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Casual Interactions #6: Full Transcription

Frank: Um, like, this knee and this side of my balls are real sharp, so like, I blow out this knee first, and then immediately, this side of-

Shaun: You blow out your balls?

F: Yeah. Well, I don't blow my balls out but like, the side of my jeans, it just-

S: Does it just rip?

F: Right down, yeah. It'll start to like strain, you know.

John: Oh, you're talking about your jeans ripping.

F: Yes! Yeah yeah yeah.

S: Oh!

F: Yeah.

S: I thought you meant something else.

J: I thought I was gonna have to- I hit record a minute ago, I thought I was gonna have to edit this out.

F: Oh! No no no.

S: I thought you said "sharp."

F: Yeah, well they must be sharp because they're ruining my jeans.

S: Oh, because they're ripping?

F: Yeah. So like, this- my left knee, and then my right testicle-

S: Are sharp.

F: Are sharp, apparently. And they destroy jeans. And so the other day, I was wearing these jeans, and it was like what I imagine wearing a skirt is like, because it was like breezy.

S: Oh yeah.

F: And it was really cold so I was like, "I have to go get jeans now." So I had to go. Good thing, it was Black Friday, and I got some good deals on jeans, that I imagine my balls are gonna rip through any time, at any moment.

J: Welcome to Casual Interactions podcast.

F: Oh shit! Alright, we're on? Got it.

J: I'm John "Hambone" McGuire, with me as always is Frank Iero and Shaun Simon.

S: We could use that for your nickname. Something with like, sharp balls.

F: Sharp Balls?

S: Something like that, yeah.

F: That's a terrible name. It doesn't roll off the tongue. We'll come up with something.

J: Yeah.

S: We'll have something for next time.

F: Uh, hold on. Yeah.

J: Yeah. I mean, it can't be any better than Horse Tool. I feel like we kinda maxed out on our cool nicknames.

S: Yeah.

F: [muttering]

J: Thinking about it?

F: Yeah, I'm trying. Nothing's coming, sorry.

S: It's not gonna work.

F: Edit that out. Shit.

S: Take the blue pill.

J: Take the blue pill.

S: Maybe that'll help you.

F: That's all I need.

J: Yeah. Yeah.

F: Fuck. Can you imagine? But I imagine if there's like a rip in your pants, that's where you want it to kinda go. You just kinda send it through the hole, and then that way there's, you know-

S: It just pops out?

F: Yeah, there's no restriction.

J: I mean, could you guys imagine trying to study on bluechew?

F: So I'm confused. It's like a chewable Viagra.

J: Chewable boner pill.

S: Like a gummy bear?

J: No, it looks like a Mentos. It looks like- a Mentos is blue, and you know, puts a little lead in your pencil.

F: But Mentos kinda have like a chew to them.

J: Yeah, exactly.

F: So it's like that.

J: Yes, exactly.

F: Is it minty?

S: Yeah, I was gonna say.

J: I've never tried it, but they were the sponsor of an event I went to and everyone was talking about bluechew all weekend. I'm like, "Oh man, so I'm going to the afterparty, I bet they're just gonna have bowls of bluechew lying around."

F: Oh wow, yeah.

J: They didn't.

F: That would be so-

J: Could you imagine a bunch of wrestling fans walking around with boners?

S: That's a weird party man.

J: Yeah, it'd be terrible.

F: Oh man. Just pointing at each other.

J: Just pointing at each other.

F: Fuck, that sounds terrible.

J: Yeah, I mean- or it sounds like the best party ever. Yeah, it sounds like a terrible, I don't want that!

F: Yeah, hey, whatever you like. That's cool.

J: Hey, man.

F: If that's what you're going for.

S: Horse Tool.

J: Whatever you're going for. So, let's finish up our talk on writing processes.

F: Yes. I've always enjoyed the collaborative writing process, of being in a band. I always loved being in a band and having, you know, between 3 to 5 people to kinda bounce ideas off of. I like that immediate excitement of kinda impressing someone you admire or respect as an artist, and kinda like, then having them play something that's inspired by what you just played, and then kinda like, then you change what you're doing and it all melds together. And somehow, someway, ends up being a larger piece of art that, you know, is bigger than any one person involved. I've always liked that, but I have been involved in a situation where that has not gone in a beneficial way. And that's been rough, too.

