David Duchovny (3:02)

All right. Nice to meet you.

Kathleen Hanna (3:03)

Nice to meet you.

David Duchovny (3:06)

I want to thank you for writing this book. What I'm kind of interrogating on this podcast a little bit is if you have a system that's fucked up, and I'm talking about success and failure to succeed in that system is fucked up, is a failure in a way. And what I never got about punk, and I'm sorry for using that word, you know, I never.

Kathleen Hanna (3:31)

No, I love the word punk.

David Duchovny (3:33)

Okay. What I never got about punk was that failure or dissonance or harshness in music, which was not something that I was clued into. You know, I was like, oh, music's beautiful. Whatever. That failure, to me, I was seeing it as failure is. Is a revolutionary act. And a success. That's the success of punk is that failure. And I fucking never got that till I read your book, you know, so I'm rambling on here in the beginning, but I'm just very excited to talk to you just to learn, just for me to keep learning. I don't want to be that guy that says, teach me, or I'm listening, or whatever.

Kathleen Hanna (4:14)

Yeah, no, no, I get what you're saying.

David Duchovny (4:15)

Yeah.

Kathleen Hanna (4:16)

I mean, I. I feel most successful. And I love the title of your podcast, by the way. And I love. To me, failure is the best thing, and it's what I learned from and what I, in a way, strive for. I don't, like, tried to fail, you know, but.

David Duchovny (4:29)

Of course not.

Kathleen Hanna (4:30)

But I feel like. I mean, we're both creatives, and in that world, I'm sure we've both learned that, like, some of the best things we've ever done started with a mistake. Started with absolutely with. You take a mistake and you just compound it and you just build it, and it becomes a beautiful mess, and it becomes the most interesting, engaging thing, because you're not trying to do the right thing. You're not trying to make it perfect. You know, it's like it's the weird tangent in a writer's room or, you know, like, that gets you the best stuff.

David Duchovny (5:03)

You.

Kathleen Hanna (5:04)

You know, And I think that in terms of process, that's true. And then I also think in terms of. For me, you know, I have friends who are massively financially successful and have Grammys and have MTV Awards, you know, And I don't want that. And I didn't want that and like, that's okay. But it was really strange, like in the 90s, having my picture in Rolling Stone and stuff. And like, my mom's boyfriend was like, oh, wow, you know, you must, you know, have all this money. And I was still broke and I was driving like this 70s Dodge Dart.

David Duchovny (5:44)

Which, I mean, that was my first car. When I came out to LA, that.

Kathleen Hanna (5:49)

Was my first car.

David Duchovny (5:50)

72 Biscuit Dodge Dart.

Kathleen Hanna (5:53)

Mine was a 74 Baby Blue Dodge Dart. And then I just went to a Charger because they could all. You could change the parts in all of them, you know.

David Duchovny (5:59)

Right, right.

Kathleen Hanna (6:01)

So I just kept buying those. But, yeah, I love any kind of Dodge. And back then it wasn't like a vintage car.

David Duchovny (6:07)

No, it was cheap.

Kathleen Hanna (6:07)

It was the $400 cheap car. And, you know, it was a beater. And I just remember my mom's boyfriend being like, you know, why don't you sign to a major label and get money and, like, be able to have a nice car? It's embarrassing that you're driving around in this shitty car, but you're kind of famous. And I was like, that's just not my goal is I don't care about cars. Like, I was like, I'm doing something really important that's really satisfying. Like, I mean, I do wish that back in the day I would have not held myself back thinking, I so don't want to be a sellout or I so don't. You know, I saw friends get famous who got very into drugs, who died of, you know, suicide and stuff. And I was like, I don't want that to happen to me. So I'll be the opposite. We book our own shows. We won't have a manager. Like, I really didn't know what a manager. Managers existed. So it wasn't like I was, you know, I didn't know what a publicist did. Like, we did everything ourselves to the point that we didn't put out as many records as other people because we were doing all of that.

David Duchovny (7:13)

Yeah.

