a zine for former teens
Table of Contents 3. Letter From The Editor 5. The Heart Factory Interview 6. THICK 8. Katie Ellen 9. Worriers 10. Essay - “Where the Girl’s Aren’t, Fifteen Years Later” 18. The Heart Factory Interview cont’d 18. Sedona 19. Lola Pistola 20. Sharkmuffin 22. Heart Factory Playlist #1 contents
All writing, interviews, and design are by me, Natalia Barr
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Letter from the editor I discovered Rainer Maria when they were set to release their first album after 11 years, ed letter S/T, in summer 2017. I read every trace of the emo band that had been making music in New York for as long as I’d been alive, and yet had never reached my ears. I fell in love with their second album from 1999, Look Now Look Again, as soon as I’d heard the seamless transition from “Planetary” to “Broken Radio.” In the latter track, when singer Caithlin de Marais blurts out with the most dramatic flair, “And I’m certain if I drive into those trees/ It will make less of a mess, than you’ve made of me,” I wondered how emo was never dominated by women who could perform with such raw, vulnerable, sometimes over-the-top, but never ungenuine, lyricism. I then came across a small blurb written by Pitchfork writer Jenn Pelly (who I realize now is accidentally quoted twice in this zine!), in which Pelly described seeing Rainer Maria live for the first time in 2016. “How I had gone 26 years on Earth without getting into Rainer Maria is totally beyond me. As a girl who grew up with early ‘00s mutations of emo—and became a young feminist as a direct response to the sexism ingrained into my Hot Topic teenybopper years—Rainer Maria is the kind of band that I’d like to believe would have blown open my mind, an emo band fronted by two women, exploding their inner-lives outward. I had waited my whole life to see a band like this.“ I didn’t know it at the time, but this anecdote, combined with my own, became the foundation for Heart Factory. Before my sophomore year of college, I barely knew that bands and musicians like Rainer Maria, or Bikini Kill, or Sleater Kinney (the inspiration for this zine’s namesake), or Liz Phair even existed. I owe these artists so much of my growth, personality, and passion as a feminist, as a writer, as a person. What if I had discovered them 10 years ago?
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To think this way will drive anyone crazy. For all I know, 12-year-old me wouldn’t have enjoyed Kathleen Hanna’s angst, and she certainly wouldn’t have related to Liz Phair’s “Fuck and Run.” But it’s still something I’ve thought about, and clearly, I’m not the only one who has. At the same time, I don’t want to discredit the music that made me me, which, looking back, turned it to be made by a bunch of sad white boys. But Just like Liz Phair, Pete Wentz made me feel so much less alone, like there might be people out there more like me than the kids at my Long Island middle school. More on this in my essay later on in this zine :) I have always had this fascination with reflecting on middle school. It was this awkward and cringe-y and hilarious time to look back on, but it was also a period of intense confusion and mystery and learning. I used to grimace thinking about middle school me, but now I’ve started to realize how cool she was. She found the most obscure bands on MySpace whose members now probably live in Idaho with 9 to 5 jobs. She spent her Friday nights reading every page of Alternative Press and Nylon and cut out the articles she liked. I can’t help but be in awe of her. Now I’m in my final weeks of college at NYU, and I experience random bursts of nostalgia, finding myself looking up scenes from Kiki’s Delivery Service in the library, or feeling the desperate urge to listen to All Time Low’s “Coffee Shop Soundtrack” on my commute home. Many people poke fun at nostalgia (and the constant commercialization of it), but I think it can be really productive. Thinking about what music created me 10 years ago and what music could be changing my life at this very moment has made me feel more confident about myself as a whole. I have so much to learn, but I think I’ve gotten to know myself pretty well, and I owe a lot of that to music: what I learned from music, who I met through music, what I created in my life out of music. To find a thread that has weaved through my life thus far and kept it tied together feels pretty empowering. To anyone reading Heart Factory, I hope you can find some empowerment in your own nostalgia, too. Love, Natalia
THE
INTERVIEW New York area bands on their t(w)eenage tastes, what could have been, and advice they’d give to their younger selves
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THICK What is one song, album, or artist that aided you through your teenage years? Nikki: Blink-182 and The Strokes Kate: The White Stripes and Weezer both started early on and sustained through most of my teenage years Shari: Your Favorite Weapon album by Brand New, and the song “86” by Green Day What song do you wish you had known through your teenage years? Kate: RVIVR’s “Wrong Way/One Way,” its meaning is much bigger than teenage angst, but it’s catchy as hell and is super relatable. Shari: I wish I had the SZA album in high school Nikki: “This Must Be the Place” by Talking heads What would you tell your teenage self today? Nikki: Go to more shows and don’t listen to what anyone else has to say about you Shari: Don’t make a live journal or Myspace Kate: Don’t quit music, try a guitar. What was your AIM screen name? Nikki: Twinchick26, I’m a twin and my twin sisters AIM was “hottestwin21” LOL What was your favorite after school snack? Shari: These mini rice crispy treats that came in a can (it’s discontinued). What was your favorite article of clothing or accessory? Kate: I definitely over-wore my Ramones t-shirt and Chuck Taylors ha.
