My Friends

Arrow Up

Arrow Up
Arrow Down
,
  • Thu
    28
  • Fri
    29
  • Sat
    30
  • Sun
    31
  • Mon
    1
  • Tue
    2
  • Wed
    3
Shore Thing May 28, 2015

Enjoy free admission every Thursday night throughout the summer. Includes tours of Dear Nemesis, Nicole Eisenman 1993–2013, Roots Factory DJs, a cash bar, and a BYOP (bring your own picnic) option.

71 other events on Thursday, May 28
 
From the Editor
The taxpaying citizens of San Diego should not pay for a new stadium
Music feature
Providence duo are busting eardrums for the long haul
Seen Local
The media artist/designer wants women to challenge the idea of what’s expected of them
News
Lawsuit challenges city-funded nonprofit’s authority to make land-use decisions
Seen Local
The third in our series on the artists awarded grants through the Creative Catalyst Fund

 

 
Log in to use your Facebook account with
San Diego CityBeat

Login With Facebook Account

Recent Activity on San Diego CityBeat
 
. . . .
Wednesday, Mar 28, 2012

Justin Pearson plunges into electro

Memoir finds hardcore-punk luminary in a strange new world

By Seth Combs

How to Lose Friends and Irritate People
by Justin Pearson
(Three One G)

In 2010, The Locust and All Leather frontman Justin Pearson made his literary debut with the autobiography From the Graveyard of the Arousal Industry. Now, he’s back with another memoir, which can be summed up in one line: “I grabbed the mic just in time for me to lip sync in front of a bunch of fuck heads.”

That blunt description—of an unruly festival stop in Melbourne, Australia, while on tour with Italian electro-superstars The Bloody Beetroots—is Pearson at his plaintive best. In a two-part volume designed to resemble two ’zines, he describes his (mis)adventures as the self-described “go-to punk singer” of the global electro scene in 2009.

The story begins when All Leather, the now-defunct electro band, gets signed to the prominent electronic label Dim Mak. Before he knows it, Pearson is lending his voice and lyrics to songs by huge DJ groups like the Beetroots and Designer Drugs, getting flown around the world for concerts and video shoots.

This strange new world is filled with posh hotels, model twins and drugs galore, and he enters with trepidation, but he gradually embraces the showboating performance aspect of the work. While Pearson never fully sheds light on the similarities between punk and electro, readers could see parallels between the two genres. Though they seem worlds apart, they’re somewhat easy to pull off from a technical standpoint, and both rely on theatrics and pomp.

Throughout the book, Pearson isn’t afraid to share his bewilderment amid a music scene that has “no bands” but lots of “scantily dressed girls on stage looking like some sort of bullshit American Apparel ad.” Still, his writing relies mostly on conjecture. This isn’t exactly the voyeuristic look into the world of electronic music that the reader might hope it would be.

“I just didn’t want to be part of something that had been done,” Pearson writes at one point, describing his aversion to singing over yet another Beetroots track. Eventually, he starts to realize that he’s become part of that something. In the book’s second part, he acknowledges that, well, he’d made an ass out of himself.


Email editor@sdcitybeat.com or follow Seth on Twitter at @combsseth.




 
 
 
 
 
 
Close
Close
Close