bands, I didn't really know how you ended with your band. I left my band. But the Warren I knew then was a raw nerve kind of is the way I would think of you. Yeah. And so I was thrilled to learn that not only were you alive, but you'd gotten a PhD. And we're working at the Rock and Roll Hall of Fame

as a VP of something impressive sounding. So how did that happen briefly? Well, I'm still in touch with that kid. He's still alive. He's here with us today. But yes, I was walking close to the edge of the cliff, not knowing I was close to the edge of the cliff. And I don't even know how to describe the trouble I was in, but I was in trouble. And not through my own good planning, I eventually pivoted

from music to college, with the intention of only going for two classes. You get four degrees, I think. You get a bachelor's degree, two masters and a PhD, correct? Yeah. Seems like a little overkill, but okay. I liked school. Yeah, you did. Did you think it would save you? What did you see in college?

I was living in New Orleans and I was repairing bicycles. And so, you know, there I was repairing a Schwinn. And it had only been a year since we had played Madison Square Garden with Tom Petty. And I'm listening to the radio and the first single from Full Moon Fever came on. and it was, I won't back down. And it just was the sound of a man who had reinvented himself again. He obviously hadn't settled into anyone's idea of who Tom Petty was. He went exploring for the next version.

And the message to me was, you damn well better go explore for the next version of yourself. In 2015, Warren Zanes published Petty, the biography. Eight years later, he published, Deliver Me from Nowhere, the Making of Bruce Springsteen's Nebraska. In the 2025 film version of that book, Jeremy Allen White played Bruce. I asked Warren what it was about Nebraska that captured his attention. Yeah, I mean, Nebraska, can I pull out my copy? Yeah.

I mean, this is the copy that I got at Pitchfork Records in Concord, New Hampshire. in 82, and I took it back to boarding school. And I was listening to it the night I got busted with pot that my mother had grown and a case of beer on a Monday night. I'm listening to Nebraska, and the house counselor comes in. And I still graduated. But I formed this relationship with Nebraska that was, it was slow. My first response to the record was disappointment.

I was a Bruce Springsteen fan. What kind of fan were you? Where were your favorite? It was album number two that penetrated our household. Wildly Innocent, yes. Wilde Innocent the East Street Shuffle. And there was something about the sense of place. You listen to Fourth of July Asbury Park,

and it's like the band on their second record. There's such a strong sense of place. And that's what hooked me. You know, there are characters. There were conflicts, but it was the sense of place. Yeah. So this record, Nebraska sounds very much like a place, but such a different, dark, unusual place.

So how did you receive that? Well, it was so, you know, in reviews, Rolling Stone used the word shock to describe this. And that was the right word. like a shock. It felt like what it is. Unfinished. Raw. Imperfect. There were lyrics repeated in songs. He hadn't finished writing.

And it just didn't make sense. This guy had just had his first number one record. It had his first top 10 single. And then he made something that couldn't even be played on the radio. And so I didn't get it. But I got him. So I stuck with it until it became my favorite record. Did you really? Really? Seriously?

It just took time. And I think, you know, there I was in school, like my first meaningful writing teacher. But when you say stuck with it until it became your favorite record, that's years and years I gather. Yes? Well, so I had a writing teacher named Ward Just. Oh, Ward Just. Great novelist. Yeah. Yeah. And he...

He was your high school writing teacher? Short Story and Novella. That's pretty good. Yeah, pretty good. And he was like, you got to read Raymond Carver. So it's like trying to understand short fiction. And then you're listening to Highway Patrolman. And it's like, that's some of the best short fiction I've ever read.

