A Quote by Jane Wiedlin
I've always gravitated towards songwriting that happens easily and spontaneously, because those have always been my best songs.
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I've always gravitated towards those ultimate lines in songs, the line you grab on to. That line in 'Smells Like Teen Spirit,' 'Here we are now/Entertain us' - the irony, the antagonism; that's always stuck with me.
I was obsessed with country music when I was a kid, and it's definitely had a huge influence on the way I write songs. I was always attracted to songs that had a brilliant pun or a clever turn of phrase, but came from a dark, bitter place. As a writer, I've always gravitated towards that feeling.
I live in Nashville, and I don't know how many people there would call me country. I really started in punk and anti-folk, but one of the reasons I originally gravitated towards country music is because most of those songs only use three chords. That was the easiest place for me to start, but I'm always trying to expand what I do.
Songwriting is a craft. Writing good songs on a a consistent basis doesn not happen spontaneously. In fact, most of our best songwriters learned to write good songs by writing a lot of not so good ones. Education matters in songwriting, just as it matters for physicists, chemists, doctors, lawyers and MBAs. Education lays the foundataion on which to build experience.
Conceptually, I've always gravitated towards arrangements that weren't just presenting one idea. I like to look at my songs as having a main part, an interlude, and almost like another song at the end.
Sonic Youth has always been the vehicle for my writing, you know, because it's a collective songwriting entity: we write our songs as a group.
I've always gravitated towards the beats, obviously. And when I was growing up, I always loved funk music or even - dare I say it - disco.
I think after doing Push and Shove and having it not be successful, I lost a lot of confidence. Songwriting, for me, has always been traumatic, and I've always made all these excuses. But I've realized that you have to just accept that it was a gift: "I don't know where it came from, I don't know how I did it, but I did write all those songs, and I gotta do it again."
I am not one of those writers that just does songwriting one way. Personally, I think the best song will pop out all at once, because it's this feeling that the words fit the music so cleanly. When you really have a complete thought, and you always yearn for that as a songwriter. You always work for that.
I've always gravitated naturally towards a little bit of a heavier thing, having been in punk bands and metal bands before I ever got into pop.
I always gravitated a bit towards more of the fantasy, and 'Lost Girl' really fits in with that.
One of the big songwriting things for me has always been: always think what you do sucks. Because the second you stop believing that, you suck. And that's a fact.
I always loved comic books when I was growing up, and Spider-Man was definitely a character I gravitated towards because I loved the story of an average teenager having super powers.
I think there are a lot of artists that are very traditional. I think someone can be a fan of someone like Josh Turner and then turn around and be a big fan of someone like Taylor Swift because, at the end of the day, it's all about those songs. I feel like country music has the best songwriting and the best songs of any genre.
For whatever reason, I've always gravitated towards music that feels nostalgic or longing or beautifully tragic.
What I took back, because of my exposure to the Jewish music of the 30s and the 40s in my upbringing with my father, was that kind of theatrical songwriting. It was always a part of my character. This desire to make people laugh...Songwriting is best. It's the hardest-finest-tightest. It also requires the most discipline.
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