Kathleen Hanna (7:14)

And, you know, now I found a balance where it's like, you know, it's like being a writer and not having a computer. Like, it was crazy. Or like, you know, you're about to go on stage and play guitar and first you take out a hammer and smash your hands. Like, it was just stupid. Like, we didn't have the tools we needed. I didn't have the tools I needed to do my fucking job. And once I was like, No, I deserve this, like, and it doesn't make me a sellout just to have the tools. And it doesn't mean I'm going to go down this horrible road to like delegate, you know, or compromise.

David Duchovny (7:49)

Well, no, there's a difference between, you know, trying to make money or doing something for money and trying to reach more people, you know, because, you know, your, your work is, is you're trying to make people think, which is, you know, or, or act, you know, not act like an actor, but, but act in the world. I mean, and that's, I mean I, I, I'd like to, to get your point of view on that because I think about like, you know, delivery systems. I don't know why I like that term, but I remember when I watched that Michael Mann movie about cigarettes. But, you know, a delivery system for nicotine, you know, and I think about a pop song as a delivery system for this anti capitalist feminist message. It's tricky. That's so tricky. And the message can't be nuanced. You know, like a three minute pop song can't have a nuanced message. It's gotta have something that's, you know, a call to action, a slogan, whatever. And I'm just wondering how you approach the making of a song and the kind of gauging of success and failure of that delivery system.

Kathleen Hanna (9:00)

In a way, I think I've always been really lucky that I've separated. I've always said traditional success versus like my success. Like I feel like there's traditional success which is making money, having a certain kind of name. And I had a really fraught relationship with that. But to me, success is when, you know, a woman comes up and tells me I was going through a rape trial, you know, and I was the victim and I was, you know, being completely harangued and harassed and treated horribly in court. And when I would go sit back at my table, I would sing your lyrics in my head and like, how can you not feel like the most successful musician in the world knowing that someone is like recreating your song in their head to get through this horrible time and also probably to laugh at what's happening in a certain way and to maintain their own sense of humor and integrity. And so those moments have always been my success.

David Duchovny (10:02)

Why laugh? Why does that come to mind at that? Or do you mean just like have distance on it? Like have a perspective on it?

Kathleen Hanna (10:09)

No, I just like, you know, a lot of our songs are really funny and especially if you ever, ever come to see us perform. It's like, we're very joyous. And, like, I tell jokes and, you know, like, I mean, I don't have, like, a tight 10 in the middle of the set, but, like, I do tell. I do tell jokes and. And hopefully the book has some humor in it. And it's like, I think part of our songs, like, we have a song like White Boy, and it was like, white Boy, don't laugh, don't cry, just die. But it was delivered in this way that's like, yeah, it's, like, really angry, but it's also very tongue in cheek. It's. And the girls and the gay kids totally got it. And a lot of straight white guys were like, you're trying to. You know, this is like reverse sexism and all this stuff. And I was like, well, you don't get it. It's not for you. That's okay, you know. But that song, actually, a lot of people have been requesting it, and they find it really funny and joyous. So I think there's, you know, I think humor's massively important in terms of activism and our activist art. I don't think it's necessarily because, like, a spoonful of sugar makes the medicine go down, but I do think it's, like, the thing that will keep us coming back to doing work, good work in the world and creating community is joy.

David Duchovny (11:33)

Absolutely. So when I enter into what it's going to feel like, okay, this is a conversation not with you, but it's a conversation about feminism or this is a conversation about racism. I'm afraid of the humor. At that point, I immediately clam up and think, I'm not gonna try to be funny. I'm not going to look for anything that's funny. I'm not even gonna think anything's funny here. And so when you said that, I think it's an important thing. And also when you look at kind of the way standup comics are kind of trying to figure out how to do it now because they're dealing with offending certain people who aren't taking the joke or who don't just see it as a joke, it's a tough one.

