I might be the very first one on Tumblr to have posted this but I only checked a couple tags and found nothing… I’m sure someone else beat me to it.
Band STANDS UP & SPEAKS OUT Against Gay Bashing, Bullying Westboro Baptist Church!
‘The Music That Changed My Life’
How are you, how’s your day been?
My day started at 5.30 in the morning. I woke up and made smoothies and cereal, then I got dressed and took the kids to a pancake restaurant. Came home from that, played on the swing set for a little while…
With the kids?
No, just myself [laughs]. Yeah, with the kids.
What’s the first record you bought?
It was a compilation album on K-Tel. I bought it at a drug store for maybe a dollar. On that record was the foundation of my musical being - Frankenstein by The Edgar Winter Group. That was the first song I fell in love with.
Did you only listen to rock when you were growing up?
Oh my God, yeah.
No gangsta rap or Duran Duran phases?
Fuck, no. I mean, after The Edgar Winter Group I was given The Beatles’ greatest hits records, you know the early red one and the later blue one. After studying The Beatles albums for a few years I moved onto Kiss and Rush and the The B-52’s andDevo. Then I discovered hardcore punk rock, so I put all those other records in the attic. I have to say that some of the most influential albums in my collection weren’t rock but comedy records. Steve Martin was just is much of a hero to me as The Beatles were when I was a kid. Comedy Is Not Pretty! and A Wild And Crazy Guy; those two albums were huge to me. I wrote a letter to Steve Martin.
Did he write back?
He did. Well, I don’t know if he replied but I did get a reply.
What kind of music did your parents like?
My father was a flautist so there was plenty of classical and jazz in the house. Usually it was just the radio on, day in, day out. My mother was into musicals. Some of the albums that my parents tried to get me to listen to were Disney’s Fantasia and maybe Chess. Those were immediately refused.
Twenty-five years ago you were 17. What were your career prospects looking like?
Fuuuuck! Pretty bleak [laughs]. I was a high-school dropout. At 17 I had already made my way through a few different jobs. If I needed money I had to work because my family had none.
Five years later you’re recording Nevermind…
Yeah, but that wasn’t necessarily considered a career decision. It was just elongating the slacker dream that I was living.
How would you rate your playing on Nevermind, now that you’re a more seasoned musician?
I think my playing on Nevermind was great. I don’t wish that I’d done any more or less; the idea was to keep it simple. It’s funny, in 1992 I got an award from Modern Drummer magazine for best up-and-coming drummer. I checked my mail the other day and there was another Modern Drummer award. This year I won the best mainstream drummer award.
Do you think that any other album of the past 25 years has been more influential than Nevermind?
Absolutely, are you kidding me? Do you know how many people sing like Eddie Vedder now? I didn’t hear too many bands after Nirvana that sounded like Nirvana. I heard a lot of bands that sounded like Pearl Jam. And by the way, hello? OK Computer? That’s not considered hugely influential? Please!
What’s your favourite album of the last 25 years?
Trompe Le Monde by the Pixies. That’s probably the album that I’ve listened to the most.
What’s the last album you bought?
I’ve been going on these iTunes binges late at night. Usually I’ll have a glass of red wine before bed and that red wine usually costs me about $180 in iTunes fees. Last night was Creedence Clearwater Revival’s greatest hits and Public Enemy’s first record [Yo! Bum Rush The Show].
Which song makes you cry?
In My Life by The Beatles. It’s such a beautiful song and that’s what was played at Kurt’s memorial. That really gets me.
What’s the most out-of-control gig you’ve ever been to?
Nirvana’s show in Dallas at a club called Trees in 1991 was the closest thing to a punk rock riot I’ve ever seen. It was way over capacity, Kurt got punched in the face, he smashed the monitor board to bits and then hit a bouncer in the head with his guitar. There was blood everywhere. We were told that the people who worked there were going to kill us so we got in a cab but it was mobbed and they smashed a window. I jumped back in the club, got a ride with some chick and we got into a car accident. This was all in the course of two-and-a-half hours!
What’s the one song of the last 25 years that you wish you’d written?
Mass Destruction by Faithless. That’s perfect.
Which song would you have played at your funeral?