J: Right. I mean, for me, you know, coming up and playing with you was always like, it was always a game of one-upmanship. And it was just such a mutual respect and admiration, that I wanted to show you something great, and then you'd come back and you'd play me something. I'd be like, "Oh shit, it's so much better than what I just wrote." Then it would actually galvanize me to try to write and get better. Not out of jealousy, not out of resentment, out of like, "Oh shit, I have to keep up."

F: Right.

J: And what was cool, was when Shaun finally came along, he kinda became like the glue that kinda tied everything together. And what I always loved about it was, Shaun would always be like, "Yeah I don't like that." And that was it. Like, you know, he was never uh... never a soft ball. Like, "Yeah it sucks. I'm gonna smoke another cigarette."

F: "When I come back, it better be better."

S: So wait, so Frank, so now that you're doing your own thing-

F: Okay.

S: How has that changed? Because you're writing these songs on your own, pretty much, now.

F: Yes.

S: For the most part, right?

F: For the most part, yeah. I would say like, definitely the first record, was a very lonely record to write, you know? It was the first time I'd ever done anything solely by myself.

S: But did you enjoy that process, or did you not?

F: I learned to.

S: Right.

F: At first, I was like, "I don't know about this," but what I started to realize was that sometimes when you're in a band setting, or a multiple writing session, where it's not just members of a band that are kinda like, you know, passive members. Like, there's active writers in a room, sometimes if you have an idea, and it doesn't show itself immediately that it works, it can get kinda bulldozed by another writer.

S: That's true.

J: Right.

F: Alright, so in My Chem, I feel like Gerard and Ray had this connection, where they could kinda know where each other were going before anyone else in the room knew, you know what I mean?

J: Right, I mean, that comes from years of them just knowing each other, playing together, being around each other.

F: And that was fucking beautiful to watch, and then I would kinda like, then I would shape, usually what I would write would be around, I would kinda counteract vocals or follow vocal, and try to either support or kinda rub against it.

J: Yeah.

F: And that was fun, and then, from that point, we would kinda go and shift songs and form them from there. But for say like, original ideas, if I'm starting from scratch, it took me a while to be able to kinda bring songs from scratch that would make a record, you know?

J: Did you feel intimidated bringing songs into a group that was already so tight knit and close?

F: When I joined, say that band, a majority, I would say, how many songs are on Bullets?

S: The first record?

J: 10.

F: 10 or 12, right? I would say like, 85% of that record was written. So I had to kinda relearn everything, write parts to it, and then, I think there was like, 2 or 3 songs that we all wrote together. And then of course, that, you know, then getting in the band, we wrote together more. But that was a bit intimidating because like, you felt like a new member and you felt like you were someone that was kinda like, trying to get into "what is the wavelength of this band, what is the rhythm of this band?" But alright so, when you're the solo writer, you can kinda chase an idea into infinity, really. And if you have a good feeling about something that you maybe can't verbalize or you can't really show off the bat, you can still chase it and not have it be like, "Oh alright well, that kinda sucks right now. We're gonna do something else." You can really, if you believe in something, kinda chase it. And that was fun for me because I was like, "Oh shit, okay. Now I know how to really flesh out those ideas that I hear in my head, but I can't create on the spot right now."

J: Right.

F: You know?

J: And I mean, you do, with this new group, have the luxury of the guys you're playing with are all killers.

F: Yes.

J: They're all killers, and in their own way, what they bring to the newest version of your band, is years of experience, something special, they've played with lots of different people, who have different styles. And that's kinda something that you don't always get from, you join the band down the block.

F: Yeah.

J: Because all you know is that little world that you live in, and you're not really yet to that point where you know that there's life outside of Jersey City.

F: Right, yeah. Well, that's the thing, right? I think sometimes when you're starting a band, you have these different factions of like, "Alright well, this guy's a really great player, and sometimes they're not a great person to be around."

J: Right.

F: And then there's sometimes where you're like, "Oh this person's a really great person to be around, but they're not the best player."

J: Yep.

F: And kinda try to just make a band out of that, and I've always, you know, done that. I've always rather be in bands with people that were just fun to be around, and the playing can come later when we all kinda find it as we go.

J: And now you've got the best of both worlds.

F: Honestly, the configuration of this band that I'm doing right now has been, these past couple years, people that I've been like, "Oh I want that person, I want that person, I want that person."

J: Right.

F: And I don't know how but stars kind of aligned and I was able to grab everybody.

J: Right.

F: It's almost like, you feel like, you're like, "Oh man, I have a briefcase of shit that- of blackmail shit," that's somewhere, to get these people in the band.

