Who is Carrie Brownstein's girlfriend? Lovelife about Carrie Brownstein | MIJ Miner8
Carrie Brownstein and Fred Armisen have an unusually devoted platonic relationship. . and he was married for six years to the British singer and songwriter Sally Timms, Brownstein has dated both men and women, and she was once In , in Portland, Brownstein and her friend Miranda July, the. Miranda July. Depending on how you view Miranda July's polymorphic, July and Carrie Brownstein have known each other for more than two. Volume One of FACES wraps with the Sleater-Kinney guitarist and Portlandia co- star. What I wanted to say was, I'm lost, I'm sad, I miss my boyfriend, but he short film Getting Stronger Every Day, written and directed by Miranda July. .. when she's caring for her Peter, her mumbling brook of a husband.
First I had to have a baby myself. I had so much to say as a new mother, but most of it was totally irrelevant to the book.
So finding my way to that last scene was tricky.
I remember doing a draft of the novel that was almost a thriller; it got really scary. Ultimately the end is my own quiet version of a thriller—a scary near miss. I can see that thriller aspect to it. But a friend sent me this kind of schlocky book called Breed, which is a real thriller and very violent.
Who is Carrie Brownstein’s girlfriend? Lovelife about Carrie Brownstein
There are monster parents and stuff. I think my friend sent it because I was on bed rest and I needed something to read. And I liked that feeling of not wanting to put the book down.
And it took something that extreme for me to notice that writing could have that quality. And in a novel, you have enough time to do that. Who came first in your mind, Clee or Cheryl? Wait, you know the genesis of them because you did a whole Portlandia skit on it. I became totally infatuated with this butch, older woman.
Then on the very last day, we all changed into our own clothes, and she changed into her pink sweatshirt with an applique of a bunny on it and got into her minivan with her husband. I was like, oh. I was kind of devastated. But I was kind of satisfied by this memory because it proves this is a real thing—you could make this kind of mistake, especially if you wanted to meet a lesbian.
You could misread someone. That was the story I told you that you used for Portlandia, right? It was completely based on that. I pitched it as an experience that happened to you. So my character, Sandra, is sort of a meek woman with a lot of wants and unrequited desires.
Which is sort of what happened to you. That should be the first thing listed on my website. Is that the name of someone you actually know? I changed that name a little bit. But, yeah, much of the book is about the fantasy world and about how gender is up for grabs in your own secret fantasy life. Like, people who would not be using the word gender or thinking about gayness or trans-ness may actually, without even thinking about it, be not their own gender in their inner world.
You might not care about the idea of boobs or jugs or whatever, but it could impact your inner sexual life. When people name these things in real life—these sexual acts or these sexual fantasies—it puts them into a category we can kind of easily understand, whether we like or dislike those things. It makes the book so expansive as an exploration of coming into being.
That could be the last word on the book right there—and that would be great. The sperm-and-egg thing could be invoked kind of magically or could come into play differently, not just the traditional ways we think of. When we first meet Cheryl, you describe her inner life much more than you describe her physicality.
In some cases I had to go back and at least give them a hair color or something. So I think now I just cut to the chase, because I want to make sure I can do that. And sometimes the description gets left by the wayside. Do you describe all of us in it? You can say a friend is attractive or funny, but when it comes to physically describing someone, like their face— JULY: When I see Brownstein on a show like Transparent or in a film like Some Days Are Better than Others, in which her character Katrina sobs and stumbles and agonizes over a failed relationship, I am often reminded of the outpouring of empathy I felt when I first saw her.
I think about how much I wanted to know her and understand her, because, in a roundabout way, I was holding up a mirror to my own issues, and unconsciously looking for a way to forgive myself.
The record itself is a triumph, but the fragility of this line pokes out like a tender slice of collarbone, a reminder that we all are skeleton creatures underneath our skin, that we all can be cracked, crushed into powder, and dissipated. How fitting then, that this admission dangles at the edge of the bridge, hanging in the air like a question, before leaping up into a dance-y, who-cares chorus.
Fear is sucked out by the same wind that makes the bones go weightless, cradling your body in a blue womb of sky until your parachute opens and jerks you awake.
Fuck it, I remind myself. Sociolinguistics and the Role of the Observer: She formed the band Excuse 17 while studying at Evergreen State College, creating one of the pioneering bands of the riot grrrl movement in Washington and re-establishing the importance of feminism.
She was still a teenager. She then went on to write for The Believer magazine. She jotted down several videogame reviews for Slate. She had her own blog for NPR Music. She wrote a book. She started Portlandia with Fred Armisen.
Miranda July and Carrie Brownstein Promise a Somebody App That “Works” | Filmmaker Magazine
She got a role on Transparent. Like someone at the buffet table who simply has too cultured a palette to order a single meal, she adds more to her plate with each passing year. Brownstein is as talented as she is verbose, and much of this stems from her ability to read those around her. When it comes to music, she knows how to narrate emotion. When it comes to comedy, she knows how to notate the antics around her.
The way she digests the world is what makes her so optimal to serve our thoughts, actions, and errors back to us in a medium we can digest. Carrie Brownstein is watching us and listening to us and making sense of it all.
That semi-passive decision — she never actually declared the study as her major — wound up influencing her career path, intentional or not, and the way in which she reaches out to others. Sociolinguistics pays attention to all aspects of society: It looks closely at the words leaving our mouth, how they hit our ears, and what, if anything, changes.
Her focus on sociolinguistics led to a firm grip on the world around her and an understanding of why we operate the way we do. Even people who stay in their studio apartment all day are hearing their floorboards creak and engaging with how-to videos on YouTube. Songwriting is about telling your story. Brownstein knows that all too well.
