I think that breaking into the mainstream - it was just the right cycle of music for us in Blink-182. People were kind of over the boy-band, pop-princess, manufactured sensibility, and were excited for guitars and angst and energy and enthusiasm, which is our thing.

I don't think of them as teenage songs. The things that happen to you in high school are the same things that happen your entire life. You can fall in love at 60; you can get rejected at 80.

Even though it was January, in Los Angeles it was beautiful and sunny and the blue skies were out and it was hot everyday, so I think it was just a product of our environment. And California to me as a concept or as an idea always seems like endless optimism and endless opportunity - when people think of California they think of palm trees and blue skies and gorgeous sunsets and beaches and everything else. But there's also this weirdness to California, this darkness, it's a place where people come to follow their dreams and sometimes don't make it.

I don't stream or buy CDs pretty much everything I buy, I do it on iTunes.

He [Patrick Stump] is been a friend of ours for a long time, and when we were talking about working with different producers and songwriters for the record, Patrick's name came up. We were excited to work with him - he's a very gifted lyricist and songwriter, and a really cool guy and it was a pleasure to work with him in the studio.

Too many bands practice in their garage, play a couple of shows locally, and expect opportunities to appear from the sky. Bands have to push, work, grind, and struggle to make it happen on their own.

Look at me... look at me... I need the attention, oooh I'm punk rock I got some tattoos, I got some piercings. If I'm gonna get some piercings then I want everyone to see it...I don't need to advertise my punkness. A real punk doesn't need to show off...Its like a Karate man... the Karate man bleed on the inside. A real punk is punk on the inside.