Interviews

Jacob Turnbloom: Embracing Failure

December 1, 2008 By Peter Leave a Comment

Jacob Turnbloom First Wave Hello was a San Diego, CA based band that I first saw during their 2007 tour with former Failure frontman Ken Andrews. Not only did the band open up but also backed Andrews during his headlining set. I immediately picked up their debut LP, The Lord & Its Penguin, and was instantly blown away by the sonic energy and songwriting ability of the band. Jacob Turnbloom was the force behind that songwriting. Fishpork had a chance to ask him a few questions about his approach to songwriting, how First Wave Hello hooked up with Ken Andrews, as well as what is up next for one of the most talented songwriters around today.

Can you tell me how you formed First Wave Hello?

I was fiddling with audio engineering in late 2003 early 2004. I basically had to record a bunch of demo’s for my classes. So songs like “Portable People” and “Our Best Policy” I had recorded as demos for school. It took some time to find an initial line up. The recordings I had made ended up in local record stores, and in the hands of friends here in San Diego. Our first drummer Dave heard those early recordings and wanted to start a band that was actually serious. Sarah was very encouraging with my song writing at the time and I asked her if she wanted to play synthesizers along side my good friend Eric. We recorded our first EP as a four-piece band. Coner eventually heard our record while he was on tour with Counterfit and joined the band as second guitar as soon as he returned home. After a year, Sarah left the band and was replaced with a good friend of ours, Dan Reed. That was the line up that recorded on our first full-length record. The band kept changing over the years, with our good friend Ryan Flach replacing Dave on the drums when we would go on tour. And eventually our long time friend/producer/engineer Christian Cummings would replace Ryan on the Ken Andrews tour. It was always changing.

“I think failing is a huge influence on me, if everyone embraced failing and embraced the flaws that we all possess, then we’d live in a more honest society. You can’t learn anything if you’re right all the time. How would you progress?”

What were your early musical influences?

Sonic Youth was always a band that I could listen to and hear new things every time. That band changed the way people looked at guitar solo’s and song structure in mainstream alternative music, whether they intended on that or not. That band inspired me from an early age to play what feels right, not what’s gonna work for everyone.

What are your influences outside of music?

It’s hard to say. It’s such a huge part of my life, that it’s really all that ever goes through my mind. But, I think failing is a huge influence on me, if everyone embraced failing and embraced the flaws that we all possess, then we’d live in a more honest society. You can’t learn anything if you’re right all the time. How would you progress?

What was the song-writing process with FWH?

In the beginning, it was a challenge to get everyone to write together. So, I would usually bring in song ideas, like the basic structure and key melodies, usually chorus melodies, and the band would fill in the blanks. It wasn’t until we started writing The Lord and Its Penguin where people stopped holding back so much and started coming up with cool ideas and themes. Like the long ending to “Submarine Decibels” was an idea Coner came up with, and in the studio I thought it was such a good idea I had our drummer add on another measure even though it felt too long. When everything feels right in a song that’s usually when I start to feel like it’s wrong. I liked when the other guys in the band would bring in an idea that I hated, because that usually meant it was going to fit in the song somehow and work well.

When I listen to your work with First Wave Hello, sincerity seems to be a theme. How would you describe your work?

Everyone in FWH came from other bands. And after so long of playing shows in San Diego and touring, you get to a point where you realize you’re never going to be happy doing this if your trying to be the next “big thing” or trying to “make a living”. We’ve all been through the ringer with sleazy managers and slimy handshakes. Dealing with those kind of distorted views of how music works from record industry professionals, who incidentally are almost all out of a job anyway, kind of puts everything into perspective. There is a strong network of DIY bands in San Diego and will be forever, so I think that kind of attitude and honesty slips into the music a little.

How did you initially hook up with Ken Andrews?