J: Yeah, I mean, some of them definitely. I mean, Shaun, for you, same thing. You now are in the position where you're meeting new writers, you're meeting new artists, and you're kinda saying, "Hey, I wanna work with this person." Like, what's that experience like?

S: For me, I like to kind of, not discover new people, as far as artists go. But I like to work with, maybe more up and coming people. I feel like you get the best work out of them, and I feel there's so many talented people that aren't- comics is hard to fucking break into.

F: Yeah.

J: Oh yeah.

S: Like, there's no doubt about it, and there's no right way to do it. And there's so many good people out there, you know? So I always like to find more of the unknown people.

F: They're probably like, super hungry, too, and willing to-

S: Oh absolutely.

F: Try some batshit crazy stuff.

S: Absolutely, yeah. Yeah. Yeah.

J: Yeah, I can imagine that pitch. "You wanna get weird? Let's get weird."

F: Yeah yeah yeah.

J: So I mean, that's a pretty, I think, good look at creation, right?

F: Right.

J: Let's talk about writer's block because that's- there's the dark side of creation as well, because you know, we know what it is to get that high from having that eureka moment, when you know what it is to get that feeling from when you present something to someone and they kinda give that love back that you really want, and that appreciation. But, you know, the other side of the coin is a fucking bag of dicks.

F: Yeah man.

J: Because there is the low low that comes from like, staring at a blank computer screen, or just looking at your guitar going, "Uh, can you figure this out? Because I got nothing. You're wood."

F: That brings us back to the chew pills, right? Actually, going back to the episode before this, talking about that manic depressive side of writing, I'll go through these influxes of inspiration where I can't not write a song, or an idea or something, and they come so quick that I can't get them all down. And it's frustrating, and it makes me crazy, but at the same time, I'm like, "Alright well, I have this idea, I have this idea, I have this idea," you still feel like you're doing something, you're still worthy. And then, all of the sudden, you hit that dry spell and it's like, you can't ever see the light at the end of that fucking tunnel.

S: Here's what I've learned about that, is that if you keep working through that, at the end of the day, you'll look at what you've done months or years later, you're not gonna know what was what. This was written when you were inspired, or if you were sitting there.

F: I totally think you're right about that. You know, like sometimes you're your worst critic, and you're like, "Oh everything I do is shit," and then you go back a couple, you know, with a clear mind, and you're like, "Oh wait a minute, this is actually kinda good." I think also for me though, having multiple projects to be able to jump to has always been so helpful. Because if I hit a wall on one, I just jump to the next and I'm like, "Oh wait, I got this idea," and that kinda fuels the other thing. Which I think is what, I feel, maybe just as an outside perspective, but I feel like it's what you do, you know, or at least are doing right now, Bone, right?

J: Oh with the different podcasts, yeah. It's interesting because I've got a lot of different feelings on things. Like, so I look back to the Pencey Prep record, right? And it's funny because it was a bomb, and- I mean it was.

F: You mean it was the bomb.

S: The bomb.

J: It was the bomb! But you know, it was-

F: I don't think people say that.

J: The bomb?

F: Does anyone?

S: They will now.

F: There you go, bringing it back!

J: Bunch of kids on Twitter tomorrow will change their Twitter handles to The Bomb Jenkins or Jones, or you know, ILoveFrank6913 The Bomb.

F: Ew, gross. Gross Bomb.

J: Yeah, but I mean, for all intents and purposes, it was a bomb. And for me, you know, a lot of things that were happening back then, I don't think I was really ready for. And I don't think I was really ready for the level of apathy towards that record. Because we had put all of our hearts and souls into it, like you know, if they had made the Sandlot movie about our lives, that was the summer, you know? And that was the year, but- so kind of you know, it kinda derailed me from writing for- because up until that point, I was writing writing writing writing writing.

S: You mean after that record, you stopped writing music?

J: I didn't write another song for 8 years.

F: Holy shit!

S: But we were writing in I Am A Graveyard.

J: Yeah, but it's different. So that's a collaborative thing, and we had Dan Bauer.

S: You're talking about on your- no no no, I mean, you're talking about after Heartbreak In Stereo came out? Or after us as a band stopped?

J: After Heartbreak In Stereo came out, after we finished up our time as a band.

S: Okay.

J: I didn't write a song for 8 years.

S: Okay. Okay.

J: I did not write another song for 8 years.

S: Right, okay.

J: And- I mean, I'd write parts. I'd write parts, I'd help arrange other people's songs, I would help and do whatever, but I did not write a single song for myself for 8 years.

F: Like, front to back kind of thing.