Did you play an instrument? Is it different from what you play today? Nikki: I played a few Kelly Clarkson songs on my acoustic guitar and the song “Kiss Me” Kate: I played flute and then piccolo from 4th to 9th grade and ended up quitting. I never played a string instrument until I decided to pick up a bass when I was 24. Shari: I re-taught myself how to play drums when I was 13, and I practiced to Blink182 everyday after high school. I also picked up guitar when I was a freshman. Who was your role model growing up? Nikki: My grandma! She is the one who bought me my first guitar and taught me that its cool to shop at thrift stores. Shari: Travis Barker THICK is based in Brooklyn and is made up of Nikki (guitar/vocals), Kate (bass/vocals), and Shari (drums). I feel like I have experienced a spiritual awakening every time I see them live. Check out their latest track “Bleeding” and their new EP on 5/24. Buy their music at thick.bandcamp.com
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KATIE ELLEN What is one song, album, or artist that aided you through your teenage years? Anika Pyle: I cannot listen to Death Cab for Cutie’s “Passenger Seat” without being inexplicably transported to the passenger seat of my best friend’s car, traversing a lonely road in the foothills of Colorado, hand out the window catching the brisk night air. That song subdued the loneliness and constant heartbreak of being a teenager. All we want in this life is unconditional and infinite love. A forever love. A forgiving love. At the time I was searching for romantic love and it made me feel defeated and alone. I had never been in love and I thought perhaps I never could be. This song then, and now, reminds me that I already had a connection more dense and beautiful than I ever could have imagined…in my best friend who, although we are adults living separate and far away adult lives, will always be with me “for all time.” What song do you wish you had known through your teenage years? My teenage years were riddled with insecurity about what other people think and a sever lack of self confidence. I still struggle with those things but I wish I had heard Boss’ “I Don’t Give A Fuck” before age 25. It serves as a go-to song when I’m crushed by my tendency to people please and do others before I do me. What would you tell your teenage self today? Make more zines. Write more stories. Sing more songs. Fear less. Love more (especially yourself). What was your AIM screenname? My AIM screen name was @notquitepromqwn – formulated as an eighth grader and a fitting moniker because I, indeed, was a runner up for prom queen as a senior in high school. Now I’m my own damn queen in my own damn prom of a life and I’m pretty happy with that.
Anika Pyle is the frontwoman and guitarist of Philly-based Katie Ellen, joined by Anthony Tinnirella (guitar), Dan Frelly (drums), and Eric Sheppard (vocals/bass). Their debut record Cowgirl Blues was released in summer 2017 and meant so much to me then and now. “Lucy Stone” is a perfect driving song, and “TV Dreams” is truly a masterpiece of heartbreaking simplicity. Buy their music at katiebandellen.bandcamp.com
Worriers What is one song, album, or artist that aided you through your teenage years? Lauren Denitzio: Rancid - And Out Come the Wolves What song do you wish you had known through your teenage years? Against Me! - Bamboo Bones What would you tell your teenage self today? Drop out of college, consume all the music you can and go on tour. Enter every room like you own the place. Who was your teenage celebrity crush? Winona Ryder Who was your role model growing up? The teachers in my school’s art, drama and drafting departments were pretty great. We also had two guidance counselors who ran “The Safe Room” which is basically where all the punk and LGBTQ kids hung out. A lot of my teachers were the only supportive adults around. Tell me your most memorable middle school anecdote. I had an embroidered Sex Pistols patch on my backpack when I was in the 8th grade and a senior saw it and invited me to my first local show, her friends’ band Face First, who later became Houston Calls. That’s how I got into DIY gigs when I was 15! We were just walking down the stairs and she grabbed my bag and introduced herself. We ran into each other not long ago when Worriers was on tour and I still see the folks in her friends’ band from time to time!