We were looking for someone to mix the record that understood what we were trying to accomplish with it. I love the way that guy mixes drums and heavy guitars, but I was really interested in the way he mixed synthesizers. The first ON record is really colorful. The old analog synth sound that reminded me of Gary Numan or Dick Hyman. I wanted all of the synthesizer work to be prominent but also tasteful. There’s a fine line and, believe me, we pulled back a lot on that first record. We took a shot in the dark and just asked him if he would want to work with us. He sent us a quote which was waaaaaay out of our price range. We then politely declined and started looking elsewhere. A few days later, Ken called us saying that he would be willing to mix the record with what we had, which was not a lot. We stayed in contact with him after the record was finished. And by the time his solo record was coming to fruition, he was looking for a band to tour with.

“Kurt Cobain once said, ‘the dinosaurs in the industry will die.’ I believe we’re almost there, but it really doesn’t matter. The young industry yuppies are far more despicable.”

Your records with FWH have such a fine clarity for the multifaceted layers of your music. How long did it take to record The Lord and Its Penguin and what can you tell me about the recording process for this record?

The whole recording process took about two months. We recorded a lot of synth on that record, most of which you can’t even tell is there. Synth bass is such a pain in the ass to mix in contrast with the other instruments. We recorded half of the record with our friend Bill Nephew at his home studio in an isolated area of San Diego and the other half at Capricorn Studios with Christian Cummings in a busy downtown area of San Diego. We first tracked the drums at Capricorn and headed up to Bill’s studio to finish up the rest of the instruments. After we finished tracking with Bill, Capricorn was booked by the time we needed to record vocals, so we created a vocal booth in Eric’s apartment bathroom. It actually worked out pretty well, with the natural slap back from the linoleum tile. I wish i had pictures. We had to silence the wall because of the over abundant echo so half of the bathroom was covered in pillows, blankets, shirts, socks, papers towels . . . whatever we had.

Can you tell me about the decision to release the record on your own?

We set up a tour with our friends Hot Like a Robot, and we didn’t want to tour solely on the EP that we put out in 2004. So we decided to press the full length in hopes an indie would pick it up later.

What are you currently listening to?

Isao Tomita’s Firebird, The Residents’ Commercial Album, and Neurosis’ Pain of Mind are in rotation at the moment. The new Mogwai is pretty incredible as well.

What are your thoughts on the musical industry today?

Kurt Cobain once said, “the dinosaurs in the industry will die.” I believe we’re almost there, but it really doesn’t matter. The young industry yuppies are far more despicable. Every label will screw you. It’s just who is gonna be more upfront about screwing you. It’s a business no matter what major or indie is telling you it’s not. There are rad labels out there like Dischord, Desoto, Suicide Squeeze,Three One G, who all have integrity, but so many labels today disguise themselves as being just as honest and dedicated to their bands as those kind of labels, when in fact they are being run by people who have no idea what they are doing. And sometimes sharks that were weeded out my mainstream labels pop up as the president of new indie labels. Honestly, I don’t think there’s anything wrong in being involved with major corporate monster labels, if that’s what you’re going for. Being an independent artist isn’t what it was 20 years ago or even 10. everything is totally different now, with new mediums and basically just a new and different overall agenda for mainstream pop culture and sub cultures. Everything is pretty gray. The black and white fine lines of “bad major label, saint indie label” have been forever blurred with today’s instant gratification, mind-numbing Internet generation. There seems to be less concern with where the music is coming from, just as long as it’s “right now!” and it fits nicely and neatly in your pocket. The term “sell out” is a joke, because no one knows what the hell it means anymore.

What brought an end to FWH?

I think everyone just wanted to do other things, play with other people, and focus on different types of music.

What accomplishment with FWH are you most proud of?

Touring with my best friends was an accomplishment.

What can you tell me about Jacob & the Forces?

It’s an ongoing solo thing. Maybe one day I will release something under it. A lot of the songs I wrote for it are going towards my new band though.

Is this going to be a complete solo effort? Do you plan to release a record or play any shows?

