Talk:Justin Pearson
From Wikipedia, the free encyclopedia
 |
This article is within the scope of WikiProject Biography. For more information, visit the project page. | ||
| ??? | This article has not yet received a rating on the Project's quality scale. Please rate the article and then leave a short summary here to explain the ratings and/or to identify the strengths and weaknesses of the article. [FAQ] | ||
The biography section of this article sounds more like an emotional outcry than it does as a well written biography, someone clean it up please - riserobotrise
yeah seriously, "ill paid" = totally NPOV! hotdiggitydogs 09:07, 6 April 2006 (UTC)
Wow this page needs some serious formatting and cleanup. There aren't any citations from this new info and most of it is not written to any encylopedic standard. I want to revert it but some of it might be useful information if it were done properly. hotdiggitydogs 18:02, 16 April 2006 (UTC)
okay, I reverted the article to an older version because the previous version was so poorly done. It was vertually unreadable, highly POV, and it seemed as if the editor just cut and pasted all that information onto the article, without adding any insightful or original writing of his/her own. However I did save the text from previous version. If anybody wants to flesh it out, do some major fixing on it, they are more than welcomed to do so. -RiseRobotRise 10:49, 18 April 2006 (UTC)
'''Justin Pearson''' Vocalist/Bassist for several west coast new wave/punk/noise/hardcore bands including [[Struggle]], [[Swing Kids (band)|Swing Kids]], [[The Crimson Curse]], [[The Locust]], [[Holy Molar]], [[Some Girls (Band)|Some Girls]], and [[Headwound City]]. He is also owner and operator of [[Three One G| Three One G Records]] along side several other ill paid contributors. “I just want to change the way people look at music, or maybe just destroy it in general”(The Locust, 2006, para. 2). After listening to any musical project that Justin Pearson, or JP, has been a part of, the majority of people would agree that he has accomplished his goal of “destroying” the way people look at music. Justin Pearson is the definition of a music guru. He has played, and continues to play, in more great bands than any one person can keep count of, owns and runs a successful record label for underground music, and has greatly influenced the San Diego music scene for the better. At only 26 years of age, he has more than proven himself as San Diego's local icon in the world of music. Justin Pearson grew up with a rough childhood. He first moved from Phoenix, Arizona to San Diego with his mother at the age of 12, shortly after the death of his father. Growing up in San Diego, he was bullied in several different ways. He had problems with a “skin head” at school and was even abused, both physically and mentally, by his mother’s boyfriend. At about the age of 16, JP learned how he could fight back against his bullies and took legal action. He soon moved out of his mother’s house and began living on his own with the help of social security checks given to him from his father’s death. Since those social security checks allowed him to not have to work, JP had plenty of free time when he wasn’t in school, and used that time to tour with his band Struggle. While on the road touring, he met several people who influenced him to continue into the world of music. Eventually, Struggle broke up and the band came to an end. However, JP continued to be involved with music and playing in bands. (Scheingross, 2005) While in the band Swing Kids, Justin and his band mates went through several undesirable marketing problems when dealing with record labels. They had to deal with altered artwork for merchandise, poor quality products, and bad distribution. This inspired JP to start his own record label. In the beginning he had no idea what it took to own and run a label by himself, but he jumped in headfirst. This led to the beginning of Three One G records. (Pearson, personal communication, 2006) Three One G records was started about 10 years ago in 1996. The name was derived from a song by Joy Division, called “Warsaw”. Justin’s band at the time, Swing Kids, had just released a cover version of the song when the idea for a record label came about. The lyric “3-1-G” appears in the chorus of the song “Warsaw”, and although he wasn’t sure of the meaning of the lyric, it seemed to be the right choice for the label he had in mind. “The name seemed obscure and fitting for the aesthetic that I was going for at the time” (Pearson, personal communication, 2006, para. 4). At the time that Three One G records was started, JP’s band mate from Swing Kids, Eric Allen, had also been playing in the band Unbroken, and offered to help JP get his label going with a first release. Unbroken offered two songs for Justin to release as a single for his new record label. Shortly after, Pearson repressed the Swing Kids 7” EP with the cover version of “Warsaw”, and issued it as Three One G’s second release. (Pearson, personal communication, 2006) The next several years opened major doors for Pearson and his record label. He started off working with and signing San Diego based bands, mostly made up of his friends. “All the bands and artists are our friends first and foremost. They are people we know on a more personal level and people that we respect and feel are doing something profound and creative” (Gnade, para. 8). The label kept continuing to grow and putting out records. Justin used his label to his advantage and released several albums from several of his own bands. Some Justin Pearson bands that have released records on Three One G are Swing Kids, The Crimson Curse, The Locust, Holy Molar, Some Girls, and Headwound City (Justin Pearson, 2006). Three One G has also released albums from bands such as Antioch Arrow, Cattle Decapitation, Moving Units, Ex Models, The Plot To Blow Up The Eiffle Tower, and the Blood Brothers (Three One G, 2006). Today, Three One G is a label known for underground bands that strive to be unique and sincere. They also create their music to the extent of making it a form of art. This is done in the bands’ recordings, live shows, and even the packaging of their albums. “I do feel that the art is an extension of the music. So if you are creative, why not take it a step further and break away from the average mundane packaging?” (Scheingross, 2005, para. 25). Another thing that makes Three One G unique from other labels is the freedom and support they give their bands. Not only do the bands have input on everything released by the label, but they also receive 50% of royalties. This means that half of the income made from band merchandise by Three One G is given directly to the band itself. This, however, does take its toll on Pearson’s personal