Carrie Brownstein: 'There was so much I wanted to destroy'
We recognize a bit of ourselves in one another. The object of the writer is to create something that connects to the audience, no matter how polarizing or specific the topic at hand may be. Clarity is the outstretched hand that introduces these topics to the reader. Even if the written situation is something far from what they have ever experienced, the audience is capable of connecting to it. Brownstein writes in a way that slowly invites readers into her world. It started off with a joke, of course.
She photographed herself and her two dogs before entering the battlefield, ready to note any physical and mental changes that may occur before prolonged exposure to the band. She stepped into the well-worn shoes of Phish fans or do most of them go barefoot?
She tried listening to Phish as herself. She tried listening as a critic. She tried listening as a driver, as an audiophile, as a concertgoer. She met up with Phish fans for curatorial help, and, most importantly, she listened. Brownstein was paying attention and digesting language word by word. However, this is where she stands apart. Brownstein did this all the time. Everything matters because everyone matters.
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She wants to be able to write about it later in a way that will connect with anyone who chooses to read it. Well, their fans may not backpack around the world to experience every blissful guitar solo and witty onstage one-liner, but they will stomp a foot down and refuse to move it when it comes to defending the importance of the band.
The music world has changed a lot in that time span. Streaming services are one of the most popular ways to hear an album — Spotify alone has over 25 million users a month. Plus, if a band plays a new song live, footage of it will be uploaded to YouTube come the following day, if that.
Even so, July falls victim to that term often tossed onto indie filmmakers and cultural artifacts that are to the aft of the mainstream, but not offensive to it: While those labeled "quirky" are given a kind of "free pass" to exhibit peculiarity with gusto, they are nonetheless dismissed, and the term is usually attached to the work and demeanor of women.
July's persona plays into this trap. She is thin, white, and attractive, usually seen wearing something that seems both designed and random, expensive and thrift shoppish, at once.
As Sophie in The Future, July remarks that she wishes she were just a "notch" prettier. I suspect that this quality of being not too beautiful, but beautiful enough, has been a part of that "free pass" mentioned earlier. July also speaks in an affectedly casual and girlish voice -- one that masks its high performance as such.
July's latest book It Chooses You is a remarkable companion to her second feature film, The Future Though written after the film's completion, It Chooses You dramatizes the process of writing the screenplay and the choices and decisions of her creative process. The book also records July's procrastination and anxiety during the writing -- or non-writing. As a distraction, she interviews a series of people selling odd and random items through the PennySaver classifieds, a familiar, but antiquated mail supplement.
July ends up meeting with anyone who will agree to an interview about their "hopes and fears" and other haphazard inquiries. She brings along Brigitte Sire, her own wedding photographer who captures images of the people and the objects for sale in their natural habitats.
July also brings along her assistant, Alfred --"there to protect [them] from rape. July comes across all manner of eccentric characters, one of whom ends up playing as versions of himself two key supporting roles in The Future.
These interviews allow July to confront a range of non-internet users of variant class status though predominantly poor. She also encounters folks of diverse age, race and gender including a person in the midst of a gender transformation.
Despite the varied "multi" aspect of her subject's socio-cultural stats, what emerges is not so much a study of them, but a presentation about July's peculiar privilege, as representative of those who are cool, who can recognize cool, and who can act as its arbiter and enthusiast. July's position, from her vantage of whiteness, allows a particular portrait of this kind of artist, the contemporary observer, performer, and ironist.
Perhaps accidentally,It Chooses You provides a sketch of the deluxe hipster, one who hardly knows what to make of the poor, the underprivileged, the recently incarcerated, and others who are just plain weird, as opposed to quirky.
Carrie Brownstein - Wikipedia
It Chooses You as a companion project to The Future is so original that I refuse to treat either work dismissively, despite the fact that the film is narrated by a cat voiced by July that is made visual by some Jim Henson-y feline legs, one of which is bandaged.
Of course, It Chooses You notes the particular cat tragedy that merits this insertion in the film. And also mentions that many a friend had suggested removing the sequence. The two texts together make a stunning coupling, each art form made richer by the other.
It is rare to have this kind of inside look into the writing and filming of a movie. Rather than being a mere diary or descriptive account, July shows the way that a tangent, a distraction, the PennySaver people, impact her process.
I saw The Future before I knew about It Chooses You the book title is also a line in the filmbut I doubt anyone could read the book without feeling a giant urge to see the movie.
The Future, on its own, is highly watchable, holding our attention as we follow the drab, yet familiar existence of a couple of urban bohemians. When we first meet Sophie played by Julyshe cannot muster the ambition to leave the couch and her laptop to fetch a glass of water. She rests, legs entwined, with Jason Hamish Linklater her boyfriend, perhaps husband, although their living space is so laid-back, one can hardly imagine these two mustering the energy for a wedding -- or indeed, a wedding registry.
They both share an identical mop of brunette curls and seem, at times, male and female versions of the same disaffected hipster—Generation Xers who face their inevitable disappearing youth. The couple have agreed to adopt an ailing cat, believing it will die within six months, a fact that helps them cope with the temporary responsibility.
When the vet explains that with love and affection the cat could hang on for up to five years, the two descend into an existential tailspin. They imagine their life as already "over" in five years, when they turn 40, because, "forty is basically fifty and at fifty the rest is just loose change Sophie promises to post a daily video of herself dancing onto the internet.
Jason becomes a tree salesman an eco-activist-capitalistbut also finds fascination with the PennySaver.