Lauren Denitzio is a visual artist and the vocalist and guitarist of Worriers, joined by Lou Hanman (guitar), Nick Psillas (bass), and Mikey Erg (drums). The name of their last record, Survival Pop, is extremely fitting, as Lauren continues to make the punk music scene a safe, comfortable, and enjoyable scene for everyone. Buy their music at https://worriers.bandcamp.com
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Where The Girls Aren’t, Fifteen Years Later “He’s never gonna write me a pop punk love song, ‘Cause sad boys always sing about somebody else. But all I ever wanted was a pop punk love song, So I’ll sit here and sing one for myself.” --Sloppy Jane, “Pop Punk (Love Song),” Totally Limbless. (2014)
Fifteen years ago as of this summer, music journalist Jessica Hopper published
her landmark essay, “Emo: Where the Girls Aren’t,” in the now defunct zine, Punk Planet. Hopper noticed that the emo genre she followed for years had become tainted by a trend of sad white men writing about nameless, faceless women, portrayed as “vessels redeemed in the light of boy-love. On a pedestal, on our backs. Muses at best. Cum rags or invisible at worst.” Hopper gave a voice to those who the genre deemed invisible: The adolescent women who dominated emo’s audience, but did not receive respect back from the genre.
Hopper explained that her “deepest concerns” were for these bands’ female fans
who cheered front and center at concerts. “I watch these girls at emo shows more than I ever do the band. I watch them sing along, to see what parts they freak out over,” she
wrote. “I wonder if they see themselves as
not yet know existed for anyone else, and
participants, or only as consumers or—if
the emptiness it left me with was filled by
we reference the songs directly—the con-
discovering bands on MySpace, reading
sumed. I wonder if this is where music will
the pages of Alternative Press, and ad-
begin and end for them. If they can be
miring the lineup of the now soon-to-be
radicalized in spite of this.” Knots churn
extinct Warped Tour. Pete Wentz was my
in my stomach whenever I reach the end
god and the lyric booklet of From Under
of this essay, because a few years after it
the Cork Tree was my Bible. I read along
was written, I was one of those girls.
to every word while the CD played on my
The commercially tied genre of
pink Hello Kitty boombox. “We’re the ther-
emo and pop punk took me by the hand
apists pumping through your speakers,
and seduced me when I was about 11
delivering just what you need,” Patrick
years old. I lived on the south shore of
Stump sings with explosive reassurance
Long Island, the birthplace of early-2000s,
on “Sophomore Slump or Comeback of
“third wave” emo staples like Brand New,
the Year.” I believed him then, and I still
Taking Back Sunday, and Glassjaw, aka
do. The first time I listened to All Time
the bands that Hopper condemned. In
Low’s lively debut full-length, So Wrong
2007, my favorite groups, like Panic at the
It’s Right, was in my dark bedroom, lit only
Disco or All Time Low, were often inspired
by the screen of my iPod Nano. I remem-
by those bands, continuing the tradition of
ber crying out of gratitude that something
bashing girls for breaking hearts, giving it
so magically resonant existed, made just
up too quickly or not quickly enough, and
for someone like me. Today, I refuse to al-
doing anything except serving young men
low my unawareness of pop punk’s lyrical
as objects of their affection. I couldn’t see
implications to invalidate those old emo-
this when I was in middle school. I was
tional experiences with them. But know-
lonely and misunderstood, silently suffer-
ing what I know now, I feel betrayed, frus-
ing and screaming into a void that I did
trated, even guilty over them. Pop punk
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was made for someone like me, and that
Amid these allegations, music crit-
was the problem.
