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With sociolinguistics, after covering the basics of the field, I focused on discourse analysis.
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.
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.
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.
Nutty fans are fine with me, as I have no known nut allergy. In general, though, it's best to carry an EpiPen to deal with outbreaks of fan nuttiness.
When it comes to music, we should be hoping for as outlandish a Republican candidate as we can get.
I loved 'Just Kids' by Patti Smith.
Celebrity culture is... it's not something that I'm attracted to. I guess I don't think of myself in that way, but potentially other people do. I feel I'm at the far periphery of that.
To me, it's exciting that women are dominating the pop charts.
Curiosity is what keeps me open to a sense of hope. It staves off negativity.
Writing 'Monitor Mix' was a very edifying and inspiring few years.
The process of coming out, as much as other people want to couch it in terms of politics, it's a very personal journey.
In the realm of fakery, I would choose 'Rock Band' over 'American Idol' or over any of the other flimsy truths masquerading as music.
I went to a liberal arts college wherein grading was qualitative and we had to write our own evaluations.
I've realized that I have a lot of different loves, and I want to pursue writing, but I can never divorce myself from music.
I'm a huge Quasi fan.
My father wasn't just taciturn - it was like he didn't want to be heard.
One of my earliest childhood memories is my father taking me in the evening to Samena Swim & Recreation Club in Bellevue.
My father was hard to know and gave little indication that there was much to know. He claimed he remembered almost nothing about his childhood.
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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