J: Front to back. I mean, I tried here and there, and it was really like getting blood from a stone. And I just, I don't think I was ready for that level of, just apathy towards the record. Because I was like, "Man, we just put our hearts and souls into this thing, how could someone not, or at least like 5 people, not see that this was something special." But maybe, you know, in hindsight, it was a time and a place for me. But also, you know, I kept joining other bands, I kept going on tour, I was in Fairmont for a bunch of years, and a couple other bands here and there. And it was hard for me because I would contribute and I would write the parts, but I couldn't get over, and it took me years to figure out what it was. I'd just, like, "I just have nothing." I kept saying to people, "I have nothing to say, I have nothing to say, I have nothing to say." So, me and George Kalazo, we formed Brine and Bastards, and Shawn Dillon. And they're like, "We're gonna just get dressed up like pirates and we're gonna play punk rock songs." And it was the weirdest thing because it was like, the faucet just got turned on because at that point, I'm writing what I thought was fiction, about being a pirate, and about doing pirate shit. So like, then it was like, "Alright, I'm just writing about- it doesn't have any bearing over my life, it doesn't- it's just me, just creating this whole work." And then from that, because I kinda just didn't care, like I cared because I love playing in bands, I cared because I'm hanging out with my friends, we're doing a band, I want people to love these songs. But it was like, no pressure because I wasn't- I didn't think I was writing about myself. And then I wrote probably like 3 or 4 songs that were like, really about me, or really about feelings that I had, or deep emotions that I was just like- by the time I got done with it, I'm like, "Oh, this is not about a pirate. This is about me. And not even me as a pirate, it's about me."

F: Right.

J: So I was able to kinda start writing again, because I needed to kinda find a way to reassess. And also, like, man, I'll tell you working with George Kalazo was great because he is very supportive, he's very encouraging, and he's not the person who's gonna look at you and tell you that your idea is shit. Like, he'll come to you, you're gonna come in like, all hamstrong and like, "Oh I'm gonna do this! And blah blah blah," and he kinda let us like, "Alright, buddy."

S: Hamstrong.

F: Is that a-

S: Hamstrong?

F: I like that. That's a trademark.

J: No no, hamstrong is a thing. It's like the commercial, "You need to eat a Snickers, you're acting a little crazy," that's hamstrong. Um, and also there's 4 different stages of Hambone drunk.

F: Uh oh.

J: Um, that's for another episode. And you know, but I mean, he wouldn't be like- I would come in with a head of steam, he'll let me peter myself out, and he's like, "Hey buddy, what do you think about this?" And I'd be like, "Shit." And that's where collaborators are great because it comes in, and you're just like, "Ah." 100%.

S: By the way, George Kalazo is the guy who wrote our theme song to our podcast.

F: Yes!

J: George Kalazo has written themes to 5 podcasts that I produce. Like, he is fantastic. And he was a musician for the longest time, and then he was like, "I'm gonna write a book." And he did. Like, and that's the thing. You know, we went to- I took a bunch of writing courses with him, and I have not written a single book, he has written 3.

F: Jesus Christ! That's awesome!

J: Yeah. And when his books finally drop, they're gonna be amazing. Like, you guys don't even know. Because I read them. I get to read them on the spot, like, it's crazy stuff but...

F: Real quick. George was in The Rodneys with Ray and Otter.

J: Ray, Otter, and Shawn Dillon, were The Rodneys. So essentially, like you know, half The Rodneys went to My Chem, the other half went to Brine and Bastards.

F: Yeah! Oh man. Dude, that's so funny too like, about putting on a persona and having that break down a barrier and having you be able to express yourself again, and be able to write and be creative and realize halfway through that like, "Holy shit, I'm actually doing it." It's almost like riding a bike, when your parent's holding onto the back and you realize that their hand's not there anymore and you're like, "Oh fuck, I can do this!"

J: Yeah. Or as my therapist said, "Wow, you had a lot of gimmicks." I'm like-

F: Sometimes that's what he need though.

J: "Each one had a different purpose."

F: I feel like I don't have a wardrobe, I just have costumes in a closet. You know what I mean? And it's, you know, that's sometimes what you need to be able to-

J: Step outside yourself a little bit.

F: Yeah, get through the day a little bit, and sometimes, putting on like, a show-

J: Right.

F: Whether it be on a stage or just, you know, in general, is your way of kinda slowly being yourself without being able to- kinda having an escape plan. Not fully committing.

J: Yeah.

F: You know what I mean? And feeling inadequate about it.