Kathleen Hanna (12:17)

But, I mean, I guess I just. I don't watch that many, like, straight white guy comedy people. So I'm more looking for people who are, like, dealing with their own situations through it. But I've also definitely seen, like, male comedians talk a lot about toxic masculinity, and it can be incredibly funny. My friend Hari Kondabolu was just here and He's a comedian, and he did that documentary, I think it's called the Problem with Apu, about the character Apu in the Simpsons. And he actually ended up changing the way a lot of people talk in writers rooms about who's gonna do a voiceover. And although, you know, he's also constantly getting death threats. But he has this one joke in his set, and it starts out as a dick joke, and it ends up as a feminist joke. And I was like, you're Rumpelstiltskin, man. Like, how the hell did you do that? You know what I mean? I do think it's important to not get too familiar if I'm dealing with somebody who has, you know, that I have a lot of privilege over. Like, I'm not gonna make, like, jokes at their expense, or I'm not gonna, like, try to be, like, in the scene or, you know, something like that and be like, oh, I know what you're. You know. But it doesn't mean I don't laugh with everybody. Like, I, like. I feel like laughter is such a great connection. I mean, when. When I'm doing a show and I tell a story and I get a laugh, I just feel like everybody has stepped in to the performance and they're physically participating because, like, when you make somebody laugh, you make their body shake. And I mean, part of the reason that besides Bikini Kill, my band that's actually practicing right after this.

David Duchovny (14:03)

Oh, yeah.

Kathleen Hanna (14:04)

But, yeah, they're here. They just got here yesterday. I was also in this family Tigra, and part of the reason I kind of changed from the more, like, kind of loud and aggressive rock music, which is what it is to dance music, was because I wanted. I love that feeling of having people participate through moving their bodies. And when you have people who are kind of taught, like, you know, you don't own your own body.

David Duchovny (14:25)

Yeah.

Kathleen Hanna (14:26)

The only thing that is worthwhile about you is if you're fuckable or not. Like, who's watching you? Like, you're always, you know, the male gaze, all that kind of stuff. And there's also the white gaze. And to have people taking up space and looking and communing with each other and dancing to music that doesn't make them feel like crap, hopefully. Although I have, you know, made my own mistakes with lyrics and made some people feel shitty and regretted it later.

David Duchovny (14:55)

Well, you have to be able to fail if you're gonna do something real.

Kathleen Hanna (14:59)

That's the thing is, like, I was so lucky that, like, in the. In the book, I talked a lot about how much I love the man Fugazi and. And what a mentor. Ian Makai, the singer of Fugazi and also Minor Threat, how he was kind of a mentor to me because they had this song about sexism called Suggestion. And at first I totally loved it. It opened up this world of possibilities. It made me feel like, whoa, if these guys are singing about this, I can sing about it. And what. What kind of material do I have about this? You know, like, they're singing from the outside, and I can sing from the inside. And then later I was like, oh, it's really weird because it's a male singer and he's singing as if he's a woman, you know? And I was like, I kind of have an issue with that. But it didn't change the fact that that song changed my life and that it's meant different things to me throughout my career. And whenever I've been afraid to step forward as a white person with money who's cisgendered, whenever I've been afraid to step forward, I'm like, I might fuck up, right? But I'm gonna do the best I. I can. I'm gonna, like, keep reading, keep learning, and then I'm gonna do the best I can. And I'm so lucky that I have, like, a lot of people in my life who will be like, yeah, I. You know, I loved you were trying, but, like, no.

David Duchovny (16:29)

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David Duchovny (18:41)

Aside from the brutality of things that happened to you as a kid, what raised your head out of your own head to say, oh, this is another way I can see a little further. I can see a little further right now. And then you had to. And then beyond that, what you're saying is you had to see even further beyond that. It seems to me what you're describing is almost like a. A gradient process of awakening, you know, that's still hopefully happening.

Kathleen Hanna (19:09)

Oh, yeah, right.

David Duchovny (19:11)

So I'm just wondering how you see it, like from childhood to adolescence to. It's a fucking long question, I guess, but, you know. And who was holding your hand?

Kathleen Hanna (19:23)

It was you, David. Who was holding my hand? There was only one set of footprints in the feminist sand, and it was because you were carrying me. You know, I had tons of heroes and most of them were just people. I saw girls in my community who like, started bands and I was like, what? You can do that? You know?

David Duchovny (19:42)

And you were also active in trying to make that a better place.