ics contended with Brand New’s influence
Recent headlines have revealed
in a slew of thinkpieces, and nearly ev-
that female emo fans have had much
ery writer referenced two pieces: Jessi-
darker experiences with the genre than
ca Hopper’s essay, and the lyrics to “Me
I did. Last November, mere months after
Vs. Maradona Vs. Elvis,” a song from
the release of their last hurrah of a re-
the band’s highly successful sophomore
cord, Science Fiction, Brand New’s front-
release of the (clearly significant) year
man, Jesse Lacey, was accused of sex-
2003, Deja Entendu. Lyrics of note in-
ual misconduct by two women. In 2003,
clude, “I got desperate desires and unad-
the same year Hopper’s essay was pub-
mirable plans/ My tongue will taste of gin
lished, Nicole Elizabeth Garey met Lacey
and malicious intent/ Bring you back to
at a show in upstate New York. Later, she
the bar get you out of the cold/ My sober
alleges, the singer began asking her for
straight face gets you out of your clothes.”
nude photos via instant messenger. Gar-
Lacey always denied that the lyrics were
ey was 15; Lacey was 24. Another wom-
autobiographical, insisting, rather, that
an, Emily Driskill, had similar experiences
they alluded to a nightmare he once had.
with the singer. Other than soliciting her
But skimming through Brand New’s early
for nude photos beginning when she was
discography demonstrates that the Long
17, Driskill says that Lacey video chatted
Island band crafted their career upon a
with her as he masturbated, and later sub-
foundation of misogyny and male entitle-
jected her to “several instances of coer-
ment. On their first record, Your Favorite
cion during physically intimate situations
Weapon, Lacey shames an ex for wearing
with him.” Lacey issued a blanket apology
makeup and for not “appreciating” Brand
through the Brand New Facebook page,
New on “Mix Tape.” On “Jude Law and a
and the band canceled all remaining tour
Semester Abroad,” Lacey sings, “I hope
dates.
the next boy that you kiss has something
terribly contagious on his lips” and “Even
bet she’ll drink and follow orders.” Even
if her plane crashes tonight/ She’ll find
my beloved Fall Out Boy whines on the
some way to disappoint me/ By not burn-
bridge of one of their most popular sin-
ing in the wreckage/ Or drowning at the
gles, “Dance, Dance,” “I only want sym-
bottom of the sea,” all because a girl de-
pathy in the form of you crawling into bed
cided to leave him to study in England.
with me.” We’d like to think that one of pop
The allegations against Jesse Lacey
punk’s few female-fronted bands, Par-
were shocking, not because of what he
amore, would have done better to over-
did, but because it’s taken over 15 years
throw the scene’s sexism, but we cannot
to prove what he has clearly always been
forget that the song that made the group
capable of.
famous, “Misery Business,” includes the
But Brand New is far from the only
line, “Once a whore, you’re nothing more/
band to have bolstered the deeply em-
I’m sorry, that’ll never change.” I saw
bedded misogynistic ideas that defined
Blink-182 live when I was 13 and when
their scene. Fellow Long Island groups
I was 18, and it was only during my sec-
certainly
participat-
ed--Taking Back Sunday’s Adam Lazzara considers killing himself in front of the girl who won’t love him back on “Cute Without the ‘E’” ; Glassjaw’s chorus for “Pretty Lush” goes, “You can lead a whore to water and you can My friend Ashley and me in 2016 at the Blink-182 concert at Barclays Center
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ond experience that I noticed my position
see in those damaging lyrics in the first
among a group of white men in their late
place? In her Pitchfork article “Unraveling
twenties singing, “I need a girl that I can
the Sexism of Emo’s Third Wave,” Jenn
train” along to “Dumpweed.” When the
Pelly asks the same question. She con-
band performs “Dammit” in their encore,
sidered, “Maybe we internalized our own
it’s become a tradition that when Mark
misogyny, saw those girls in the songs as
Hoppus sings, “Did you hear?” the audi-
Them, not Us. Maybe we were too young
ence shouts in response, “He fucked her.”
to see the devil in the details.” When I
The way I passively listened to
was a tween, boys at school could hardly
these performances 10 years ago, and
remember my name, let alone provide me
the way I hear them now in horror, illus-
with the romantic attention I craved. How
trates the niche purpose of emo and pop
could any girl take the devotion from my
punk. Their fans are young, inexperi-
Lord and Saviour Pete Wentz for granted?
enced, and naive, but then they grow up.