No, I’m actually not to into strictly doing solo stuff. I like playing in bands. I’ve recently started a band called “The Heavens” with some friends/ex members of Hot Like a Robot, Mr. Tube and the Flying Objects, and Manuok. We are definitely going to release a record and tour very soon, so that’s exciting.

How would you define the word “success”?

Putting in good solid honest hard work into whatever you’re doing and being proud of it despite the outcome.

What are you currently reading?

Family Outing by Troy Johnson

Any thought provoking reflections looking at your career so far?

When I first started that band, I had zero confidence in my song writing abilities, simply for the fact that, in previous bands i had been in, my songs were always shot down. But the people I was lucky enough to play with in First Wave Hello made me feel like I could write a symphony. I know that sounds lame, but I guess that’s why I would never want to do a “solo” thing. It seems arrogant and egotystical. I do need others to help write and create. That’s what excites me about playing music . . . is taking the best ideas from everyone and trying to make something powerful. And I think we did that in FWH.

http://www.myspace.com/firstwavehello
http://www.myspace.com/jacobturnbloom

Filed Under: Interviews Tagged With: Desoto, Dischord, failure, First Wave Hello, Hot Like a Robot, Jacob Turnbloom, Ken Andrews, kurt cobain, sonic youth, Suicide Squeeze, Three One G

Krysta Youngs: Beantown’s Pop Superhero

November 5, 2008 By Mark 1 Comment

Her EPK describes her as “colorful, creative and compulsively complicated.” As a featured artist for ESPN’s Inside the Big East, a finalist on Community Auditions Star of the Day in Boston, and an opening act for One Tree Hill’s Kate Voegel, Krysta Youngs fits that description to a tee. The Detroit native, who now calls Boston her home, draws comparisons to Pink, Madonna and Avril Lavigne. Her debut album, Stories, is a straight-forward pop record with an edge. This pink-addicted, Top 40-loving pop superhero with a penchant for storytelling is on the verge of exploding onto the Boston music scene and beyond. Fishpork recently caught up with Krysta to talk about the current pop scene, filesharing, and her obsession with pink.

What were you doing five years ago?

I was a student at Berklee College of Music where I studied voice and music business.

Why do you call yourself a pop superhero?

Because I’m saving the world one song at a time. I pay a lot of attention to my lyrics, it’s kind of my thing. I want the songs that I write to tell a story, to make sense (at least to me). There’s a lot of crappy pop music these days that’s being created purely for entertainment purposes…musical meaning has been lost somewhere over the years.

What’s your take on today’s pop music scene?

Just like anything you take the good with the bad. I think that songwriters are being more innovative with song structure. Where before you had 2 lines of a pre-chorus, now they are extending it to be almost as long as the chorus. Too me, that can be confusing in a great way.

Filesharing is a big issue in the music industry these days. Some established artists like Radiohead and Nine Inch Nails are redefining the way music is distributed to fans. What’s your take on “stealing” music and how can future stars like yourself survive in this uncertain music marketplace?

Today the focus has been taken away from the music and has been put more on the artist’s image. Now artists are profiting more on merch, touring and outside endeavors. I’ve always been pretty generous with my music. The fact is that people are going to steal it, so instead of looking at it as a negative, I think of how I can use it in exchange for self-promotion. I’ve been giving away a lot of samplers at shows in hopes that once people see me live they will fall in love with me as an artist, gain a level of respect, and buy my compete CD.

What’s your songwriting process like? What inspires/motivates you?

My last album was a lot of me sitting in front of my keyboard and fooling around with chords. Fights motivate me a lot. If someone makes me angry or sad I find relief through the keys and my voice. This time around, with new songs, I’ve found that I’ve done a complete 180, and I’m writing melody and lyrics first. I like challenging myself.

You’re currently residing in Boston. How has Beantown affected your songwriting?