J: Well I mean, that's when you really break down what, and I am in no way comparing myself to David Bowie, but David Bowie had such a profound influence on me as a kid.

F: You’re kinda the pirate David Bowie.

J: I am like the pirate David Bowie! But if you look at what the Hambone creation was, right? It was David Bowie and Ric Flair sandwiched together.

S: Ric Flair.

J: But if it was played by Meatloaf in The Rocky Horror Picture Show. And that was Hambone The King Of Rock and Roll.

F: Hammy Starbone.

J: Hammy Starbone. Yeah. Sponsored by bluechew. But yeah-

F: Yeah, you were definitely David Bowie with a boner.

J: Yeah, I was certainly David Bowie with a boner. But I mean, that's the thing, it took me 8 years to get back on the horse and write a song. And so, when the faucet came back on, it was cool. Now, I still don't write a lot of songs.

F: Right.

J: You know, I'm gonna do a little sidebar here real quick. So, the reason why I started trying to write a book, my grandmother passed. On her deathbed, she says, "You need to write. Your future is in writing." She's like, "You need to create and write. Write."

S: I agree with that.

J: But that's a heavy to put on a kid.

F: Yeah, really.

J: I mean, granted, I mean, she died like, not too long ago. But still, I'm like, "Okay." So I'm like, "Fuck it, I'm gonna write this book." And I think I have a really good idea for the book, but I don't wanna write a book. Like, I am a creator, I create a lot of different things now and man, that's-

F: But did she specifically say book?

J: She didn't say book, but I felt like it was implied.

F: Well, I mean, hey man like, I think you would write a fantastic book. But I also feel like, you know, she probably just knew how creative and how much fire you have inside.

J: Oh, I do. And that's the thing, I encourage everyone who's listening to find whatever your strength is, and play to that. Because that's where it comes from, when you, like you know, Shaun did it with writing, like actual writing writing. You did it with playing music. Like, I'm creating podcasts. Once you find the thing that kinda fits, you can run with it and then you just won't be- nothing will stop you.

F: Yeah, I agree with that, man. I totally agree with that. You know. Sometimes it's about focusing that drive, you know? Sometimes, I feel like we all have this drive to do something, whether it's something that we tell other people about, or we keep private in our hopes and dreams kinda thing, that we would feel embarrassed about telling people because we are too scared to kinda take that first step. But if you're able to really focus that drive and- because the first step is usually the scariest one.

J: Yeah.

F: The second scariest is when you do it and it fails, and then you have to do it again, you know?

J: So, two questions for you.

F: Go ahead.

J: Do you work on things in secret before you show them to people?

F: Fuck yes!

J: Yeah, and that's the thing with all the podcasts I produce.

F: Absolutely!

J: I mean, George Bungalow, who was the guy who got me into podcasting.

S: Can we talk about Hambone's friends' names?

J: I have a lot of fun nicknames for people.

S: It's incredible.

F: Alright, real quick. How could you- I feel like, if you didn't have a nickname, you wouldn't be friends with all these people.

S: I agree with that.

F: With nicknames. Or you would feel self conscious that you didn't have one yourself.

J: Punk rock G.I. Joes, that's what I refer to my friends as.

F: I love that.

J: Yeah.

F: I fucking love that. Do you know somebody named Roadblock?

J: I wish. Every time-

F: Maybe that could be mine.

J: Every time I go into a bar, I keep on hoping.

S: Roadblock.

F: Roadblock.

J: You know? I mean, that's the thing. He got me into podcasting, and he's like, "How come you don't tell me about some of the projects you're working on?" Because I got- I've been so used to, for years like, people telling me my ideas suck and people not really-

S: Do people actually say that?

J: Yeah. Like, I've worked for-

S: Really?

F: No.

J: A lot of people who kinda- no, dude, people are just kind of not enthused or not very nice about letting you know.

F: Those are shit people though.

J: Exactly, and I don't hang out with them anymore, it's great! But you know, you get used to working on things in private because you want, when people hear it or see it, you want it to be enough. How do you deal with rejection?

F: I feel like the older I get, maybe the better I am, but I feel like also too, about the secretiveness of it is, that limited amount of time is where it's only yours, and it's this special little secret that you can have, and that's kind of a fun time to just kinda live in for a little bit.

J: I think that's a really great way to talk about it.

F: You know? I'm kinda in that moment right now, where I have this project, I've done this record, and I haven't shown it to anyone. I haven't told- I haven't even told anybody what it's called, like, all that stuff. And I know I I have all the- like, I'm the only one in the know.

