If I lose the light of the sun, I will write by candlelight, moonlight, no light. If I lose paper and ink, I will write in blood on forgotten walls. I will write always. I will capture nights all over the world and bring them to you
I can only write about personal stuff, about my point of view.
I don't really write for fun; it's not an enjoyable experience. For me, art, or whatever the hell it is I do, has always been a refuge from that which makes me want to tear my lungs out. That's why I play like I play; I'm not into entertainment.
Everything I do, writing, touring, travelling, it all comes from the punk and hardcore attitude, from that expression - from being open to try things but relying on yourself, taking what you have into the battle and making of it what you will, hoping you can figure it out as you go. Make some sense of it.
I just write what I think is good and keep it at a thousand words.
I like how I write better than how I speak.
Whenever I write lyrics, in the back of my mind I always see a guy driving to work, driving to a really bad job, one of those horrible institutions, or one of those low squat buildings in Los Angeles. I write with that person in my mind.
I have no desire to write anything for screen. That's a great talent.
Between the Dinosaur Jr. albums and his recent solo albums, 'Several Shades of Why' and 'Heavy Blanket,' J Mascis is emerging as one of the last men from all that '80s indie madness, still writing songs that you want to listen to over and over.
The best compliment I get every year is that a band will write me and say, 'We were just on tour, and we had people coming to our show saying they had never heard us before they heard us on your show.'
Trying to write music, be in a band and keep it all happening is one of the hardest, morale-destroying, heartbreaking things you will ever try to do - and that's when it's going well.
Youths write me and tell me that their band will go nowhere because of all the bad bands in the world. I tell them there has always been awful music and that no great band ever wasted any time complaining, they just got it done. Their ropey ranting is just a way to get out of the hard work of making music that will do some lasting damage.
I used to sit on the roof of the apartment where Jim Morrison used to write his early lyrics
The opportunity to write for the 'L.A. Weekly' has been one of the better breaks that has come my way in a long time.
I'd rather work on my radio show, which no one hears but I put about eight hours of programming and writing into it for those 30 people who do tune in.
I think to write fiction, this is just how I see it, you have to have a powerful need/desire to connect. I can't. Wanting to and not being able to has lead to a lot of misery in my life.
As far as poetry, I don't know if I've ever written any. I've read a lot. I just write and it comes out in different forms and shapes. I don't know if I'm any good at it I just really go for it and I'm very prolific book wise only because I own the company. No one tells me 'no' around here.
I think I am the most impressed with writing styles that defy category, like Kharms or Selby, Breton or Jarry, where you become as interested in the writer as much as the writing itself. It's all these things that make reading so appealing to me.
All good writers inspire me as I have never thought I was any good. As far as a writer who made me think I could do it, it was Henry Miller. Not because I thought he was so simple that I reckoned I could pull it off as well, but it was his freedom and guts that really moved me to want to write all the time.
For me, speaking to anyone - on a stage, in an elevator - I am looking for impact and connection. The same goes for writing.
When I write lyrics, it's only when I'm angry or hurt or sad. So lyrically it's never really easy going. And the music is always really intense.
With writing, there are multiple drafts. On stage, there is one take. I do a lot of preparation for shows, so, for the most part, what you hear me say is pretty much what I wanted to get at.
The music kind of takes care of itself because we've done all that as preproduction in the practice room. So by the time it gets onstage, each song has about one hundred hours of way too much mothering gone into it. So when you see us play live, that is the product of ninety days of practice, over a year of writing, listening to demos on the weekends after practice.
From those who agonize that they may no longer be able to write off their private jet to someone who doesn't feel like making the three mile hike to the well to get water and carry it back, everyone struggles.
The lowest stress environment is the radio show. I am not on camera and I can let the music do the talking. The rest is more highly pressurized or in the case of writing, time intensive task. I say yes to all of it and like all of it but the radio show, by nature of what it is, is the least hassle.