Like, this guy is a storyteller. I started to kind of get it. And it informed my listening retroactively. I went back to earlier records to kind of watch the writer emerge. It's one thing to write a book about the most intense Bruce Springsteen record. It's even more intense to do it with Bruce. So how did that happen? This goes back to how Warren rehabilitated himself

after getting pushed out of Del Fuego's. I took a lot of art history classes for all the wrong reasons, which was I just, I didn't want to be in another museum standing next to an attractive young woman with nothing to say in front of a painting or a sculpture. That sounds like a great reason to me, but... You can stop at one art history class, and it'll help you. I took a lot more. I had a double major without knowing it.

And then that knowledge base just kind of settled in me. And yes, I liked going to museums a lot more. My sister's a painter, I understood or better. but years later, I'm going to have my first interview for the Deliver Me from Nowhere book, and it's at John Landau's house. John Landau, we should say, is Bruce's longtime manager. What's a word to describe his relationship with Bruce? He came in the door as, you know, he was a journalist at Rolling Stone, but he started

producing records, which that is a leap, few make. But just tell me the story of you going to Landau's house and how your art education. stood you well? Yeah, I knock on the door. John comes and as I'm taking off my Carhart jacket, I see a painting and I point at it and I said, is that Corot? And John looked at me and said, that is Corot. And I'm in the foyer. I get the jacket off. I come a few steps in. I pointed another painting and I said, is that Corbett? And at that point, John yelled to his wife and said, Come down here.

There's someone from the music business who knows what's on the walls. So we first just looked at art for like an hour. We just walked through his collection, which is, I've never seen anything like it in a private residence. Yeah. What makes John John is his esteem for Donatello and Guberti, is equal to his esteem for heatwave. He can listen to a Motown record and say,

this has everything the Sistine ceiling has. It's something that plays on the emotion, plays on the intellect, and has the capacity to change you as a person. I feel like those are the measures when you're looking at art. And that's how John walks through the world. All right, so tell us how the Bruce Springsteen book comes to be.

And why it's a book about Nebraska. I don't know if that's because of you or him. I assume it's you. I assume you came to Bruce and explain your relationship with that unusual record. And he heard there an acknowledgement that most people wouldn't have really been able to have. And that appealed him. That's the way I reckon it, but tell me what actually happened. Well, I think his memoir, Born to Run,

is one of the great rock books. But in it, Nebraska goes by in just a couple pages. And then much more space is given to this breakdown, something that happens after Nebraska. And my deeper feeling was there was some connection between the making of Nebraska and that breakdown. And when I went into the interview, that's what I wanted to talk to him about was,

I didn't want a strict causal relationship, but I wanted to see how the one led to the next. So you float this idea, how does he respond? God, it was just so interesting how he responded because it wasn't a simple sign-off. Like, he thought about this, and he's like, he knew where he was at when he came off the river tour. He knew that he was in some kind of trouble. He knew that this record was about a time of trouble in his life that was affecting his adult experiences. He was having trouble staying in relationships. He was worried that he might not be a father, might not be in a marriage, what was wrong.

And he kind of went back to what today we would call a childhood trauma. And, you know, that's the kind of seed. trauma being what exactly? The way he describes it is when he was born they went to live with his paternal grandparents. And his dad, Douglas, had a sister who was killed on her bicycle

around age six, seven. And the parents never really talked about it. You know, there was a picture of this girl who had died on her tricycle over the television. kind of haunting the scene. And what the grandparents did with Bruce as the first grandchild was to withhold any discipline

and he could do as he wanted. And in his words, he said, it was the making of me and it was the destruction of me. And that's the period that he goes back to to find the songs of Nebraska. How much time did you spend with Bruce

to write your book? It was really that day, and he gave me what I needed. And then my first two readers were John Landau, and John said, send it to Bruce. And Bruce was my second reader. And I got an email from Bruce, and, you know, one of those things you save. And at the end, he said, how can I help you? and I wrote back, said, I cannot find the house where you recorded Nebraska. You can find any Bruce Springsteen house online, but not that one.