Boston’s tough. I grew up in Michigan surrounded by a small town mentality. Sometimes I feel like Boston makes me lose my barrings. I go home every so often to reassess my life and breathe. On the other hand, Boston has given me so many opportunities and experiences. I know I’ve grown as a person and, in turn, have definitely grown as a songwriter.

Have you recovered from the Red Sox losing to the Rays?

Shame on me, but I don’t follow the Red Sox. Now if Boston had a Pink Sox it would be a totally different story.

How was playing with Kate Voegel?

I opened for Kate when she came to Boston, and it was great. It was an all ages crowd, and it was refreshing to see the excitement in their eyes. It reminded me of when I was a kid listening to Cyndi, Tiffany, New Kids on the Block and Madonna…nothing compares to your first exposure of pop music. I had a blast!

Don’t think. Give me your favorite concert ever. Go.

Live! Period!

I heard you have a fetish for the color pink. Please explain.

Pink makes everything better. My favorite color has always been pink. I veered away from it for a while, but there’s nothing that quite compares…it’s girly it’s stylish it’s fabulous!

Are you a fan of Indie Rock? If so, what bands are you currently into?

I like polished indie rock. Right now I’m into The Lights Out, Mission Hill and The Joe Poppen Band (featuring Black Betty).

What’s next for Krysta Youngs?

After recording my first album, Stories, I feel like albums in general are becoming obsolete. My plan is to record and release a single a month for the next 12 months starting in January. I just finished the first single, FACTORY MADE. I’m also collaborating with a good friend of mine and talented musician, George Vala, on a remix to this song, as well as many others. He writes and produces house music, so watch out…you may hear Krysta Youngs in the club soon!!!

Krysta Young’s debut album can be downloaded for free here. Please support this artist by buying a CD.

http://myspace.com/krystayoungs

Filed Under: Interviews Tagged With: boston, kate voegel, krysta youngs, madonna

The Evolution of Zaba Grace

July 11, 2008 By Mark Leave a Comment

Zaba Grace’s debut record “My Own Skin” is inspired by memories of an unthinkable childhood. In an effort to reclaim her life, Zaba left Ohio and started over in Virginia. With an overwhelming passion for music, she decided to finally do something about it. After years of voice lessons, opportunities to make music were presented in her adopted hometown. She began working with producer Chris Kress (Dave Matthews Band, My Morning Jacket, Ben Kweller) on songs that would provide the emotional therapy she yearned for. The resulting songs are pulled directly from her personal journals, revealing a dark and painful past. However, the overall message is uplifting and should inspire other women who have walked in her shoes. The music process has allowed Zaba to slowly overcome those demons and work toward a better tomorrow.

Now drained by the process of writing and recording that album, Zaba Grace has relocated again. This time she finds herself in South Carolina. The recently married artist took a few minutes out of her day to speak with Fishpork on what she’e been up to these days.

When did you know you wanted to be a musician?

I always loved music and singing and writing. My dad sang really well, and I always wanted to be like him. He never really encouraged me to do it; neither one of my parents actually did. It is such a crap shoot to be successful, and the chances are slim, especially nowadays, to be able to survive simply by playing music that you love, that’s yours.

How did you get started in music?

I sang when I was four or five at our church talent contests. We went to a small church, and I won first place for a few years when I was small. I probably was more cute than good; you’d have to ask someone who remembers, ‘cause I don’t. When I was 12, I started voice lessons and never got anywhere with it then, because of an abusive home situation. When I was in college and got away from home, slowly I got the nerve and drive to finally pursue things on my own.

Where does the stage name Zaba Grace come from?

I always loved the name Gabriella Grace. That is the name I was gonna use if I ever had a daughter. I didn’t think it sounded cool enough to be a stage name, but I came up with Zaba when I was thinking about putting up a personal add on Yahoo (don’t tell my husband I was ever that lame).

You took lessons to perfect your voice before recording. What was that process like?