J: Yeah.

F: And I love it, and I know I'm probably pissing people off.

J: Yeah.

F: But I'm milking it because it's so fun.

J: I mean, this episode will probably air in, I think, April?

F: Oh okay, so well-

J: No, hold on!

F: But- okay!

J: Let's keep em guessing.

F: Yeah yeah yeah. "You all know, but fuck em!"

J: I'm sure there's people who are-

S: Even when it comes out, don't tell people.

F: Don't tell people, yeah. That's also too like-

J: Keep printing redacted t-shirts.

F: I did, yeah! That's right. I feel like, you know, alright. One of my favorite times in being in a band, is when you're first starting it, and you don't know what it is, what's it gonna be called, what's it gonna sound like. Like, "We gotta find the name," and then you come up with a new name and you write it on everything, and it's just like, you see it in different fonts, and all this stuff. That's why when I did this "solo" quote unquote thing, I had a name of the band, and I change it every time because that's the funnest fucking part.

J: Now, is it easier for you to come up with secondary names for your band since it leads off with your name? Because naming a band is the hardest part of being in a band.

F: Yes, it is. Well, I feel like the first name thing is what ties it all together, so I can kinda keep everything under an umbrella, so that it's easier to find all the stuff.

J: Because you're kind of in every band.

F: Yeah. So that's the only thing that kinda strays through, but I'm able to name the band and change members and do all that stuff every time, because it's a new band. I feel like that's the pitfall, right? Every time you start a new band, it's like, "Oh cool, we have this record," and now the second one, everybody's like, "Oh, well that sounds different." And it's like, "No shit, it's new. Get it?" So I figured if you call it something different, then it's supposed to sound different, and people don't get as confused. But apparently it confuses everyone. Also because I spell things weird.

S: You should also change your first name every record.

F: I should! Oh man, I know. I have thought about that. Like, if I could go back in time, right? I'd probably would've came up with another name. Like, a pen name for when I was, you know, doing this kind of stuff.

J: Had I known you were looking for one, I totally would've given you a better nickname as a kid.

F: I know, I know. But even then, I probably wouldn't have used it on a record kinda thing, and now going back, I would like, "Oh man, that would've been such a good idea to just do that." One, have something that's easy to pronounce and spell, and two, because then you don't have to actually use it when you're, you know, ordering stuff online or getting food-

S: Yeah. Yeah.

F: Delivered, and stuff like that. And then it's like, "Are you that guy?" And you're like, "No..."

S: Well yeah, because your last name isn't common by any means.

F: It's not. I know. Yeah.

J: Yeah.

F: So I usually just, whenever I order stuff, I just say it's for Steve.

S: Steve! I fucking was gonna say Steve, dude! I swear to god!

F: That's it, yeah! That's my thing.

S: So I know your alias.

F: Yes! Yes.

S: So if someone says Steve, I know it's Frank.

J: Now everybody else does too.

F: It's Steve Lero.

S: Steve Lero.

J: You're on the road, people are checking out hotels. "I'm looking for Steve Lero."

F: Oh, that's- again, my other favorite to do is for hotel names. Like, not that I need one, nobody's looking for me in a hotel, but it's fun to me to put up aliases for hotels. And I've had some pretty good ones.

J: Yeah.

F: Sebastian Tinklefarts.

J: That's good.

F: Has been good. Uh, stuff like that. Oh no, Tinklefish was one and Pantyfarts was the other one.

J: Yeah, so.

F: Sorry, where were we?

J: I don't even know.

F: Did I just go off on a tangent?

J: No, I mean-

S: Take the blue pill.

J: Yeah, you gotta take the blue pill.

F: Yes.

J: Yeah. You know-

F: [knock]

J: it's funny because-

S: That's the fucking ad. Just a knock.

F: Right? At the board table, you take a blue pill, and then all of the sudden- [knock]. It's like, "Oh it worked! It kicked in."

J: Casual Interactions, not sponsored by bluechew. But-

F: Not So Casual.

J: Yeah, there's nothing casual about popping a bluechew. Everyone knows what you're bringing to the party.

F: Inappropriate Interactions.

J: Yeah. Yeah, that's an HR nightmare right there.

F: Jesus.

J: So do you have any final thoughts on writing? Because I think we've kinda hit it, you know?