Kathleen Hanna (19:45)

Yeah, I mean, because I was dealing with it like I was dealing with the sexism at every single show. And it was like, so weird because it's not like Kevin, who's sitting next to you constantly asking you on a date or being like, do you like nude beaches? You know what I mean? It's like every club you walk into the soundman being like, are you single or married? And I'm like, I don't need to tell you that. Just hook up my monitor. Yeah, that was one guy at the club. There's 10 others you have to deal with. And it's like asking their own weird questions or they think you're a bitch because you're a feminist. So they play really sexist music when you walk in, or they try to undermine your show by messing the sound up. And it was only in writing the book that I looked back over that stuff and realized how the cumulative trauma of it, that was part of the thing of the book was like uncovering My capacity for joy and uncovering my capacity for, like. I don't want assholes to destroy my positive outlook because at its essence, all of my anger comes from the fact that, like, I really want to enjoy every second of my life. And when that's thwarted, I get really pissed and I write songs about it, you know, so it's like, but you're.

David Duchovny (21:09)

But at least you're turning that outward, you know?

Kathleen Hanna (21:11)

Yeah. I mean, thank God. I mean, besides drugs and alcohol, which, you know, I've had a tendency to get overly friendly with, I'm sober now, but it's like, it really is. I. I think so many. Culturally, and I don't want to say for everybody, but it's. I. I've seen so many. There's so many people who turn it outwards and are violent towards others and play their trauma out on other people. And then there's so many people who drink themselves to death or work themselves to death or, you know, and I'm still. I'm like a workaholic. I'm still processing that stuff and trying to, you know, slow down.

David Duchovny (21:56)

Slow down what?

Kathleen Hanna (21:58)

Like, you know, I don't know how to relax or, like, just hang out.

David Duchovny (22:02)

Neither do I. Neither do I.

Kathleen Hanna (22:04)

You know what I mean? Like, I have to have a project going with you if I'm gonna be friends with you. Like, I was talking to my friend the other day about how, like, I moved to New York, I didn't know how to make girlfriend, so I started a female basketball team. And, like, I don't know how to play basketball. Which quickly became very apparent to everyone that I started a basketball team and had no idea how to play. But that's how I met all these, like, really interesting, you know, women in my community. But, yeah, I'm still like. I'm like, okay, here's my goal. I'm like. My bandmate's in the other room and the guest room, we call it Kathy's room. It's Kathy's room. And, yeah, and I have to, like, consciously be like, I'm gonna go into Kathy's room. I'm gonna throw myself on the bed and be like, what's the gossip? And then I'm just gonna. We're gonna chit chat, right? We're not gonna talk about.

David Duchovny (22:59)

We're not gonna write a song. We're not gonna write a song.

Kathleen Hanna (23:01)

We're not gonna write a song. We're not gonna talk about getting the next show filmed or, you know, let's work on the guest list or what's the set list or are we gonna add these? Like, we're not gonna do anything. I'm just gonna chit chat and catch up with her. But I have to consciously, absolutely make an effort. Because if given the choice, I'll go straight to my journal and start writing a poem or, you know, an idea for a movie.

David Duchovny (23:26)

I know it's all gotta be useful because in a way, that's our capitalist soul. Like, I. I try to have a hobby and then like, oh, my hobby was gonna learn how to play guitar. And then I start, like making music. And actually, you know, so now I'm actually. Not that I'm making money doing it, but I'm like, now it's a job.

Kathleen Hanna (23:42)

It's still a hobby as long as you don't make any money.

David Duchovny (23:46)

Well, then it's the lobby. But it's like, you know, what is it in me? What is it in you? Where did you get that lesson? And that's the final lesson I think of just being, you know, that why do I have to be a useful cog in this machine? Whether it's an entertainment machine or a friendship machine or a whatever, you know what I mean?

Kathleen Hanna (24:05)

Is that your new song? Friendship Machine. It is now David Duchovny and Friendship Machine.

David Duchovny (24:12)

Sounds pretty cool.

Kathleen Hanna (24:13)

Hear it now on Spotify? No, I actually feel like part of my thing is that I don't want to process a bunch of trauma. And so I keep moving like a shark to avoid it. And so I'll usually have like a few minutes where I start just being like, oh, my God, the whole world's gonna fall apart. Like, the other shoe's gonna drop.