The process of voice lessons is hell on earth. I did a lot of work myself. I took some professional lessons, and then my producer found a CD available online that I used called Singing With the Stars that I used everyday to warm-up and warm-down. My producer also had me purchase a keyboard to practice scales and work on each note of every song without music just notes and singing into a microphone so I could hear myself if I was matching notes. I practiced for an hour or two pretty much everyday for a solid two years before I was good enough to cut my record, and this doesn’t include the years when I practiced, just not in an organized, focused way. This wasn’t easy. Many of these days I would work my job 10 or 12 hours and then come home and do this after I was done. A lot of people do not realize how hard it is to be a good singer. It is probably the most intimate art form out there. I got a really bad cold that turned into an ear infection that turned into strep throat. I couldn’t sing for a month. I want people to have more respect for singers, because most people who call themselves singers can’t even hang, and you don’t realize that until you have proper guidance and work your ass off for the final product.

The themes on your album seem to deal with religion, male/female relationships and overcoming struggles to prevail in the end. Am I accurate? What inspires the themes in your music?

You are accurate. I had a very bad childhood. My brother molested me from the time I was 14 until I was 17 years old. This totally fucked me up. I spent my childhood being silent and pleasing to fade into the background. My parents claimed they didn’t know, and if they had I don’t think they would have stopped it. I have found that incest runs on both sides of my family, so it was normal behavior to them. I was really angry at God for a long time. The youth pastor of my church I grew up in, who was the first person I told about the abuse, told me I was to blame and I needed to ask my stronger, older brother and God for forgiveness. I pretty much got the same story from the head pastor there (more of forgive and move on). My parents didn’t make my brother leave our house once I told them. I was told to leave my childhood home and never come back at the age of 22, when I was just starting graduate school. It was awful. I wanted to die; I was in so much pain. Thank God for my friends I had at college and the church group I had and the free counseling on my college campus. If it wasn’t for all of these things and people, I probably would’ve offed myself seven years ago. I spent six years of my life talking off and on with different therapists and friends and writing songs and poems about what happened and the way I felt. The music helped save me, too. My writing was so easy because for a while, it was all I had . . . My lyrics come mainly from personal experience or imagining what someone else’s experience has been like or dreaming about what I want something to be like.

The music on the album can probably be classified as pop. However, the lyrics are very dark and even controversial. Was this a planned “stylistic paradox”?

My producer had more to do with that than me. I would always be a pop artist, but some of the songs could have been darker. The idea was to make things sound more mainstream, and I guess my attitude has always been “fuck all these people who want me to be all happy and nice all the time”. No one is like that, especially not when their whole life is falling apart. Plus, I think it had to do with being a young woman. The world pretty much tells us to eat shit with a smile. That doesn’t work for me. I think my producer wanted that to come through on the album as well and so did I.

How much input did you have on the writing of the music?

Most of the lyrics, probably about 90% are mine. What changed was in context with what I had already written (it either wasn’t rhyming or fitting in proper song structure.) The music was written entirely by my hired co-writers.

Do you enjoy playing your songs live?

I had a handful of shows I played around Charlottesville, VA. Performing is the coolest. It has given me a lot of pleasure the few times I have done it. If all I had to do was show up and sing, it would be great. Booking isn’t easy at all. Everything is really hard, but the performing is definitely gravy.

Who did you play with on the tour?

The most notable people are Sun Domingo and Jupiter One

You posted a message on MySpace stating you needed a break from music. Were you mentally or physically drained? What’s your state of mind now when it comes to your music career?

I would say I was more mentally drained, but probably physically drained. I put myself through a Doctor of Pharmacy program to become a pharmacist by age 24. During this time I started therapy, went to court against my brother, worked part-time, went to school year-round full-time, plus started playing open mic nights and writing music. I graduated in 2003 and moved to Charlottesville, VA from Toledo, OH and immediately started working full-time as a pharmacist, worked on and finished my first album, which was entirely financed by me and I was in therapy every week dealing with my issues. Basically, for 6 years of my life I was working 3 full-time jobs (yes, therapy is a full-time job if you try to deal with your issues and move on with life.) At this point in my life, I’m not really thinking about my music career, I am thinking about starting a family. I just got married in May and my husband and I are looking forward to having a child.