And a few days later, I got a no-caller ID phone call, and it was Bruce, and he was standing in the room where he recorded Nebraska, and he said, I haven't been here in 40 years, but the guy who owns it is the one who rented to me. Oh, no kidding. He said you can come out. Still had the orange shag carpet in there? Had the orange shag carpet in there? No, I did. Really? Yeah. Yeah.

And so, you know what it's like writing a book. It's a solitary affair. And in this case, I was writing a book about another man's solitary affair. And suddenly, I'm stepping into the room that I've been writing about for a couple of years. years. With Bruce. With the guy who made the record in that room. He asked you to take a picture of him in there, didn't he? He, for a moment, I was probably levitating and, you know, he found a way to get a man back onto earth. He just kind of put his phone in my stomach and said, take my picture. So I think for anybody watching this, you know, they hear about your life with the Delphuego is you becoming an academic, becoming a music writer.

I hear about writing a book about this dark private record, Nebraska, and Bruce Springsteen's making of it. And I think the one thing nobody's thinking is, oh, that should be a movie. But it's Bruce Springsteen. So, yeah, maybe it should be a movie. The movie happened blissfully fast because there's an intensity to these unexpected's in life. So how involved were you and how involved was Bruce in the making of the movie? Bruce was on the set a lot.

Where is it shot? Mostly in Jersey. On purpose, so Bruce could be there? On purpose. I mean, I'll say this. At one point, someone who is working on budgets pointed to the number of dollars that would be saved if it was shot in Pittsburgh. And Bruce caught wind of this. and just said, you're going to make a movie about Bruce Springsteen in Pittsburgh.

And that was the last thing he heard of Pittsburgh. Yeah. It's good to be Bruce Springsteen. It had to be Jersey. Yeah. It had to touch that soil. Yeah. And you should say you're in Jersey also, so that's not valueless.

And the first day of shooting was so close to my house that I could walk there. Seriously? Yeah. So I walk, you know, the sun's just coming up. My book is being turned into a movie. I start seeing trucks. I see all these people that I don't know. I walk onto a set.

There are even more people I don't know. Then I see a row of director's chairs. And there's one with the name Bruce Springsteen, one with the name John Landau, and then one with my name misspelled. And it brought me right where I needed to be. Like, they misspelled my name. It's on the cover of the book.

And I told me... Did they misspell your first or your last name? My last name. There's no S on it. It just said Warren Zane. Sounds like a cowboy. And the person responsible for this was horrified. And I said, you cannot change it.

If this guy gets too big for... britches, we all have trouble. How'd you like the movie? I feel really proud of the movie. Like John Landau will still say, a movie got made about what up to Tunnel of Love remains his worst selling record. Like, what a thing.

But Bruce says, of Nebraska, it still may be my best. Do you want to write a full bio? of Bruce? I'm writing one. Oh, you are? Yeah. That was easy.

I'm glad I could give you a good idea. Well, I haven't announced it. So, like, your access in this case is couldn't be better. It's remarkable. And it's earned. I don't mean to imply it's not earned. But how do you think about balancing access with anything you want to write about the guy? Yeah.

I mean, I think the code is, and I have to, There is no written code, but the code for the biographer, I think, should be, you have to be willing to forfeit the relationship with the subject. At a certain point, you're there with the subject, you're doing interviews, you are collaborating with them, but there's a turn in the road where you're working for the audience. Do you think you're going to be able to do that with Bruce? I think he has a kind of sophistication about... his own story that allows peaks and valleys.

A lot of artists don't. You know, I'm sure that Bruce Springsteen has inspired, like, a million people to start playing music and to join bands. But I don't know if I ever told you this, but, you know, when we were at that club in Greensboro, where you guys were on tour and he popped in and played encores with you, and I was just the lucky witness to that. And what I heard that night backstage at the rhinoceros club was that if I knew what this is what it's really like to be a rock and roll star, I'm not so sure I would have wanted to do it. That's the Bruce message that I took away that night. In my band, we were just getting ready to sign a record deal. And we did.

