A Quote by Carrie Brownstein
It's hard to beat the visceral high of playing live and creating something spontaneous.
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For guys playing sports at a high level, for money, I can't put my finger on it, but in a man's world of sport, there is something visceral to beating another man.
Playing live is such a total visceral experience, and really, as a musician, you're trained from the beginning to be a live performer.
When I'm creating a song, I'm thinking of a hip-hop beat playing on a live drum set - kinda like the Roots would do. I will put New Orleans music on top of that with some other rhythms.
Unless somebody's actually creating something and doing something spontaneous I wouldn't find it at all interesting, to watch or to create, so, I'm trying to make my solo shows something different altogether.
When I go out and race, I'm not trying to beat opponents, I'm trying to beat what I have done ... to beat myself, basically. People find that hard to believe because we've had such a bias to always strive to win things. If you win something and you haven't put everything into it, you haven't actually achieved anything at all. When you've had to work hard for something and you've got the best you can out of yourself on that given day, that's where you get satisfaction from.
It's hard to be spontaneous when you have 40 people in your crew, and you're playing to 16,000 people every night, and there's giant lighting rigs, it's hard to change direction on a dime.
Intellectual culture seems to separate high art from low art. Low art is horror or pornography or anything that has a physical component to it and engages the reader on a visceral level and evokes a strong sympathetic reaction. High art is people driving in Volvos and talking a lot. I just don't want to keep those things separate. I think you can use visceral physical experiences to illustrate larger ideas, whether they're emotional or spiritual. I'm trying to not exclude high and low art or separate them.
It's hard for anyone intelligent to be nonviolent. Everything in the universe does something when you start playing with his life, except the American Negro. He lays down and says, 'Beat me, daddy.'
Toasting is basically what you call rapping. It came off of playing the beats at the parties, however it be. You find a space in the beat, and you have somebody live just basically saying rhymes over the beat.
Like Russell, I enjoy the fact that when I'm playing solo, if I want to do something completely spontaneous, I don't have to worry about how I'm going to cue the other musicians, or if it's something that's rehearsed.
Bill Ward, when you hear his beats, he's not just playing a straight 4/4 beat; he's doing almost a hip-hop beat. There's a song called 'Sweet Leaf.' The drum beat that he's playing, he's trying to kind of swing and funkify it. Now, is he doing a great job of it? Maybe not. Maybe.
There's no similarity between football and ballet, so this ain't ballet music being played on the field. I'm pumping something that's going to put me in a frame of mind to go to war, and something that's very high tempo and high beat.
I hate high expectations because they're hard to beat.
There is something else to be said about this immediate, spontaneous way of working, and that is this: in such moments, one is playing at the game of creation.
I love playing live and creating these records that people are so into.
Creating stuff is hard. But, if that terrifies you, you will just be numb, and you better just stay at home and watch TV and do something else. Move into the woods and live with the trees.
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