Carrie Brownstein Quotes
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There was this kind of wackiness that was really embraced and put on a pedestal. It was before the millennium. We were envisioning a future that was mostly idealistic. I think that came crashing down a little bit in 9/11, or a lot. There is something about Portland that does seem to still exist in this total idealistic world and total idealistic mind frame, and I think that's what Dream of the '90s is talking about.
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If I have a strong dislike for something, obviously that garners an equal amount of derision, towards me from the audience. And that's fine, as long as it's within the bounds of decency and isn't too personal in the vitriol. That's what makes the blog interesting, and that's what makes reading it interesting and that's what makes writing interesting. You don't want everyone to agree.
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After Sleater-Kinney broke up in 2006 I had very little desire to play music. It took well over three years before picking up a guitar meant anything to me other than an exercise.
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I think in some ways, whether you've ever actually been to Portland, people definitely understand this highly curated niche lifestyle, because a lot of people are sort of striving for that now. Or they're hating on it.
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Rock Band is more like Stairmaster than it is like rock 'n' roll - it's the same steps with different degrees of difficulty.
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I guess the role of art is to make something that is ambiguous and complex.
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To me, curiosity is married to optimism. And that's where a lot of my motivation comes from. A lot of my way out of depression and anxiety is that intersection between optimism and curiosity. Because it means taking a step forward with the hope that there will be discovery.
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We brainstorm an idea and then we do flesh it out a little bit - we come up with a script, mostly to have beats and a sense of a story and a narrative arc. Often when we get into the space and onto the location, that changes and something we discover in the moment becomes the moment, becomes the story, becomes the character.
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A lot of music for me was about - I mean aside from the fun and challenge of writing and being really good friends with my bandmates - getting to perform.
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I like to take things incrementally, and strive for something that feels more attainable.
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I think one of the reasons that we are able to actually keep making music that we want to make, and that we're inspired by, is because there is a certain amount of instability constantly, and I think that mirrors the instability of any given life.
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I've noticed that as someone who has done music and creative things in Washington state and Portland, to kind of toot your own horn, or admit, "I'm going for it. I'm hustling," is not exactly the norm. Which is weird, because you go to New York, or LA, or anywhere else, you've got to be gunning for it - and you should be - you're part of a fast-moving stream of other people who are really ambitious. People move here to work less. So, to say that you're hustling all the time, and going for it, is kind of a little bit against the grain here.
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I am a horrible visual artist. I can't fix a car, sew, knit, cook, etc. Statistically, there is more I don't do than do.
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To be a fan is to be curious, and to be curious is to have openness... Part of being a fan is to allow 360 degrees of experience - to immerse without judgment. It's like a really fearless step forward into new experience. There's something that feels very timeless about fandom.
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I've never been in another kind of midlife crisis. I don't know what it feels like when you're through that, but I definitely feel that changing a few things, like being on a different label and having things kind of settle back into a sense of normality, helps to feel grounded.
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Even if, personally, I'm in a place of contentment or solidity, I feel like it's hard not to look out into American culture and see vast inequity, widespread institutionalized violence and racism and transphobia and environmental destruction. It's hard to be in this world and feel a sense of innate satisfaction at all. There's plenty of things to feel unsettled about.
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I grew up outside of Seattle, and have lived here my whole life, and I think that there is a culture of questioning, and guilt. Almost an "anti-ambition." Like, an awareness, and then a subsequent guilt. But sometimes that progressive, liberal guilt is really obnoxious, too - in some ways, I think it's better to just own it. It's weird, that actually, the acknowledgement of privilege or the enactment of guilt can be as obnoxious as anything else. It's a never-ending rabbit hole. We're really in a rabbit hole right now, with this conversation. We're just spiraling down into the void.
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The school systems at my childhood had enough money or enough parent involvement that they felt like learning music and songs, and exploring the whole pop or classical canon, were just as important as algebra or biology. Music is such a visceral and tactile experience for a kid, and to just replace that with video games or something that doesn't have the same sort of physical impact would definitely be a poor choice, and have a negative impact.
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Wholeness is sort of a dubious concept. Because in terms of the human body and literal wholeness and structures, you think: "here are the structures that help make me whole." Family, or school, or the city I live in. When those structures are dysfunctional or decaying, you end up kind of Frankensteining pieces from everywhere in order to make yourself sated and comfortable and alive.
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I think a lot of the intention of bands, especially in the last year, is to spread themselves out geographically and borrow from different cultures and different sounds, and to be eclectic. And that's great in terms of dynamics, but it also tends to not have that torpedo and fire running through it. If you're spreading yourself out across the globe, you're also not emphasizing a singular point, which I think great rock music has always done.
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It was writing about music for NPR - connecting with music fans and experiencing a sense of community - that made me want to write songs again. I began to feel I was in my head too much about music, too analytical.
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I've always been a fan first and foremost - obsessing over bands and seeking out bands, and spending hours and hours listening. When I played music, the scope of my fandom became more myopic; I was focusing on the bands we were touring with, or the bands on the label. And you're always positing yourself in relation to other bands. Since I haven't been playing, I feel a little less cynical. I'm able to seek out music and approach it strictly as a fan.
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I'm really drawn to the uncompromising realness of natural process: It's unadorned. It's not very pretty.
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I think when you're writing from your own life, it's hard because you realize that people have their own assessment of how they look, and they don't know how you will describe them.
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With Sleater-Kinney, we did a lot of improvisation in our live shows, and even our process of songwriting involved bringing in disparate parts and putting them together to form something cohesive.
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When I'm cynical, I seek out bands that are fully participating and trying to push something forward. Or I can just start playing music again - which is happening with a new project. But I think it's always a challenge to overcome cynicism and not get bogged down by a sense of nostalgia. That can be such a stifling feeling.
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There are foods you should avoid. For me, sugar is a no. Because it gives me a spike and then a crash.
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I read a lot; fiction and non-fiction are the mediums I find most edifying and inspiring. I watch movies and listen to music and take lots and lots of walks. Nature is a nice reset button for me, it's how I get a lot of thinking done.
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The hedonistic lifestyle is difficult to achieve when you're still carrying your own gear. Trust me that you don't feel glamorous with a 60-pound amp in your arms; it's a lot less sexy than toting a vodka gimlet and impossible to do in heels.
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I think that there's always an assumption, when a band goes on hiatus or stops playing, that there's some acrimony brewing under the surface.
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