And then like a year and a half later, for a variety of reasons, I decided to quit, quit playing the band, quit playing. music. And so I feel like I'm the one guy that Bruce Springsteen talked into not starting a band or quitting a band. So if you ever, you know, next time you talk to him, tell him I'm very grateful, honestly, because I loved it, but it wasn't the long-term path for me. Yeah, he doesn't tell pretty stories. Like, he's not interested in that. And his ambivalence about success, uh, has been a constant. And I think he's found a lot more comfort with it. But in that time, he, you know, born in the USA, the ascendancy that he experienced after Nebraska, he really, a lot of the book is about him readying himself for that, getting the support he

needs, going back, you know, they say, if you don't deal with your past, your past will deal with you. And he made sure his past wasn't going to deal with him. You readied himself. Oh, look who's here. How are you? Greetings. So I quit my band and became a writer. Warren got pushed out of his band by his brother Dan. But time can do interesting and nice things. The Delphuegos, including Warren, have recently gotten back together to play some shows. They were rehearsing out in New Jersey near where Warren lives, so I went to see them there. I mean, it's been 40 years. Right.

But had you guys played much between now and then? I think like two times. So this is a big deal. It's fun. I mean, fun. It's a fun thing. It's awesome. After rehearsal, I sat down with Dan, and I asked him what he makes of his little

brother's unlikely career turnaround. I'm just so proud of him. It's been incredible. And I know it wasn't easy. I mean, it's a blessing to see anybody succeed in life and to succeed in showbiz and to create a space for themselves where they can really be themselves and be creative and also reach people, you know. And he was able to do all that. I think it was a bumpy road in a lot of the times that we knew you just because of the usual, you know. Yeah.

I don't know if getting wasted all day, every day brings out the best in people. It didn't bring out the best in me. How badly did Warren want to get his songs in the band back then? Because he told us that was the reason. But I didn't know. When you're the little brother, sometimes you don't know how to really ask for what you want. So I always wondered whether you maybe, like, you'd written songs. You'd say to Dan, like, I have this song.

But sometimes you have to say, I have a song and I'm bringing it in today. You know? So I was curious how that worked out. I think he was able to ask. I think he was able to ask. I wasn't able to hear it. You know. Because why?

I mean, I think it's threatening if you're in that position and you're used to that role in the band. I think you don't want to, you don't want to be, you know, then all of a sudden now you have to share all that stuff. You know, I think that's a tough. Yeah. You all got through it and kind of mastered it, it seems, yeah? But I will say the distance between our, you know, vocations made things easier. And from that time forward, Dan's been one of my early readers on every book except the first, I think.

It's been just support. And that, too, probably made it easier to come back into the band where I don't get my fair share and never have. Later that night, Warren and Dan and the rest of the Delphuegos took the stage in Montclair, New Jersey. Jersey. There were a lot of people who remembered them, but I think the best part was that they remembered themselves. The story of Warren Zanes is a story of flaws and of flaws overcome. Mistakes made, mistakes acknowledged, and mistakes overcome. Back in my apartment, he had offered a very Warren Zane's take on mistakes. All mistakes are okay. What do you like about mistakes. In the best case, when they happen, they reinforce meaning. Like, they're actually not

mistakes. How do you mean? Meaning when a voice goes slightly out of pitch, it's probably happening because of the emotion of the lyric. And if you fix that, it may be better, but you have to weigh it and make room for the error. Thank you for checking out this episode of Better in Person with Warren Zanes. I will say the video version has some stuff that didn't make the audio version, so you might want to check that out. You can watch it on the Freakonomics YouTube channel or look for Better in Person on Apple Podcasts. Our email is Radio at Freakonomics.com. We will be back soon right here with more Freakonomics radio.

Until then, take care of yourself. And if you can, someone else, too. We're in Zanes, everybody. I think we're done. Thank you so much. One person left at the room. This is like a lot of our early gigs. You start with like 12.

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