David Duchovny (24:35)

Right?

Kathleen Hanna (24:36)

Cause, you know, in my book, in my book, I talk a lot about. In my book, I do talk a lot about how it's like, you know, just as I would be. Like, I found this thing I love to do, which is being in a band. And then the rug gets pulled out from under me. Like, it's like for the three quarters of the book, the rug is just getting pulled out from under me over and over and over again. But that I think all of that together leads to just when I'm sitting and I'm calm, I feel like someone's going to take it away from me. And so I busy myself because it's scary for me to relax. Because when I relax, I'm like, it's scary for me to be happy. It's scary for me to sit in happiness. It's scary for me to take a compliment. Like, all that Stuff feels like, it's so weird because it's like, I think, you know, also, if you just are so used to living in crisis, you don't know how to. Like that's my comfort zone, you know, it's like if you have alcoholic parent and then you keep finding yourself dating alcoholics or, you know what I mean? It's like, or, you know, whatever. It's like the repetition compulsion. You keep going back to the same thing, thinking that you're going to repeat it, but this time it's going to be different.

David Duchovny (25:58)

I always loved I, I. When I first heard that in, in aa, you know, insanity is doing the same thing over and over and expecting the same result. I was like, no, that's like, that's, that's. Winners never quit, you know, it's like I don't get it. I was taught my whole life, like if, if, you know, just keep on banging your head against that wall and one day, one day, son, that wall will crack and you will walk through into another world. It's like I'm very confused right now. You know what I mean? Yeah. But I see you similar, similar to me. And then I'm. I'm delivery systems again. I'm always looking, you see. I see you. You're. Now you're, you're writing now. You were doing photography, you do music, you're. You're looking. I see it as like an artistic honesty and a restlessness rather than, you know, oh, I just can't sit still or whatever. And I also think that your soul, even as you're describing it, your consciousness is evolving. So you've got something new to say, you've got something new to express. Maybe rather than a song, maybe it's a book. Maybe rather than a book, it's a photograph. You know what I mean? So when I think of you sitting and writing down, I wonder what we're. Cause we always come across our limitations wherever we go, you know, like if we don't have the perfect voice to sing or, you know, whatever. So when you sat down to write, what was the expansiveness that you could get? You couldn't get it in a three minute song. And then what was. When did you run up into a limitation of that form?

Kathleen Hanna (27:28)

I mean, I was writing a record with some friends of mine. While I haven't, we haven't finished it because I've been touring. But the first question, writing the book was so awesome because I've written essays, I've written fanzines, I've written lyrics. But this Was really like me just writing down everything that happened to me. And I felt like, you know, I felt like I had a really messy life, but I also felt like I've been gifted by the universe. Like some really great stories that have beginnings, middles and ends. And it was like I felt almost like I was carrying them around with me and that I was like, I've been given these. I need to do something with them, you know, and my friends were sick of hearing my same boring ass stories. So when I sat down, I really did feel like it was really. I could do anything. And I didn't think about a reader. I didn't think about how's this person gonna feel about it. I just let all of that go. I just wrote for myself, just anything I felt like. And it was so cool that, like, I've heard people being afraid of the blank page. And I'm psyched by the blank page. Cause I'm like, world of possibilities, like I could take. And. And I could just be like, hey, that's really heavy. I don't want to write about that today. And sometimes I'd be like, okay, I did all the fun ones. Now I have to write about all these people that died in a week or whatever. But it felt. I mean, it was awful. It was the worst thing I've ever done in my life. I got sober during that time, started going to aa.

David Duchovny (29:10)

How does that line up?

Kathleen Hanna (29:11)

It just was like I was self medicating to get through writing the book. And I was like, I can't keep doing this.

David Duchovny (29:18)

You know, that episode was actually brought on by the writing of the book. Yeah.

Kathleen Hanna (29:22)

Well, no, I mean, I've always been an alcoholic. Like, I mean, it's not like I just like became an alcoholic. I always knew I was and I had to deal with it. It was just like when I finally started processing all this other stuff, I realized it was time and I was ready. So, you know, it takes people till they're ready and. Yeah, thanks for saying that. You do that. So I can say it too. Because although I think we're supposed to not say it, I don't know.

