YEAH, I WAS A COMMUNIST WHEN I WAS A KID…

THIS IS AN INTERVIEW THAT WAS DONE WITH JUSTIN PEARSON BY KAY BURIANEK FEB 2010 FOR A CZECH PUBLICATION SO ITS BEING POSTED HERE IN ENGLISH AS WELL…

K: Can you capture (from your point of view) the moment when kids generally hit the major life intersection and choose which way to go? And what exactly forced you become to musician, future record label owner, writer, etc.?

J: Well to be honest, I have hit that intersection so many times. Most of the situations I was not aware that I was at that intersection till I looked back in retrospect. Nonetheless, I have hit many of them. It’s hard to see the fist one, or the most pivotal one. I mean, life in general is a constant learning process. Yeah I grew up at those intersections, but I still am “growing up”. What forced me to become what I am, well that again is a slew of things. Anything from having my father murdered, to class struggle, to meeting bands that had “balls”, to realizing that I could do what I wanted on my own terns at age 15 when I left on my first tour.

K: Do you consider yourself as a punk?

J: Ha-ha. Uh, well ethically I do.

K: How important is attitude to you in the sense of being independent, D.I.Y., don’t ‘sell out’, etc.?

J: The “sell out” thing is irrelevant at this point. As far as I have been told, I sold out about a hundred fifty times. People will think what they want of you. Misconceptions and misperceptions are a plenty. As far as I’m concerned, ill never sell out. I have things like morals, dignity, and integrity, which all tie into my attitude. So yeah, that is important to me. It’s the basis of my decision-making. So far my entire chosen path was what I wanted to do, so as far as I see it I have remained independent, stuck to my “do it yourself” ideals, and stayed true to myself.

K: Can you describe your own personal evolution from the day when you first discovered music until now?

J: I think I first recognized music as an interest as early as about 5 years or six years old. I remember being into kiss, then later on realizing that they sucked. I was drawn to them by the stage antics as well as the costumes they wore. But I quickly realized that I loved that song “Mr. Roboto” by Styx when it first came out, in the early 80’s and differenchiated between good and bad rock music. Soon after, I went to my first concert, Chaka Kahn, at age 7. So I was already all over the musical spectrum by the mid 80’s. I was into music and drawn to different aspects of it until I met the cramps when I was 12. At that age, I realized that musicians, good relevant ones, were not gods as some are perceived or want people to perceive them as. And by the time I was fifteen, I realized that I could start a band and tour… so I did. Over the last 19 years of playing in bands and touring I fine tuned everything there is to do with music in my life and I continue to do so, as any person striving to be creative or challenging should.

K: How can you manage all those things – create music, be in bands/constant tours, do film projects, production, run the label, etc. What’s the fire inside?

J: I financially manage all of the things you mentioned by working odd jobs just about every day of my life, up till I have to go on tour. I think the world that one lives in is reflected in the music that one creates. So that fire comes from all facets of life, and who I am, as well as how my mind works.

K: What’s more important to you – to be part of any or all the bands you’re involved with or run your own label? What’s more powerful of a voice and tool, how do you change the world?

J: Well they sort of go hand in hand. And even with the other labels I work with, I learn from them… good and bad. As far as how to change the world, I’m not sure. But I do think that music is the most effective form of communication. It crosses all social barriers, be it age, gender, etc.

K: Do you even have and ambition to change something or do you think it’s a silly idea and cliché to even try?

J: If you mean change it with music? Well ill leave that up to bands like U2. I mean really, it is only music. And as the great dizzy Gillespie once said, musicians reflect society, and its up to the musicians to set things straight. The key to this is, a band like U2 lives in an entirely different world than I do. Can we start a revolution? Can we stop homophobia? Can we encourage people to vote in America and actually change things in a false democracy? I’m going to go with probably not. But we can influence people in social change, and even down to the point of educating people on things as typical as police brutality, or more fine tuned ideas as to how you spend your money and whom you give it to ala Fugazi. So yeah change can me made via music to some extent. Maybe as far as a full blown revolution, that would be something that is recognized in retrospect, after the fact.

K: Can you see strong connection in-between music and politics?

J: Yes. Even with the not so obvious politics, or specific social politics.

K: What about vegetarianism and animal rights? (You have lovely dog, which she means a lot to you, correct?)

J: Sure. This was a big part of 90’s punk and hardcore and I think it changed a lot of things. But I’m not a fan of being preachy. I live my life and if it’s an example to others, great. Aside from my diet, I feel that with issues pertaining to vivisection and animal abuse is pretty basic as to what is morally/ ethically right.

K: The Locust’s (and even other bands you were in from the past) fans were/are almost violent and very wild audiences, pushing on the edge performance, provocative and crazy…what do you think about violence in general and about violence at the shows particularly?