When he wrote, “I’m just a notch in your
Pop punk is produced to grow out of. Get-
bedpost, but you’re just a line in a song”
ting older means that this music is a thing
in “Sugar, We’re Going Down,” he shared
of the past, forever ingrained in the mar-
with the world that he wrote the deepest
gins of middle school journals and AIM
poetry about a girl who only used him for
away messages. We listen to Jimmy Eat
sex. At 13, I knew that I would have never
World for the sake of nostalgia or drunken
done such a thing. She was wrong, and
karaoke nights, but we no longer connect
he was right. His love was pure, and hers
with every word we’re singing along to.
was dirty. When I knew nothing about ro-
I often wonder how female fans
mance, I thought that discovering horny
of pop punk, myself included, can sing
white boys’ sensitive and self indulgent
along and ignore the harmful messages
love songs on MySpace while my parents
we potentially absorbed back in middle
weren’t home was the sexiest thing that
school. More importantly, what did we
had ever happened. I still consider my
sexual awakening to have taken place
toxic in a relationship is not always the
within the first verse of Panic at the Dis-
girl’s fault, the music could no longer
co’s “Lying Is The Most Fun A Girl Can
support me. It told me that I must either
Have Without Taking Her Clothes Off,”
exist as a boy’s Manic Pixie Dream Girl,
when Brendon Urie seductively whis-
or face that he wishes for me to die in a
pers, “I’ve got more wit, a better kiss,
plane crash.
a hotter touch, a better fuck/ Than any
boy you’ll ever meet/ Sweetie, you had
lyrics, some artists grow with us. In 2015,
me.” The only thing I knew for sure about
Paramore’s Haley Williams wrote on her
this lyric was that it contained the word
Tumblr, “Misery Business is not a set
“fuck” to imply something about sex, and
of lyrics that I relate to as a 26 year old
when you’re a middle school girl, that’s
woman. i haven’t related to it in a very
enough. I spent years fantasizing for a
long time. those words were written
boy to someday write a (nice) song about
when i was 17… admittedly, from a very
me, but it never occurred to me that I was
narrow-minded perspective.” As argu-
capable of writing a song myself.
ably the most successful woman in pop
Perhaps everyone grows out of
punk, Williams was the only musician
the genres and musicians that they em-
within the scene to apologize for lyricism
braced during their formative years, but
until last year. Glassjaw’s Daryl Palumbo
I find it significant that I fell out of touch
atoned for his “Pretty Lush” lyrics in an
with emo and pop punk as soon as I be-
interview with Alternative Press’s Jason
came in touch with the realities of being a
Pettigrew last December, explaining, “I
young woman. Pop punk served me well
was a young guy, and I was supposed to
when I felt sad or misunderstood, but
be a man and I was not. I apologize for
when I started dating, becoming more
saying any of that. You can be frustrat-
independent and empowered, learning
ed, but I really wished I had written better
that sometimes--wait for it--everything
lyrics. I wish I had better taste; I wish I
While we grow out of pop punk
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wasn’t so insensitive.”
annual nationwide summer festival with a
It feels progressive that some emo
lineup that has defined who is and who
bands are apologizing for their lyrics, ex-
is not “pop punk” since 1995, announced
cept that those lyrics were written over
that it will officially end after its 2018 run.
10 years ago. The emo and pop punk
The tour’s founder, Kevin Lyman, cited
scene still thrives off of the fragile mascu-
the decline of ticket sales and participat-
linities that built it, although perhaps their
ing bands as reasons for Warped’s end,
songs do not make it so obvious. Their
but the tour has faced backlash in recent
fans are still too young to notice, and too
years for supporting artists with bad rep-
few older fans exist to call them out. Last
utations. Three years ago, the festival
fall, the Australian group With Confidence
allowed the artist Front Porch Step to
was removed from their tour with fellow
perform at its Nashville date for “rehabil-
pop punk outfit Knuckle Puck, following
itative” purposes, despite multiple sexual
allegations that guitarist Luke Rockets
misconduct allegations against him. Ly-
had sexted an underage fan. The band
man told Chris Payne of Billboard, fol-
outed Rockets and put out a statement
lowing his Warped announcement, “It’s
condemning his behavior, right before
a really tricky world out there right now.
another young fan shared screenshots
And as my wife said this weekend, we
of a sexually charged conversation with
watched what happened with Brand New
the band’s singer, Jayden Seely. Despite
and these kinds of things. And she goes,
progress within the genre from bands
‘Oh, I see a storm gathering. You’ll get
that sprouted 15 years ago, the newer
sucked into this somehow.’”
pop punk scene is still breeding the same kinds of damaging male musicians, who
This year’s Warped Tour lineup was released earlier this month.
are still taking advantage of their female
With Confidence is on the bill.
fans.