David Duchovny (29:49)

You know, I think anonymity is an impossibility anymore. So I think. I think they gotta rethink the second A, you know, and figure out how to do it without it.

Kathleen Hanna (30:00)

I'm not gonna talk at length. And if I relapse, I definitely do not blame it on aa.

David Duchovny (30:04)

Okay. All right. Was some of the. And I deal with this as a writer, so I'm asking because I'm interested, but with some of it, you know, And I've talked to writers on this podcast, and talking to Griffin Dunn and his aunt Joan Didion said a writer is always selling somebody out. You know, was some of it that. I mean, you're in the midst of processing your own trauma, you know, telling these stories, but you're also implicating people that you once loved, that you still love, maybe that raised you, however up. You know, I showed my mother a movie once that I wrote, and she said, I recognize some of the dialogue, you know, and that did not feel good, you know, even though it wasn't horrible dialogue.

Kathleen Hanna (30:54)

Did you pay her? I feel as long as you pay.

David Duchovny (30:57)

Somebody, I didn't pay her then. I think I paid her house.

Kathleen Hanna (31:00)

You bought her a house?

David Duchovny (31:05)

So I wonder how you feel about that position. When you started, when you started writing long form and it was clear you were going to get into, well, this guy did this and this person did that, and, you know, naming names and.

Kathleen Hanna (31:16)

You know, well, they're fake. I put fake names in. I don't. My intention was never to hurt anybody or call anybody out. Like, I'm not really interested in, like, punitive forms of accountability. So, like, I called the person. There's someone in the book, if you haven't. People who are listening, haven't read it, who rapes me. And I actually called. I got his phone number and I called him, like, three years before the book came out, when I first started writing about it. And I said, I'm going to write about it, and I just want you to know that it's going to come out sometime. Could be a year, could be four years. But I'm writing about it because it's part of my story. And if you need to prepare yourself to get into therapy or to talk to your wife about it or I'm not going to name you, I'm going to give you a fake name. But certain people who were around us at the time will know who you are. Yeah. And, you know, we had a civil. Civil talk. I kind of wish I would have never called, because I think that was even almost a masochistic gesture on my part, because it is my story. And I did change stuff around about him so people wouldn't recognize him. And I didn't use his real name, and I didn't. There's a ton of people in there that I put fake names on. I didn't even name my sister. I just called her by her nickname. But for everybody else, I mean, like, yes, I've dealt with some fallout with family and stuff like that, but I have a great relationship with my mom, and so we just meet and talk about it. I mean, yeah, we went through a couple weeks there where things were strained, but when I was doing the actual writing, I did not give a fuck. I wrote everything I wanted, knowing that I could kind of curate it before the world saw it.

Rachel Bannon (33:11)

Hey, I'm Rachel Bannon.

Kathleen Hanna (33:12)

And I'm Arie McDonald.

Rachel Bannon (33:13)

And welcome to Arie and Rachel Unfiltered at Unrivaled, a show where we give.

Kathleen Hanna (33:17)

You all you need to know from Unrivaled and more.

Rachel Bannon (33:19)

This season, we're talking to some of the best athletes.

Kathleen Hanna (33:21)

I'm trying to watch my language. You good be you.

Rachel Bannon (33:24)

It's Unfiltered.

Kathleen Hanna (33:24)

That's what we're here for.

Rachel Bannon (33:25)

And coaches in women's basketball like Paige Beckers and Leroux. Hey, it's Paige.

Kathleen Hanna (33:29)

Hi, it's Lee.

Rachel Bannon (33:30)

And celebrity Unrivaled fans about games news, all for the fans to learn more about our journey and the folks who make Unrivaled the great league it is. I'm super unfiltered. Ari's going to be super unfiltered because I'm going to force her to be. We'll also be talking to you and answering your questions. So tune in every Thursday and find us on social and all your favorite podcast platforms.

