John Darnielle Quotes
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'Heel Turn 2' is about a person who's in a match, and he's playing as though the match were real. But it is real! If you're standing in the middle of a ring, and you're playing the villain, and everyone is booing and throwing things at you, that's real.
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For years, I've written narrators who aren't gender-identified. When I do autobiographical stuff, that's different, obviously. But I've always tried to keep my songs as potentially not a man's thing.
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I wrote 'Lakeside View Apartment Suites' with Roman in my arms. He was about a month old. I was playing left-handed and finally handed him over. On the demo of it, you can hear him crying in the next room.
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I love Joan Didion, but I love her writing. I don't think meeting her could solve my problems or make me understand the world better.
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I used to assume no one would care, but I do think now I've written songs that are useful to people having dark hours.
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I think, taking too long to work on a record, you sort of lose some of the feeling, so I write as fast as I can; it's just this manic phase where I'm by myself and or on tour, and I write, and I write.
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Adulthood is interesting to adults. But I would never want to write about stuff I don't feel everybody can connect to.
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As an idea occurs to me, I'll either follow it or not, but I'm more instinctive than master-planner about stuff.
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I think the self is complicated, that at various times we are all various people, and wrestling actually does a lot with that. You have things like heel turns where a person goes from being a good guy to a bad guy.
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A song is fire. You react to it primally, instantly. You don't have to decide whether you like it, and you don't really have to sit down and think about it much after you're done listening to it. It really does run through you like wind.
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You want the song to be at least at the same level of goodness throughout. Whereas with something you're doing live, a song dips and rises and that can actually be worked to the song's benefit.
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A Cat Stevens record isn't just Cat Stevens' ideas. It's Cat Stevens and all the musicians who play with Cat Stevens, right?
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When I'm writing a song, I'm just making stuff up as I go along.
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I think there are some writers - like, if you read Kerouac, I think you probably need to take a little break before you sit down to the typewriter because he's the type of writer whose voice infects you.
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Back in the '90s, if you did mail order in music, you could make a good living doing it if you could hustle.
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I hang out and sign records for an hour or two hours every night, and I like to hear as many people's stories as I can, because if somebody wants to share their story with me, I want to honor that.
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That's what I used to enjoy so much: Bringing a record home, having it arrive in the mailbox. Having the whole experience of hearing it as you're holding it and looking at it and reading the liner notes, if they're anything.
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Opera combines pretty basic theater and poetry, but the storyline itself is actually quite poetic and, after some digital research, taking that actual content and seeing it as undeniably poetic.
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I know the Bible pretty well. I'm not one of those guys who can immediately start quoting every book, but usually I know where to look to find certain themes.
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I think all writing is necessarily autobiographical to a greater or lesser extent, and the less it tries to be confessional, the more likely it is that you're somehow sneaking the things you need to say in there.
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One or two people have named their children after characters in my songs. That's pretty intense.
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I pretty much just focus on making the records - unless I'm self-releasing them; then I do my own thing. But at some point, you have to stop worrying about chains of distribution, or it takes out of your time to write.
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I was writing poetry, and the Mountain Goats was an outgrowth of that.
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I write stuff down. I have a chalkboard in the kitchen where I will scrawl stuff down if I have a faint outline of an idea. And I'll go into my office or whatever. But that goes from format to format.