Why Can’t We Be Friends? by War [laughs]. That came off the top of my head but I like it. I’m going to have to keep that.
( thanks to fooarchive.com)
Let’s all convert together.
i’ve converted. :3
here is my template.
print & cut out dave grohl beard’s/hair
and paste it on things in public.
- around a public toilet seat flushers
- on bus windows
- around door handles
- the little people on caution wet floor signs
- old ladies
go forth and beard, my friends.
Foo Fighters performs on the Streets of Kansas City on September 16, 2011 in Kansas City, Missouri.
Just another reason to love these guys..
After The Foo Fighters little run-in with loonies at The Westboro Baptist Church, I felt this to be appropriate.
i went HA really loudly at my desk
What was your first shag like?
“Strange. It was with a girl from my high-school that I didn’t really know. She was an athlete, and about six inches taller than me. Cute, but big. She had a party when her parents were away - I was in her bathroom writing shit on her mirror with lipstick I had found. She came in and started making out with me. We walked out of the bathroom and went downstairs only to find everybody was gone, so we made out on a pull-out couch” -Dave Grohl
What music was playing when you lost your virginity?
AOKHILARY, ST LOUIS, MISSOURI
There was no music. The party was over. She was a junior on the basketball team. I was a freshman, and I never saw her again. She ruled me like a caged animal. It was like 2001: A Space Odyssey, just silent until the monolith came crashing down.
Going by the Foo Fighters playbook, you need less. Far less.
“We walk on stage with five instruments and no computers,” Dave Grohl says. “It might not sound perfect, but we’ll rip your face off, and we don’t need someone to hit ‘go’ on the computer. The band’s better than we’ve ever been. We don’t have bad shows. We kill it every night.”
Fans and critics back up that rare display of bravado from the frontman of a band that rose from the ashes of Nirvana and built a reputation for loud, muscular, high-energy stage marathons. After barreling through summer’s festival season, capped by the closing headliner slot at Lollapalooza and two nights at the U.K.’s Milton Keynes National Bowl (140,000 fans), Foo Fighters kick off a U.S. arena tour tonight in St. Paul.
It launches roughly a year after the band began recording its seventh studio album, Wasting Light, on analog tape in Grohl’s garage with Butch Vig, producer of Nirvana’s Nevermind. Propelled by rock hits Rope and Walk, the band’s first No. 1 album has sold 563,000 copies since April, bringing its 16-year career total to 10 million, according to Nielsen SoundScan. Light coincided with the theatrical release of Back and Forth (now on DVD), James Moll’s documentary tracking the band’s ascent from demos Grohl taped while in Nirvana to the Foos’ current position as a stadium-filling global force.
Drummer Taylor Hawkins, 39, attributes Foo success to steady growth and unbending ideals.
“Our organic approach to rock is something we hold dear,” he says. “We’re a real live band. We’re scrappy and raw and not perfect in the sense of sounding exactly like the record and playing along to fake tracks.”
On a recent morning, Grohl, Hawkins, bassist Nate Mendel and guitarists Chris Shiflett and Pat Smear are gathered at their Studio 606, mocking reality TV shows, discussing their kids’ return to school and marveling at the newly installed soundboard from nearby shuttered Sound City Studios, where Nirvana recorded 1991’s Nevermind.
In the control room, Grohl, 42, sinks into a couch beneath a huge formal portrait of him commissioned by his crew as a tongue-in-cheek gift. In it, he wears a smoking jacket and ascot, holds a brandy snifter and sits before a painting of a Doberman. Think Vermeer meets Hefner. It captures Grohl’s likeness but none of his character.
“Last night, my wife tells me maybe I should get a personal assistant,” Grohl says. “I’d rather be a disheveled, unorganized mess than be one of those people who has a personal assistant and lives in a mansion in the Hollywood Hills. We have to keep this on a simple level. Having been in Nirvana, that crazy hurricane, I learned what not to do. I just want to play music and get home safe. That’s my trip.
“I’m not a businessman. I’m a high school dropout with a 10th-grade education. I taught myself to play. I don’t read music. I don’t know how to use a lot of the gear in the studio. But it’s my name at the bottom of the check. I’ve tried to navigate the past 16 years with a little integrity. Nobody tells us what to do, ever.”