Are you currently writing anything new?

Every now and then I write some lyrics. I am not actively working on anything except living my life and loving it and just being a normal person for a while.

What are the future plans for Zaba Grace?

My future plans are starting a family and living my life to the fullest. I think my best years are ahead of me. I am so glad that I took the time and energy to go to therapy and that I had the resources to educate myself and do things in life that most people only dream of. I plan on enjoying the rest of my life. Beyond that, I don’t know at this time.

www.myspace.com/zabagrace

Filed Under: Interviews Tagged With: ben kweller, ohio, south carolina, zaba grace

Unanswered: Local Hardcore Legends

July 8, 2008 By Mark Leave a Comment

Matt and Brian, ex-Unanswered brain trust, took a moment with Fishpork to reminisce about a local hardcore scene from the 90s that they tore in half.

You guys are local legends when it comes to the hardcore scene in South Jersey in the 90s. What was that time like for you?

The early 90’s to me seem very different than how hardcore music is perceived today. Especially in small towns like Lacey. At that time there was a transition going on between traditional hardcore bands of the 80’s like Gorilla Biscuits, and Murphy’s Law, to the heavier screamo bands like Rorschach, Converge, and pretty much anything out of New Brunswick or Syracuse. There were (and pretty much still are) two types of scenes going on. There was the New York club scene, and then there were the rest of us that put on and played basement and VFW hall shows. Unanswered pretty much fell into the second category. We played wherever we could, whenever we could. It was an exciting time, although we didn’t really realize it until much later. We thought nothing of loading up our 20 year old van that barely ran, and driving to places like North Carolina, or Massachusetts, to play a show in some hall or basement

Matt, how did you get started in music? When did you meet Brian?

I’ve been playing some sort of instrument since I was little whether it was drums in school band or whatever else. I started playing bass in early 1993. I had known Brian, and the other members of the band for a few years skateboarding around town which at that time also wasn’t the most popular thing to do in town. That kind of bonded us all together. Out of our circle no one knew what the hell we were talking about with music or skateboarding and that includes girls!

How was the band formed?

Brian, Seth, Chuck, and I started trying to jam in Fall 1993 in Brian’s garage in Lanoka Harbor with our friend Sean on vocals. Sean is pretty much credited with starting what would become Unanswered although he left after a year. The band went through many incarnations and finally settled on the name Unanswered in the summer of 1994 with Brian-vocals, Chuck-guitar, Seth-drums, and me on bass

Where does the name Unanswered come from?

There were a few theories we tried to justify for this, but our favorite was that while trying to get shows, a lot of our calls went “unanswered”

What inspired your lyrics on these songs?

Most of the lyrics dealt with insecurity, frustration, failed relationships, working shit jobs, and just observing everyday jerk off’s in the world that would somehow inspire us. Our favorites at the time were the born-again Christians that we would encounter around town or on the boardwalk who would hand us the little born-again comic book pamphlets. We used these to make t-shirts, stickers, everything!

How did Brian manage to get that scream out?

I’m jealous. Well, to be honest I have no idea how that came out of such a quiet guy. He inspired me later to do the same thing so I guess I can thank him for that.

What advice would you give to these young kids trying to develop vocally?

All I can say is if you have the fire in you than let it out. There are far worse ways you could channel your energy into than starting a loud screaming band. It kept us from going insane. Don’t worry if you can’t play that well at first. Its not about that. Practice will get you there eventually. Its about releasing your inner self to the world and saying “hey I have something to say, and I don’t care if you want to hear it or not”!

You guys were also involved in the skating scene. What’s the relationship between skating and hardcore music?