J: Well in some circumstances it makes sense. When I see punks in Mexico City at a Los Crudos show going off I understand that. Factor in politics, economics, and so much more. But when I see pseudo heterosexual white males going berserk in a pit at an earth crisis show, I sort of have to wonder, are they in the closet? Mislead youth? Maybe even institutionally racist? And what the hell are they so upset about? But for The Locust’s crowd, for one… we are not in this to baby-sit. Nor do we promote senseless violence. Sure, id rather people take a more progressive avenue at expressing themselves, but shit, this is one more example as to why music can’t change the world. As far as violence in general, well that is such a vague topic. I’ll just say that there are times when I feel violence is justified, or needed. But if there is a peaceful option, of course I would rather humanity takes that route.

K: Tell me more about this book which coming out in May - From the Graveyard of the Arousal Industry - is it more a biography, social criticism, vicious prose or what? What forced you to pick up a pen and put this all down instead of write another song or lyrics?

J: The book came about from someone asking me to write a tour journal. I wrote some stuff for a website and shared with a friend, John Waters, who said I should write a book. So I did. The time to write was found during long drives on tour, and no pen was used in the cyber age we now live in. Basically its forty something short stories in chronological order telling about anything form when I was born, to the fist time I did drugs (which I can count all of the times on one hand), to band related things, to me being on jerry Springer, and to me getting married and divorced in the span of less than a year. I actually just made a short video, or commercial for the book which can be viewed here…

http://www.vimeo.com/9429714

K: You’ve always been very critical toward this music industry bullshit and mechanism but lets say your major band The Locust became very well known worldwide and signed with Epitaph which is a label considered as a semi-major. Also your latest one – All Leather signed to Dim Mak which is not a major but Steve Aoki, owner and impressario is often criticized as a rich kid hipster whatever lifestyle. What do you think about this phenomenon, how do you differentiate what’s still all right and what’s behind already?

J: This question raises a lot of points. Yeah, I have been critical of the music industry but if you, or well… I, were not, then we would be ignorant, right? I mean, its like saying all television is good, and saying that as a TV actor or something. It’s just not that basic and simple. Yeah, I can criticism something like the music industry till I turn blue. But really who cant? It’s the driving machine, or machines behind one of the most important forms of art to human nature. So, with Epitaph, the label is an independent label. We can leave it at that. We had 100% creative artistic say in what we did and do. So I see no issues with us working with that label what so ever. With Dim Mak, well you can see Steve how you want. I could care less what people think about him. I mean, to me, he is a long time friend, well over a decade. The Locust even played in his living room when we first started. So is he hip? You tell me. I think he is cool, like I think my mom and dog are cool. We can discuss his artistic vision or creative outlet(s), as well as Epitaph (which I was initially drawn to Epitaph via ANTI actually), but this question is not about my opinion on that matter. It’s about why I work with these labels and people. My answer would simply be that I respect the way the labels are run, who runs them and most importantly how the enable the bands that I’m in which are on those labels. For me, Three One G is not big enough for The Locust, and with All Leather we basically wanted to branch out and hit an audience that Dim Mak caters to.

K: How it come the tough boy from hardcore/punk scene became to be part of DJ performance with one of the most hyped crew these days The Bloody Beetroots. You did guest vocal on their album Romborama, they remixed All Leather’s track, brought you to very successful Australian tour, your name pop up often in all their interviews…how did you come to work with them? Lots of things in common or you noticed major differences?

J: I guess you can call me tough if you want. Sure, I have street smarts and I can scrap if needed, but I’m in no way a “tough” person ala some professional boxer, or violent drunk who has something to prove. But my way of working with the Beetroots came about via Dim Mak. I never really knew of them until I started working closely with Nathan Joyner of All Leather and at some point Steve put them in touch with me to lend some vocals. After that their remix of “Mystery Meat” came about and then they asked me to go on tour with them. Sure there are obvious differences from The Beetroots world to mine, but there are similarities as well. And I see nothing wrong with differences to be honest. I mean, Bob Rifo from The Beetroots really just wanted to challenge the perception of live DJ acts as well as add (for lack of a better word) a punk element to what people now days see as electronic music. In my “career” and I think in what Bob had in mind, was that we wanted to throw a wrench in the way things are typically done, and do something different.

K: Your current band All Leather is - speaking of sound - far away from most of your other bands. Is that direction you’re going to? What’s with The Locust anyway?

J: I’d rather not specify a direction All Leather is headed in. ill leave that up to the critics. It is what it is. I think musically the band is drawing from all sorts of elements, and not just musical. So the outcome is something new. As for The Locust, we are slowly working on a new LP, while Bobby is in school full time.

K: You’re friend with lots of musicians and artists, lots of people even from creative world and music biz consider you as a hero. I am wondering – did you have back in the past or do you have your own heroes or people (present sense) you adore or have a big respect for and if so - why?