Grohl grew up with his mother, a divorced public school teacher, in Springfield, Va., inhaled Beatles records and learned to play guitar and drums, leaving school at 17 to join punk band Scream. He became Nirvana’s fifth drummer just before the Seattle trio recorded the meteoric Nevermind.
“I never imagined I’d have a career in music,” Grohl says. “There weren’t a lot of career opportunities in crazy-fast hardcore punk, so you didn’t have a lot of ambition, just the love and passion to play music with your friends. It was the same with Nirvana. Our aspirations were low. We just wanted to eat.”
Grohl founded Foo Fighters a few months after the suicide of Nirvana singer/songwriter Kurt Cobain in April 1994. He recorded all the vocals and instruments on 1995’s self-titled debut before drafting players and plunging into a demanding touring/recording cycle that built a broad following and racked up such hits as The Pretender, Best of You, All My Life, Learn to Fly and Everlong.
“I wasn’t done playing music when Nirvana ended,” says Grohl, who did not transition easily from drums. “I was entirely self-conscious and insecure as a singer/songwriter and leader of a band. But sitting behind a drum set made me think of Kurt. It was too soon and too painful. Why not try something I had never done? I had just lost the most important thing to me. I had nothing to lose.”
Early on, the Foos survived artistic clashes, lineup shifts and divorces (Grohl’s first marriage ended in 1997; he remarried in 2003 and has two daughters).
The upheaval “tested everyone’s will and commitment,” he says. “Your life gets turned upside down, but the Foo Fighters are an important anchor. We love each other as a family.”
Peace reigns under Grohl’s rule, Hawkins says. “There’s a defined leader in this band, so we’re not sitting around beating each other up over a T-shirt design.”
Anyone feeling stifled can stretch creatively in outside bands and projects, says Mendel, 42, who sees no room for complaint, given the high points on the Foo journey: “Getting our first bus was a big deal. Headlining festivals in Europe. Playing with legends like Queen and Alice Cooper. Having a million great guests. Grammys (six), you can’t discount those.”
Rock biographies underscore how grounded the Foos are, says Shiflett, 40. “There’s nobody crazy in this band, no drug addicts, and everyone shows up on time. Disagreements rarely escalate to a full-on conflict. Decisions come down to Dave, and everyone trusts his judgment.”
Smear, the oldest at 52 and Grohl’s friend since 1993, has never bristled under the benevolent dictatorship, largely because of the band leader’s vision.
“I hate to put it down to being older,” Smear says of Foo harmony. “In my 20s, there was always an addict or some sketchy thing going on in the bands I was in. I was talking to a band recently that hadn’t played in a while. They said, ‘We just don’t like being in the same room together.’ Weird!”
A shared passion for honest, unsullied rock ‘n’ roll bonds the Foos, especially in an age of increasing pop artifice.
When the band collected its best-rock-video trophy for Walk at MTV’s recent Video Music Awards, Shiflett found himself “blissfully out of touch. I didn’t know who anybody was, and I was happy, actually.”
Grohl, who told the MTV audience “Never lose faith in real rock ‘n’ roll,” says music’s sales decline isn’t the fault of piracy or technology or industry fat cats.
“It’s the music,” he says. “People are blown away that Adele is selling so many records. I’m not. That record is great! She’s got a beautiful voice, and people are shocked when they hear actual talent. Music should be more than ad placement, more than synthesized looping of a voice that’s been Auto-Tuned and an image made to look like a superhero or supermodel.”
While rock bands with a classic bent and deep catalogs tend to thrive indefinitely on the road, the Foos aren’t sure it’s their ideal path.
“We have the capacity to become a heritage act,” Hawkins says. “Nobody wants to admit they’d do that. But Neil Young still plays. It can be done right.”
The band faces challenges, Mendel says. “We’re too old to keep doing this, but we can and we probably want to. How do you be a 45-year-old man in a rock band, do it well, keep your dignity and not become a parody of yourself? I don’t think it will be simple.”
Grohl plans to proceed one album at a time.
“Coming from Nirvana, I know what it feels like to have the whole thing swept out from under your feet,” he says. “If this is the last Foo Fighters record, I’d be so proud of what we accomplished. But I’m not done.”