income. In fact, both JP and Allysia Edwards (Justin’s business partner and friend) have to hold at least one other job to make a decent living. “A major thing that is hard for us is the fact that Allysia and I both have to make ends meet by other methods of income. I’m lucky enough to have bands as a source of income and Allysia tends to do odd jobs here and there” (Pearson, personal communication, 2006, para. 8). Sometimes this leads to an immense amount of stress and doubt for Pearson. “Maybe if I could go back to the start, I would just avoid it (the record business) entirely. There are times when I think I would have been better off in my life if I had never done this. For instance, I work so much around the bands that I’m part of, and the label, and end up with so little financially to show for it. My hourly wage would be change if I calculated it” (Pearson, personal communication, 2006, para. 19). Nevertheless, JP feels that what he is doing is worth his time and effort. “Anything from the fact that we are part of these records and artists who are amazing human beings is worth it alone. I’m glad that I have avoided working for anyone else, especially in some sort of cubicle setting for a corporation where my morals are compromised” (Pearson, personal communication, 2006, para. 9 & 19). As far as the future goes for Justin and Three One G, there are no set plans or goals. In fact, Pearson never even had any true goals set in stone when he started the label. Instead, he lived day by day, working for whatever felt right at the time being, and continues to do so. Regardless, one for sure thing is that Three One G records will still be around. “As long as loans can be taken out, and as long as there are artists who are profound, then we shall exist” (Pearson, personal communication, 2006, para. 29). For all the reader knows, Three One G could be the next biggest thing in the world of music, which, in Pearson’s opinion, would not at all be a problem. “I’m not opposed to commercial success of artists at all. As long as one’s morals and ethics are not compromised, I see no problem with it. Bands like The Yeah Yeah Yeahs and The Mars Volta have reached that level of success. So I feel that if you have the vehicle to get you there, then by all means, go there” (Pearson, personal communication, 2006, para. 25). As stated before, Justin Pearson has played, and still plays, in a variety of amazing bands including Struggle, Swing Kids, The Crimson Curse, The Locust, Holy Molar, Some Girls, and Headwound City (Justin Pearson, 2006). However, Pearson has stated that he could not choose a favorite from his collection of projects. “Each band has its own place in my life. Some function differently; some are ‘part time’, and some are just ‘projects’. The basic chemistry of the band members differs from band to band, and they each hold their own positive and negative aspects, none being better than another” (Pearson, personal communication, 2006, para. 35). But, when asked if he had to choose between playing in bands or running a label, JP answered with, “I’m not sure why I would have to choose, but I assume I’d pick playing music” (Pearson, personal communication, 2006, para. 33). Considering that his music career began in San Diego, the city and its music community has had a huge impact in Pearson’s life. “Some outstanding things that San Diego had in the past that I was fortunate enough to experience were shows held in the sewer tunnels under the 94 freeway, the 24th and E St. house shows, and the Pokez shows. Those were beautiful incidents in San Diego music history” (Pearson, personal communication, 2006, para. 37). In return, JP has given back to San Diego in several ways. He has signed and worked with several San Diego bands, giving them a future life in the music world. “Over time, the San Diego bands that Three One G has dealt with have been amazing. There have been amazing bands to come out of this city. Even to this day, there are some amazing bands from San Diego, such as Kill Me Tomorrow, Secret Fun Club, Cattle Decapitation, Demonstrations, etc” (Pearson, personal communication, 2006, para. 39). Pearson is also a big supporter of the city’s local, independent music businesses and venues. “I am grateful that San Diego has the Ché Café, The Epicenter, and even the Casbah. All of these venues are supporting of the arts and provide a great forum for live music” (Pearson, personal communication, 2006, para. 37). But, how does San Diego’s music scene compare to other cities? According to Justin, overall it’s not much different from other areas. “All music scenes in metropolitan cities for the most part have very similar pros and cons. However, no other city has the weather that we do” (Pearson, personal communication, 2006, para. 39). Justin Pearson is a standout icon in the underground music community, not just locally, but nationally, and even internationally as well. But, how did he manage to get this far? And, what did it take for him to get where he is today? “Three One G’s early roster consists of all San Diego based bands, so it might only be chance that I was here and the bands that were around at that time were as well. I suppose the key to my success is luck, risk, timing, and work ethic. I guess throw in a little heart and soul while you are at it” (Pearson, personal communication, 2006, para. 39 & 41). For now, Justin Pearson’s future is unpredictable, and only time will tell what’s in store for him and Three One G. “I never projected that I would be here now. So in another 10, who knows? Maybe the world won’t exist. Or maybe music won’t exist. With technology, there is no telling. This world that we are creating could bite us in the ass if we don’t watch out. “ (Pearson, personal communication, 2006, para. 27). References Gnade, A. (n.d.). The All-new, Updated, Three One G Biography – Mash Notes From a Super-fan. Retrieved March 16, 2006 from http://www.threeoneg.com/etis/about.php#w Justin Pearson. (2006). Retrieved March 19, 2006 from http://en.wikipedia.org/wiki/Justin_Pearson Pearson, J. (2006). Personal Communication (attached). Retrieved March 19, 2006. Conducted by e-mail. Scheingross, J. (2005). An Interview with Justin Pearson. Retrieved March 13, 2006 from http://sandiegopunk.com/interviews/justinpearson.php The Locust. (n.d.). Retrieved March 16,2006 from http://www.answers.com/topic/the-locust-1 Three One G Website. (n.d.). Retrieved March 17, 2006 from http://www.threeoneg.com
I think it might be best to post Justin's autobiography from his 31G page. What do you guys think?Xyloidhype 04:01, 6 December 2006 (UTC)
-
- I think it needs a lot of work to wikify. I also needs to be broken down into segments and there is a lot of non-NPOV editiorial stuff that would be removed. hotdiggitydogs 03:16, 7 December 2006 (UTC)
