American - Musician | September 27, 1974 -
I like playing someone with a certain stability at the periphery of the madness.
Carrie Brownstein
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People barely have anything to say in 140 characters. The last thing we need is a bunch of discursive rambling on Twitter.
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I willed myself into being.
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I wish I'd lived in New York in my early twenties. Or learned to speak more languages at a young age. I didn't do either.
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I think one of the scariest things about depression is that it exists along with the happiness and the joy, and it kind of plays with it and sucks the color from it.
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I think I was so grateful, in the years after Sleater-Kinney broke up or went on hiatus or whatever you want to call it, to find 'Portlandia' and co-create 'Portlandia' with Fred Armisen, which allows for levity, allows for the same kind of kinetic energy, but channeled through absurdity and surrealism.
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I think people would describe a lot of Sleater-Kinney as unsettling. And I don't think our best moments have sonic assonance to them. I think that we are best with a little bit of... a caustic attitude and tone.
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I think a lot of people want stories or lives to have very distinct beginnings, middles, and endings. Generally, I think things are a little more fluid than that.
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What I appreciate about Sleater-Kinney is that we did six records, and they all felt different. It was a band that was able to encapsulate different sensibilities because we were focusing on it as music and art and not as a statement.
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I try, in the present, to not exalt the past because I think that's such a way of diminishing the present. And it's hard to live like that.
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I don't think I realized right away that I was switching from being a fan into being a performer. I've always tried to maintain that duality, because I think fandom is a way of being porous and curious, but it did feel like a step forward.
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With sociolinguistics, after covering the basics of the field, I focused on discourse analysis.
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