F: Alright, yeah I do. Even, like alright. One, I've always been so irked by this is, when you're in a band or even like a solo artist, or whatever you're doing, if you're writing music and, this is the only way I can see it in this art form is, if you write something and someone says, "Oh, that sounds like this," that kills it immediately. It puts a bullet in its head before it even kinda gets to walk on its own legs. Don't ever do that. Like, yeah, you should have original ideas and stuff like that, but we're all influenced by things.

J: Of course.

F: So if you hear something that kinda sounds like something, let it turn into a real boy before you fucking put a bullet in its head. See what it's going to become, because I venture to say that whatever song or whatever idea that you have, is not going to be- is not going to sound like the original riff, or whatever the fuck it comes out as. So within that, chase everything. Even the dumbest, worst idea. If someone believes in it, or it's fun to play, just fucking chase it, and see where it goes. Because even if it doesn't come to fruition in that form, it's going to open a door for something else, and just use that as an exercise. You know, there's no stupid question, there's no bad song.

J: Right.

F: You know? Everything leads you to something else.

J: How about you, Shaun? Any final thoughts on the writing process?

S: I just think one of the most important things is try to find your own voice. I feel like that takes a while for a lot of people. I think when people start out, they try to emulate others a lot of the time, and I feel like you have to write for who you are. And I feel like that can be a while, and that can take a while to do that. I feel like for me, it's just happening now. I feel like for my writing, I like this guy, that means I should write like this guy. Or you know, I listen to this band, that means I should write like that. But no, you're influence doesn't mean you need to emulate, you know what I mean?

J: Right.

F: No, but you can- do you feel like you can take from and kinda like, riff on it and then evolve from that?

S: Absolutely, but you have to have your own voice in the process.

F: Right.

S: You can't write Pinkerton.

F: No! Of course not.

S: You know what I mean?

F: But that's, alright. So, I guess that's what's so interesting, I feel like, if you were to take a guitar and try to write one of those songs, it would never sound like that.

S: Right, of course.

F: But it would still be in your-

S: That's true. Right.

F: Um, your vernacular, or your vision. You know? So that's why I feel like you should never short change yourself by being like, "Oh, well I'm doing this thing," like, fucking just do that thing, and see where it takes you.

J: Yeah.

F: You know? But I agree, you have to have your own voice with it.

J: Absolutely. So, thanks for tuning in to Casual Interactions. Join us again next month for another episode. For Frank Iero and Shaun Simon, I'm John "Hambone" McGuire. Until we meet again, hold on to your friends.

#frank iero #hambone #shaun simon #casual interactions #6 #casual interactions 6 #full transcription

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ilove-pets-info · 6 years ago

Text

Take care of your puppy

Thinking about Your Puppy From Ages 3 to 6 Months

Pup Development From 3 to 6 Months

Pups commonly leave their moms and littermates and are set in homes between 8 to 12 weeks of age. In this way, in the event that you are receiving or buying a youthful little dog, there's a decent possibility the young doggie is nearing 12 weeks of age (three months old). Young doggies experience some major physical and conduct changes from three to a half year of age. Be set up to think about your little dog amid this essential advancement organize.

Physical Development

Around 12 weeks of age, little dogs start to have better control of their bladders and guts. They may start to stay asleep from sundown to sunset without mishaps or potty breaks. House preparing may start to go all the more easily over the coming weeks. Ensure you keep to a genuinely normal timetable. Most canines can be completely house prepared by age four to five months. By 12 weeks of age, your doggie will have started getting teeth. You may see unnecessary gnawing and biting, wounded or red gums, and teeth missing from the mouth. You may even locate the intermittent infant tooth! When getting teeth, a few doggies wind up disappointed or fomented. They may "carry on" more or be meticulous about nourishment on certain days. Make sure to give a lot of young doggie safe toys amid this time. Keep perilous "chewable" distant (like electrical lines, shoes, and houseplants). You should keep your young doggie in the carton when you are not home so as to keep her safe. Getting teeth should back off around about four months, or four months of age. Every single grown-up tooth will be in by a half year of age. Between 12 four months of age, your young doggie will start to look somewhat less like an infant pup and somewhat more like a smaller than usual variant of the canine she will move toward becoming. She will probably develop quickly from four to a half year of age. By a half year of age, your little dog will be nearer to her future grown-up size. Most little puppy breeds will be about completed the process of developing at a half year of age. Extensive and goliath hound breeds might be at about a large portion of their grown-up size. Medium mutts still have some all the more developing left to do, however, they are more often than not about 75% developed by the age of a half year.

