Josh Dempsey

“Jim Adkins: ...There was a girl who wrote us, explaining how she felt like an outsider at her school because the punk rock kids wouldn't accept her, even though she liked us and a lot of the really obscure bands we toured with. And I just thought 'It's not worth your time to trip on this. Punk rock is and should be inclusive. That's the one thing I know. No matter what your definition of punk is, everyone would say that it's inclusive, it welcomes outsiders. Freak flags welcome. Wave 'em around. These chicks don't get it at all, don't waste your time trying to get their approval.' That's where the main idea for the lyrics to 'The Middle' came from.”
― Chris Payne, Where Are Your Boys Tonight?: The Oral History of Emo’s Mainstream Explosion 1999-2008

“Andy Greenwald: It felt like a rubber band: How far could you stretch this music, which was predicated on a very intimate connection between performer and audience? Could you stretch it around the whole country? Could you stretch it around the whole world without something essential snapping? What happens when subculture goes mainstream?”
― Chris Payne, Where Are Your Boys Tonight?: The Oral History of Emo’s Mainstream Explosion 1999-2008

“All art is a work in progress. It’s helpful to see the piece we’re working on as an experiment. One in which we can’t predict the outcome. Whatever the result, we will receive useful information that will benefit the next experiment. If you start from the position that there is no right or wrong, no good or bad, and creativity is just free play with no rules, it’s easier to submerge yourself joyfully in the process of making things. We’re not playing to win, we’re playing to play. And ultimately, playing is fun. Perfectionism gets in the way of fun. A more skillful goal might be to find comfort in the process. To make and put out successive works with ease.”
― Rick Rubin, The Creative Act: A Way of Being

“Matthew Ismael Ruiz: ...There might be people to this day who think In Reverie is important, but to me it was important in understanding the way music fandom works. I felt like they had a responsibility to not be awful because they were my favorite band, they were some of my friends' favorite band. Like, I can't even go to your show, because you'll play most of this new record, and I'll get maybe three or four songs that I actually like. This sucks.
But the more distance you put from that, you realize, how can you expect a band to stay the same way they were when they were fifteen, sixteen? Or twenty? Or twenty-three, twenty-five?”
― Chris Payne, Where Are Your Boys Tonight?: The Oral History of Emo’s Mainstream Explosion 1999-2008