This is the part where I’m supLast fall, Vans’ Warped Tour, the
posed to propose some kind of solution
to all of this, but as recent findings and
nate the actual music that exists within it.
decades-old lyrics suggest, pop punk
Pop punk and emo bands were never all
and emo are complex, and so is their
bad, and they’re still not. Knuckle Puck
relationship with their female fanbase. It
was the band to kick With Confidence off
is difficult to encourage the dismantling
of their tour following the allegations, and
of a genre that carried me at a specific
I know that their angry punk music can
point of time, just as it is hard to accept
thrive outside of the scene. I saw Real
that the same musicians may have only
Friends open a Wonder Years show in
wanted the worst for me when I grew up.
October 2016, and got chills when singer
My peak pop punk fandom is far in my
Dan Lambton gave a speech in support
past, but I know that middle school girls
of the safety of women at their shows,
today are coming across songs by both
and denounced not-yet-president Trump
Brand New and With Confidence with
in front of a room of fans who were large-
fresh ears, open hearts, and naiveté.
ly not yet old enough to vote. Many of
Like Jessica Hopper, my deepest con-
these bands want progress, but existing
cerns are for them. I often wonder what
in the same genre as their problematic
my teenage years would have been like,
predecessors keeps change from taking
had I discovered riot grrrl bands like Bi-
place. Isolating the music from the scene
kini Kill, or the ‘90s female-fronted emo
will show which bands are strong enough
group Rainer Maria before I entered col-
to stand on their own, and can create the
lege. If anything good can come out of
space where women could never have
unlimited streaming and Spotify, I hope
fit before. Emo is still where the girls ar-
that it’s young girls’ access to songs writ-
en’t, but that’s because their voices and
ten for women, performed by women.
strength are tearing the genre down to
I also think that the end of Warped
build something better. <3
Tour might be a good thing. Overthrowing a genre built on misogyny does not elimi-
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Sedona What is one song, album, or artist that aided you through your teenage years? Gwen Stefani - Love Angel Music Baby What song do you wish you had known through your teenage years? Cocteau Twins - “My Truth” What would you tell your teenage self today? Follow your heart. Trust yourself. Think less. Do more. What was your favorite article of clothing or accessory? My butterfly graphic tee - major Lisa Frank vibes. I still wear it, but now it’s a crop top. Did you play an instrument? Is it different from what you play today? I’ve been singing since before I could talk. Having a singer-songwriter for a mama and a piano tuner/jazz photographer as a papa, there was never a quiet moment for me, and I’d like to keep it that way. I dabbled in saxophone in middle school, and played percussion for my high school’s marching band, but singing has always been my favorite form of self-expression. Who was your role model growing up? Donna Summer and Madonna - they’ve both been leading female presences in pop culture and broke a lot of social barriers for women that inspire me to do the same.
Sedona is an L.A. born, Brooklyn-based musician who has just released her debut single, “Call Me Up,” the first song off of her audivisual album Home Before Dawn. She also wrote and directed the “Call Me Up” music video, which leads its viewers into what I can only describe as a vibrant and groovy wonderland of positive feminine energy. Keep an ear out for new music soon!
Lola pistola What is one song, album, or artist that aided you through your teenage years? Kurt Cobain. And from Nirvana ‘Heart-Shaped Box’.
What song do you wish you had known through your teenage years? I don’t know. I do wish I didn’t know anything by Guns ‘N Roses. What would you tell your teenage self today?
Play more guitar! Keep writing, and listen to Patti Smith. Who was your teenage celebrity crush?
Leonardo DiCaprio and Keanu Reeves, duh! Who was your role model growing up?