Conduct Changes

Your 12-week-old doggie is nearing the finish of a basic socialization window. Take advantage of this timespan by presenting your puppy to new individuals, spots, and things. Until your puppy is completely immunized, she ought not to associate with obscure creatures or on the ground in open spots. Attempt to have an assortment of individuals and sound creatures visit your home and have a positive involvement with your little dog. You can take your pooch to homes where you realize the pets are immunized and sound. Convey your puppy in open spaces, presenting her to noisy clamors, falling items, and little groups. Work on little dog dealing with activities so she becomes acclimated to being taken care of. While mingling your little dog, dependably keep things positive and peppy. Little dogs ordinarily experience a time of frightfulness around about four months of age. This is a typical piece of your little dog's social advancement as she figures out how to respond to her condition. Abstain from overpowering your puppy when you see dreadful responses. This isn't the ideal opportunity for uproarious commotions, falling articles, or hordes of individuals. It is likewise imperative not to remunerate dreadful conductor you will affirm your young doggie's feelings of trepidation. Rather, overlook the dreadful conduct and tenderly expel your little dog from the wellspring of the dread. Reward quiet, upbeat conduct. Somewhere in the range of three and a half year of age, your doggie is moving toward youthfulness. Hope to see somewhat of a defiant side to your young doggie as she tests her points of confinement. You may see your canine overlooking signals that she was recently prepared on. She may likewise have some damaging biting in this stage (brought about by a blend of getting teeth, general adolescent making trouble, and potentially weariness). Ensure your young doggie gets a lot of activities and continue chipping away at preparing routinely. Be steady and firm.

Wellbeing and Care

Your little dog should visit the veterinarian consistently for young doggie immunizations, deworming, and standard registration between the ages of 8 to about four months. Amid this timeframe, it is imperative to fend off your young doggie from obscure creatures and open spaces where different creatures may have been. At the point when antibodies are finished and your vet gives the all-unmistakable, your pup can start to go on strolls, visit the recreation center, and play with different mutts (under cautious supervision, obviously). Following four months of age, most doggies won't have to see the vet for a standard visit until adulthood. At the last pup visit (more often than not when the rabies immunization is given, around about four months of age) make sure to make any residual inquiries. Converse with your veterinarian about the most ideal approach to thinking about your quickly developing doggie.

In the event that your pooch will be spayed or fixed, this is frequently done somewhere in the range of five and a half year of age. Approach your veterinarian for individual suggestions for your canine. The perfect age to spay or fix may change dependent on breed and size.

Sustenance and Nutrition

Legitimate sustenance is a fundamental piece of your young doggie's advancement. Make sure you are sustaining little dog nourishment (hound sustenance marked for development) and that you are encouraging the proper sum. Your pup will require increasingly more sustenance as she develops. Amid this season of fast development, assess the sum you feed your young doggie at any rate once per week to decide whether you have to change it. Business diets will have a sustaining diagram dependent on the little dog's age and weight. In the event that you feed handcrafted little dog sustenance, you should take additional consideration to encourage the suitable formula and calorie content. When nourishing treats, ensure they are sound, non-lethal, and not encouraged in overabundance. Pooch treats ought to never make up over 10% of your pup's day by day nourishment consumption. When giving bites, maintain a strategic distance from bones, prongs, hooves, hard nylon hound toys, or other hard bites. Grown-up teeth are as yet coming in and may cause oral torment or damage a whenever bit.

Preparing

You should start preparing your young doggie the minute she gets back home with you. One of the primary things you will concentrate on is house preparing. Most doggies start to get the hang of this somewhere in the range of 12 and four months of age and will be completely house prepared by around four or five months old. It is likewise essential to concentrate on dutifulness preparing. Train your young doggie fundamental directions like sit, remain, and down. Train the review prompt at the earliest opportunity. You will likewise need to show habits, as not to bounce up, not to bark too much, and not to nibble (numerous pups are particularly bombastic between 12 to about four months old). Rope preparing is critical at this phase of your little dog's life. Following four months of age, you can start to walk your pooch in broad daylight. Begin getting your puppy used to the chain no later than 12 weeks of age. At that point, train your little guy to stroll on the rope. Begin in your home, at that point move to your yard. Stir your way up to the outside. A standout amongst the most ideal approaches to begin your young doggie's preparation is by agreeing to accept a little dog instructional course. Classes are controlled by experienced coaches who can help direct you through essential preparing and even location some minor little dog conduct issues. The classes contain little gatherings of solid, immunized young doggies. Little dog instructional courses can help mingle your puppy and empower her to learn in spite of diversions.

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#Dogs #Pets

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