Adkins: Luke was like, “We want an actual dream sequence of showing up alone at a party in your clothes and everyone’s in their underwear. It wouldn’t all be models; there’d be all types of people there.” The book’s priorities seem to line up with the priorities of the people featured in the book, and that’s a problem from a journalistic perspective. Maybe the allegations against Lacey were not the most important thing to the people interviewed in the book, but they are certainly one of the most important things about the story. Andy Greenwald (music journalist, former Spin contributing writer): The front of Spin magazine was a section called “Noise” where they covered up-and-coming bands and things. The editor Tracey Pepper would often, generously, give me opportunities to cover bands other people weren’t interested in or she herself didn’t fully understand or appreciate. I was given the opportunity to write about Dashboard Confessional at CBGB. I went to the show a little skeptical, having listened to Chris Carrabba’s records and not personally connecting with them. Emo hadn’t been my scene at all.

PDF / EPUB File Name: Where_Are_Your_Boys_Tonight_-_Chris_Payne.pdf, Where_Are_Your_Boys_Tonight_-_Chris_Payne.epub Arguably, the "emo" label does not cover all of the bands discussed and dissected, and that's completely fair. I'm even inclined to agree! The unifying theme of the book, though, is told with emo's rise as the umbrella, and detailing every excruciating minutiae of genre blends would take away from what this is. It's difficult to make a comprehensive account of anything, much less music, art, and pop culture.Would recommend to anyone who listened to music from this genre and era. If you didn't, you might not get as much out of it - I would recommend at least familiarizing yourself with some of the key players first. I fully intend on purchasing and rereading some day. <3

Wood: DreamWorks had just had “Last Resort” with Papa Roach. We had “Hanging by a Moment” with Lifehouse. We had Alien Ant Farm with the “Smooth Criminal” cover. And Nelly Furtado’s “I’m Like a Bird.” We had a lot of hits. A lot of things were happening. Nobody was looking at Jimmy Eat World to be the hit. The band was gonna go tour, play to their core audience, make sure people saw the band they loved. This song was huge. Got huge in a really unlikely way. It was on their album The Papercut Chronicles, which basically sounds like The Roots but emo. It came out just before Fall Out Boy became superstars, in early ’05. And then it was one of those things where the scene gets bigger, Fall Out Boy –who had discovered and put on Gym Class Heroes — they get way bigger. So there’s a bigger platform for their follow-up album. But it’s this old song that catches on with radio. There is a song – the last song on this album was written by the singer of a band called Copeland, or co-written, where they sing about Jesus by name, and it’s obvious. But aside from that, no one I don’t think would ever decipher it. Yeah, exactly. Like, the mid-2010s version of what like an MCR superfan who just got into them ‘coz of like the “Helena” video in ’05 — 10 years later, that kid would’ve been at one of those Lil Peep shows.Carrabba: That was pretty disarming. Then I remember somebody saying, “Hey, what if you won and you got up there and forgot to thank somebody important?” So I wrote a list.

Egan: We had gotten tipped off from the MTV people, like, “Hey, you may want to prepare a few words.” The category Chris was nominated in was fan-voted. So it didn’t matter that 99 percent of mainstream America didn’t know who he was. I would be so interested to read more about how this book got made, because it seems like such a massive undertaking and I cannot imagine the work that went into weaving all these interviews together. Overall, I thought this format worked well, and once I got into the rhythm of the book I didn’t have too hard of a time following things. There were some moments where it almost felt like the wrong people were being interviewed. But at the same time, I understand that not everyone is going to have the time (or desire) to be part of a project like this, so given that I think the author did the best they could creating a cohesive story.

Customer reviews

The oral history format has some limitations, namely that it's a ton to read about, it doesn't always follow a linear format, and of course, these are people talking about themselves with bias, since we all do, and also having the benefit of hindsight. Doesn't make it "bad," just something to keep in mind. Spears’ vulnerability shines through as she describes her painful journey from vulnerable girl to empowered woman. This was truly a behind-the-scenes look at everything that went on in the emo/pop-punk scene during my formative years. I love that this is presented in a real oral history format, with pieces of interviews with SO many people interspersed with one another to give multiple perspectives on each event and phase. Sometimes books like this set high expectations and read just like a really long magazine article synthesized to make the author's point, but this felt more like a retrospective documentary. So many of the artists and other involved in the scene really opened up and this was at times funny, at times informative, and at times eye-opening. i think the book also succeeds in reflecting on insular the scene was--how male dominated and how white it was. Right from the jump Payne says in the introduction how he's going to attempt to "depict where and how brand new drove the narrative of the 2000s emo boom, without glorifying Lacey himself... I truly hope I captured it in a way that feels accurate to the era, and bring no further pain to those Lacey hurt." And yes, many people highlight the rampant misogyny and sexism in the scene (kudos to Payne for including female and bipoc members of the scene for these parts) it seems like brand new/lacey is the only example brought up in this way, which was a frustrating missed opportunity. Satirical headlines like these don't pop up because of just one band yknow? Another reviewer pointed this out and wondered if it was due to legal issues and I can't help but wonder the same. So what I wanted to do a lot with this book was just see how much of the legend that’s been passed down really feels real, from talking to lots of people who actually were there. And reading about this music over the years, there’s so much of “Oh my God, when the ‘Understanding In a Car Crash’ video came on MTV”– MTV2, technically– so much of people saying, “That was the moment when the basement shows, the underground broke.” So I was thinking, “Let’s really dig into that. How true was that?”