My dad, he just taught me how to be patience, and understanding and took care always of my mom and my brother and me with a smile and joy. Love for the family. He also took me to my first shows, ever, which were reggae shows. And I was 12-13 and people used to smoke so much weed, and we were just probably a little bit high and giggling the whole time. It was amazing! Tell me your most memorable middle school anecdote.
Being Class President on 9th Grade! Skipping class, listening to Green Day and Nirvana on my pink cd-player. Getting 3rd place at a school talent show singing an Avril Lavigne song. Questionable but fun!
Before she moved to Brooklyn, Arvelisse Ruby Bonilla-Ramos, aka Lola Pistola, started out in the Puerto Rican underground punk scene. She released her debut solo record, Curfew, last year, an album that’s grunge and glam with a soft velvet touch. Buy her music at lolapistola.bandcamp.com
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Sharkmuffin What is one song, album, or artist that aided you through your teenage years? Tarra Thiessen: Coral Fang by The Distillers, Live through this by Hole, Streetlight Manifesto: Everything Goes Numb, Nirvana. Natalie Kirch: NIRVANA’s “Incesticide” Jordyn Blakely: Nirvana was also crucial for me! I’m gonna have to go with Blink 182’s ‘Dude Ranch’. Also Weezer’s ‘The Blue Album’, The Hives’ ‘Veni Vidi Vicious’. What song do you wish you had known through your teenage years? Tarra: Brian Jonestown Massacre - Anemone Jordyn: Cocteau Twins -‘Cherry Coloured Funk’, The Birthday Party -‘Happy Birthday’, Bjork -‘Army Of Me’, The Cure- ‘Fasication Street’ What would you tell your teenage self today? Tarra: Not to worry about people judging and criticizing you because they’ll be too busy looking at their phones. Natalie: You will play in a touring rock band after you graduate from college! Jordyn: Be less fearful in your creative and artistic expression. Experiment more with writing songs. Don’t pressure yourself to fit into one niche. Who was your teenage celebrity crush? Tarra: Jack White and Brody Dalle Natalie: Kurt Cobain. Jordyn: Billie Joe Armstrong from Green Day What was your favorite article of clothing or accessory? Natalie: I used to like making my own shirts with either fabric pens or iron-on paper. Probably one of those, or this vintage cut-off denim skirt I got at Camden Market in London.
Did you play an instrument? Is it different from what you play today? Natalie: I dabbled in guitar, but didn’t start playing anything seriously (or pick up a bass) until my mid-20s. Jordyn: I started playing guitar in the eighth grade and started learning my favorite songs by ear. I was curious about drums and once I got a drum kit, that totally took over. What did you want to be when you were growing up? Jordyn: I wanted to be a veterinarian, but in high school science class I found out we were going to have to dissect an animal, and the thought of it made me nauseous! So that probably wouldn’t have worked out.
New York/Jersey Shore-based Sharkmuffin is Tarra Thiessen (guitar/vocals), Natalie Kirch (bass/vocals), and Jordyn Blakely) (drums, vocals). The band is currently working on their third album (after 2017’s Tsuki and 2015’s Chartreuse), and will tour in Europe this summer! Buy their music at sharkmuffin.bandcamp.com
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Make New Friends 1. “What’s My Age Again?" - Blink-182 2. “Buddy Holly” - Weezer 3. “86” - Green Day 4. “Passenger Seat” - Death Cab For Cutie 5. “Time Bomb” - Rancid 6. “Cool” - Gwen Stefani 7. “Heart-Shaped Box” - Nirvana 8. “Coral Fang” - The Distillers 9. “Sliver” - Nirvana 10. “Dammit - Blink-182
But Keep The Old 1. “Wrong Way/One Way” - RVIVR 2. “Normal Girl” - SZA 3. “This Must Be The Place” - Talking Heads 4. “I Don’t Give a Fuck” - Boss 5. “Bamboo Bones” - Against Me! 6. “My Truth” - Cocteau Twins 7. “Land” - Patti Smith 8. “Anemone” - Brian Jonestown Massacre 9. ““Army of Me” - Bjork 10. “Fascination Street” - The Cure Check out these tracks and songs by the musicians featured in this issue on the first Heart Factory playlist, “Heart Factory Playlist #1”
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For any questions or suggestions, contact me at : nataliabbarr@gmail.com Or follow me on Instagram and Twitter @imnataliab, along with all of the artists featured in this issue