A Quote by Carrie Brownstein

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.
In America, we're kind of lazy. But in New York, it's one of those places where you see the majority of people hustling. If you can make it in New York, you can make it anywhere.
It's not me to toot my horn. The minute you toot your horn, it seems like society will try and disconnect your battery. And if you do not toot your horn, they'll try their darnedest to give you a horn to toot, or say that you should have a horn.
I spend the majority of my time in New York and LA. I feel like a large part of my following and my fans are probably in New York and LA because of the work that I do is very New York-LA-centric. So people do recognize me. But it's nothing overwhelming at all.
You don't really have to go anywhere in particular in New York City to have a good time. In every part of town, there's always something going on. It helps to know people there, too, because everything changes so fast, and they will be able to point out what's hot this month.
It's not the norm when creators have any protections with regards to creative control. And so it took some time, I think, for the strip to gain enough popularity where I had enough leverage to come in and say, "It has to be done in a certain way or it's not going to be done at all," and then have people willing to put up with that who were ultimately paying for it. You know, for them to be willing to kind of concede those kind of things. It just takes time, you know?
Fame is something that is tough when it comes. It's a weird thing to take on in real life. I was a little bit afraid and, as a result, kind of turned my back on it. You should embrace it because it's going to be a part of who you are, and it's going to be a part of what this business is about.
Sometimes I go to a test screening and look at the audience in line, and I start to go, "Okay, I bet this is going to work, and this isn't going to work." It's weird, but just going and facing the music and putting it out before a crowd, even before it starts playing, that exercise of putting it up on a screen for people makes you realize things even before it starts rolling. It's really weird. I've heard other people say that, too.
I don't think a young person ever really quite knows what's going on when their norm becomes going to the grocery store with sunglasses on at 11 years old. It's kind of weird, and I'll say it also went to my head the first little season, because that became normal for me.
Look at the streets! The people have smiles on their faces, they're hustling and bustling and going places, they're well-dressed, there's lots of construction going on. It's kind of hard to feel sorry for an economy like this.
There is a terrible thing that's been happening probably for the last 20 years or so and it's called the music business. And music isn't really business; it's work and you got to pay and you've got to buy your guitar or go into the studio. So there is a business side but when people say, "I'm going into the music business," it's not. It's about expression. It's about creativity. You don't join music, in my mind, to make money. You join it because it's in you; it's in your blood stream.
When I was 18, I was moving to New York to start college at The New School. I had done a year of college in Toronto and wasn't happy there. I didn't have any friends in New York City, but I applied and got in. It was pretty overwhelming, but everyone in New York is so ambitious and creative.
In all the music I've done, what I'm really interested in above all else, and I'm not sure it's what one should be interested in, is the kind of - you know, people talk about work progressions, which doesn't really make sense with pop music because there is no progression, because there is no tonic, because there is no more tonality.
I'm not an L.A. guy. I don't take meetings - you know what I mean? I don't really know how to interact very well with people in L.A. because everybody's got an agenda and everybody's like, "What do you do?" "Where are you going?" Or it's like, "What do you know?" And I'm not on a grind - I was there to make music and to meet people but I wasn't hustling for anything.
There's nothing quite like being able to get into the minds of other people, and figure out how they work, and what makes other people tick. And going against your own grain sometimes, to push yourself into places you wouldn't go emotionally.
Moving to New York made all the difference in my creating this new series with Ellie Hatcher. I love Portland, and it's always going to be one of my favorite cities, but it was getting to the point where, after I'd moved to New York, I couldn't write as specifically about Portland any more.
I feel like I'm pretty good but I don't like to toot my own horn, you know. I want to let the work speak for itself and kind of move on to the next thing.
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