This has gone on since the 70’s or probably even before. The same artistic entity that inspires music and art, seems to inspire surfers and skaters as well. The need or inspiration to express oneself seems to be shared by the two mediums on some level. Punk and hardcore was always in the skate videos and magazines that we saw watched and read. For me personally, I loved skating to punk and hardcore music, as It got my adrenaline pumping.

What hardcore acts inspired you to make music?

We liked a lot of stuff: new and old. Between us there was Black Flag, Drop Dead, Burn, Born Against, Black Sabbath, Rorschach, Human Remains, Today is the Day, Ressurection, Lifetime, and Converge. There’s probably more I’m not thinking of. I’d say in the beginning though Rorschach was our biggest influence. We used to watch the Decline of Western Civilization all the time too so we could rock like the Germs or Black Flag!

How much music did you guys record back in the day?

We were in the studio I think 4 or 5 times. We recorded a cassette demo at first, and then two 7” records, two split 7” records and a comp between 1994 and 1998.

Did you record with any notable bands?

One of our splits was with a band called Charles Bronson who were and, from what I hear, are still very popular today.

What was touring like?

Our little mini tours were usually a mess, but we had some fun times on the road up and down the East Coast. We met and played with some good bands and people like 97A, Hogans Heroes, Entropy, Human Remains, Times Up, Major Burns, Kurbjaw, Huasipungo, Mouthpiece, MonsterX, Devoid of Faith, You and I, and a lot of others that I’m probably forgetting

I heard you guys were straight edge. Is that true? Were there really no drugs or alcohol involved while recording or playing live?

Well, here’s the deal. Three out of four members of the band were straight-edge at that time. Later when we were down to 3 members, we all were until the end of the band. We weren’t really a “straight-edge” band. We didn’t really have the look and the feel of other straight edge bands of the time. If you ask me now, I don’t really know why we were. It was probably because most of the bands and skaters we looked up to were at that time. I can say it was a positive thing though as it did keep us out of a lot of trouble for a long time (for the most part anyway). I personally think “straight edge” itself is a good thing, but just like everything else, too many idiots in the scene caused us to not even want to be associated with the term or later on even the scene for that matter.

I noticed that you guys finally got a MySpace page up. Does this mean there’s a reunion planned?

Well, I dunno. Three of the four original members (Brian, Chuck, and myself) are back living in Lacey. The fourth member (Seth) is living somewhere in North Jersey and we kind of lost contact with him. I put the MySpace page up as a way to remind the other guys and friends of ours from that time period how much fun we had then.

www.myspace.com/unansweredhopedelusion

Filed Under: Interviews Tagged With: black flag, black sabbath, born-again christians, hardcore, myspace, punk, rorschach, skaters, south jersey, straight edge, surfers, syracuse, unanswered

Jacob Turnbloom: Embracing Failure

“I think failing is a huge influence on me, if everyone embraced failing and embraced the flaws that we all possess, then we’d live in a more honest society. You can’t learn anything if you’re right all the time. How would you progress?”

“Kurt Cobain once said, ‘the dinosaurs in the industry will die.’ I believe we’re almost there, but it really doesn’t matter. The young industry yuppies are far more despicable.”

Krysta Youngs: Beantown’s Pop Superhero

The Evolution of Zaba Grace

Unanswered: Local Hardcore Legends

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Jacob Turnbloom: Embracing Failure

“I think failing is a huge influence on me, if everyone embraced failing and embraced the flaws that we all possess, then we’d live in a more honest society. You can’t learn anything if you’re right all the time. How would you progress?”

“Kurt Cobain once said, ‘the dinosaurs in the industry will die.’ I believe we’re almost there, but it really doesn’t matter. The young industry yuppies are far more despicable.”

Krysta Youngs: Beantown’s Pop Superhero

The Evolution of Zaba Grace

Unanswered: Local Hardcore Legends

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