- Hadreas: Umm, I mean I had been listening to exclusively Ace of Base for a long time, and then somehow I got the Liz Phair CD and that completely changed how I thought about music.
- Stipe: Her first record?
- Hadreas: I think I got the second one first. She’s just really very sexual, very nasty and I didn’t even know you could talk about those things, let alone sing about them, [laughs] and I was still--I was terrified to even acknowledge anything sexual about myself at all. I was always, [pause] you know, because I knew it probably wasn’t going to turn out how I had hoped.
- From Stipe's interview with Hadreas on eastvillageboys.com. Via Pitchfork.
“Well-meaning people always manage to tell me something really insulting, like “I totally didn’t agree when they called you a complete idiot loser sell-out whore,” and I’m just like, oh, thanks. But generally, I feel like, I do the creating, they do the bickering.”
Liz Phair, in something called OMG.
“In the early nineties, many of the bands on the label and Matador staffers themselves came from well-educated, upper middle class backgrounds and we wasted no time putting all that good grooming to use “sticking it to the man.” We made up outrageous bios to pass on to legitimate publications like Newsweek and People, we encouraged provocative answers to dull interview questions, basically trying to channel a kind of late-stage Beatles malaise, believing this to be the only way to force mainstream media to focus on the songs and not the performers. The music was all that was left standing once we were finished with our schoolyard shenanigans.”
Liz Phair, on her years at Matador Records, in the Wall Street Journal. Did this kind of Dylan-esque Don’t Look Back stuff actually happen? Would love to know what outrageous bios Phair was using back then.
“Some of them were inspired by my recent infatuation with the Dave Matthews Band, that whole scene… the way they are, the kind of people they are, the way they traversed that artistic landscape, I really admire. I’ve fallen into a habit of going to the shows.”
Liz Phair, explaining the songs on her recent Funstyle, in American Songwriter. Maybe if they slap a “inspired by her recent infatuation with the Dave Matthews Band” sticker on Funstyle it’ll move a few more copies. Also: 10 points to anyone who wants to take a crack at how exactly DMB has “traversed that artistic landscape.”
“Forget the Matrix, forget Avril Lavigne, forget “teen pop” vs “indie rock.” Forget “personal writing” vs “pop songwriting,” for that matter. The difference between “Divorce Song” and “HWC” (and the difference between “Flower” and “Rock Me,” “Mesmerizing” and “Extraordinary” etc) is the difference between good writing and bad writing.”