J: First off, thanks to whoever thinks this. It’s quite shocking to be honest. So thank you. As far as “heroes” of my past, I think I have always strayed away from that term. Pertaining to music, when I was 12 I met The Cramps and they really showed me respect, as a kid, and as a fan. Later on meeting bands like Downcast and Amenity, also showed me that I could do things just like them, hence crushing the perception of a hero and leaving it more like comrades, or an inspirator. Later on, becoming friends with John Waters and someone like Guy Picciotto again reassured me that me and anyone else with integrity and dignity could be on the same level as someone like them. I suppose I’m drawn to people or inspired by people who have ample creativity, style, and interesting visions. People who are progressive, innovative, and challenging in a nutshell.

K: You‘ve travel the world many times and have been pretty much everywhere. What’s the favorite place and why? Do you feel like San Diego is your hometown?

J: I think my favorite place would be Japan. I think Japanese culture is so amazing, absurd, and interesting. Every time I have been there I feel like my mind was stimulated in so many ways. As far as San Diego being my hometown, well this is where I have lived for 22 years. It’s perfect in its on way, even with the flaws that I can pick out. I think the negative aspects even make due for some of the most creative elements of who I am. Plus the weather is perfect all year around. You just can’t drink the tap water.

K: Do you believe Internet, all this web infrastructure these days and all social networks as Facebook or Twitter? Do you think is a good platform to spread the music or do you think it’s blind arm going nowhere?

J: I’d rather stick to human traits like talking in person and having a “friend list” be people whom I actually know. But it is what it is… there are good and bad aspects. I just wonder when the alien technology will be explained to humanity as to why we have this ability and what its greater purpose is.

K: Where’re you want to see yourself in next 10 – 20 years?

J: Beats me. I’m shocked that I’m at the point the point that I’m at right now. Get back to me in a decade and we can talk about it.

BOX – WHEN I WAS 13
(Only short answers, snapshots, ya know)

- Favorite movie: Star Wars: A New Hope
- Movie hero: some fake guy that was written into a script.
- Favorite book: the Webster’s dictionary
- Favorite record: “Never Mind the Bullocks, Here’s the Sex Pistols”
- Favorite food: burritos
- Biggest fear/phobia: loosing my mom
- Most exciting activity: taking the bus to purchase records
- Most hated topic in school: getting beat up

"FROM THE GRAVEYARD OF THE AROUSAL INDUSTRY"

“Furrrrrr-eshhhhhhhh”

Rob Roy - “Fur in My Cap”

Dominos Partie Deux

neat - o.

THE FALL OF DIM MAK!

OK, HI PEOPLE. STEVE INVITED ME TO “BLOG”. SO LOOKS LIKE YOU ARE SCREWED. HERE WE GO…

Hello. I’m Justin Pearson, age 33, a leo, and proud parent of Gee Gee Pearson-Edwards. I’m better known for such projects like, The Locust and Three One G records. Anyhow, Steve and I have some history and well, the planets aligned and brought my new band to the Dim Mak table… ALL LEATHER. A brief explanation of All Leather: As some of you may or may not know, being a musician in this day and age, well being a musician with dignity and integrity, leaves you somewhere below the poverty line, trying to pull off working odd jobs and hustling in order to play, rehearse, and tour. So I landed this night job, when not on tour, at a gay club in San Diego, where I live (I’m straight guys, sorry). I found myself night after night, hearing this electronic dog shit music over and over and over. Don’t get me wrong, I hear that the stuff I play, is “crap”, “noise”, etc. But I’m sort of speaking from an educated musical standpoint. Or at least a creative artistic perspective. What I’m referencing is run of the mill, cookie cutter, dance music. But over the course of the nights spent stopping people from jerking each other off, plunging toilets, getting hit on my leather daddies, and trying to figure out the gender of some of the patrons, I would hear a gem among the sea of musical turds. Please keep in mind, this is only my opinion and well, opinions are like assholes… everybody has one. I stumbled upon Ida Corr’s “Let Me Think About It”. Now take a track like that, or even some of Britney’s “hits” and you have something substantial. What I envisioned was music like “Let Me Think About It”, but with more abrasive elements and better vocals as well as more interesting lyrical content (the lyrics to that track are about as lame as you can get). I combined forces with two friends, Nathan Joyner and Jung Sing, and have an outcome that is influenced by whatever sort of musical genre or culture that I’m trying to explain here, and applied it to a background with actual musicians, able to pull off live shows not attached to someone rocking out (or not rocking out) in front of a laptop. Boring shit in my opinion. So i met with Steve, we shot the shit, and jumped in bed with each other, potentially bridging some sort of gap between musical this and musical that. All Leather has had foreplay with some musical outfits like Otto Von Schirach, MSTRKRFT, SQZMYLMS, and Hawnay Troof, falling in the remix world, while the band actually covering a version of “Let Me Think About It” with slightly altered lyrics and added balls. Now we are here to let you think about it. Good luck, you might need it. See you all soon when i have something “important” to blog about. Over and out. 

JP

xoxo

myspace.com/mrjustinpearson

www.myspace.com/allleather 

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