Foo Fighter Song Quotes

Kemper astutely explains how the highly integrated music industry created, developed, and eventually abandoned the Monkees." -- Library Journal "A keenly incisive---and, at times, refreshingly objective and even-handed---analysis of the entertainment machinery of the era, and the manner in which radio, television, and other areas worked together to manufacture The Monkees seemingly out of thin air." -- Musoscribe "I spent the entire summer of 1987 on the road opening up for The Monkees, and I didn't learn 1% as much about them as I learned from this thorough and remarkable book by Tom Kemper." -- "Weird Al" Yankovic "The Monkees gets into the vast machinery that goes on behind the scenes of producing perfect pop - still relevant today even if the names and corporations have changed - and does it with a lot of fun." -- Chris Shiflett, Foo Fighters "Kemper's book clarifies so much that is misunderstood in the Monkees story." -- Susanna Hoffs, The Bangles "A knowledgeable and incisive portrait of the popular music industry." -- Paul Hirsch, Northwestern University "Fascinating and witty . . .The book is full of interesting insights . . . [and] Kemper is impressive in unpacking particular songs . . . a fresh and engaging take on an oft-told story." ― Shindig! " Valuable, interesting, well-argued, and built on a pile of documented evidence. " - Psychobabble "Belittled at the time of their creation in the mid-Sixties, as made-for-TV Help-era Beatles clones, The Monkees' music has stood the test of time, and then some. Tom Kemper suggests, in his excellent book, that the initial snobbery surrounding the group, at least in elevated critical circles, came about because of the rise of a new rock culture based on authenticity, individual expression and idealism." - Pick of the Week, Choice "Kemper helps us understand what it is that continues to make the Monkees phenomenon 'compelling, fascinating and divisive." - The Spectator

Into the vacuum of my disinterest, music rushed to fill the void. It cracked a fissure, splintered a vein through the already precarious and widening rift between my mother and me; it would become a chasm that threatened to swallow us whole. Nothing was as vital as music, the only comfort for my existential dread. I spent my days downloading songs one at a time off LimeWire and getting into heated discussions on AIM about whether the Foo Fighters’ acoustic version of “Everlong” was better than the original. I pocketed my allowance and lunch money to spend exclusively on CDs from House of Records, analyzing lyrics in the liner notes, obsessing over interviews with the champions of Pacific Northwest indie rock, memorizing the rosters of labels like K Records and Kill Rock Stars, and plotting which concerts I’d attend.