David Duchovny (34:10)

You know, you kind of instinctually felt your way through how you're going to perform, how are you going to look, what you're going to wear. I mean, you were just making it up as you went along. And then at some point in the book, you talk about how being indie famous, not Nirvana famous, but indie famous, was kind of ruining your meetings and your ability to function as a person of agency in the world. If you could speak about that. But also, I fucking hate when I asked four questions in one. But I just want to not forget. What was it like to see a look or a vibe that you created instinctually become a brand, become a T shirt or a phrase, even riot grrrl. Say riot grrrl. You know, like, that's girl power is.

Kathleen Hanna (35:07)

The one that really goes everywhere. That's the one I can't avoid.

David Duchovny (35:11)

Right? So I guess those are the two questions. One is more of, like, explain to me what you mean by being indie famous made it impossible to be an effective feminist or activist. And then what's it like to see your heartfelt instinctual art become a T.

Kathleen Hanna (35:28)

Shirt or a Taco Bell tray liner? Yeah, that was the first. Yeah, that was the first level of co optation.

David Duchovny (35:36)

Yeah. Well, your success becoming failure, basically your greatest success.

Kathleen Hanna (35:41)

Oh, yeah. And it's like you're toiling away in it obscurity while posh spices buying her 18th house.

David Duchovny (35:47)

Right, right.

Kathleen Hanna (35:48)

Sorry. If she lives next door to you in Malibu, David, she's right here.

David Duchovny (35:52)

Posh.

Kathleen Hanna (35:55)

The thing that we've been talking a lot about capitalism and the fact of the matter is it doesn't stop at the door of the punk underground. You know what I mean? And it's like, I was hoping this is gonna be different, you know what I mean? Like, and it is different. Many times, like when you go into a punk club and you're playing a show, there's just more participation. There's people who want to table at your shows about the things that they're doing and about the political activism they're doing. There's people who want to register, people who'll vote. There's people, you know, there's all kinds of things going on. We've had people chanting Free Gazette every single show that we play on their own starting that. Like, I don't have to be the person who starts that chant. And that's been really amazing to see. I mean, all over Latin America, like, how great. So having said that, I will also say there's still people, you know, who even if you're like, I'm not going to be in that star system, that fame system, I'm trying to be in my community, doing this work locally. Well, I can't control everybody. And if I'm indie famous and people start treating me again like I'm like, you know, Bruce Willis or something, you know, like I'm like this huge star and I'm no longer a person. And, you know, we live in an addictive society, so I also become an asset for other people or I become a drug that other people can use. I become, you know, and I'm sure you've had this in your life where it's like you thought somebody really liked you and then they're like, oh, can you come and do my gala? And you're like, I thought we were having a friendship. And you probably were.

David Duchovny (37:40)

Right. Well, that, that goes back to your discomfort with compliments or your distrust of compliments. I can, I can hear that there.

Kathleen Hanna (37:48)

It's like, oh, well, yeah, in 10 minutes are you gonna ask me to play a benefit for. You know, and I don't have that so much because I'm very niche famous and so that's not a huge issue. But the thing that really was was people starting to treat me like I wasn't. I was objectified as a woman, and I was trying to kind of like, tear my way out of that bag. And then I was with other women who were treating me also like an object. I was like, Queen Riot Grrrl. Who could be, you know, depending on what the person's own psychology was, Queen Riot Girl could be a total. Feminist who's, like, using feminism as a shticked capitalist asshole. Yeah, like, whatever. Or I could be a goddess who's come to save them, and they want me to counsel them through their lives, and when I don't, they hate me and they're going to destroy me. And because I'm. I don't have a manager or I don't, like, live up on the hill away from everybody. I'm hearing all of it. And, like, there's something to be said for protecting yourself, you know, and, like, not being. I was so accessible, is what I'm saying, that it was almost, you know, I was pre Internet, so accessible. And I wrote letters to everybody who wrote to me. And people could come and talk to me at shows. And so when people came up and were like, you're ruining feminism for everyone. You should just quit. You know, you should just donate all your money to a poor family. That would make more sense of your values and, like, weird stuff like that. I would just really have to, you know, say, oh, this is just, again, capitalism, where they don't even think I'm a person. At this point. I want to. I want to go back to the point of, like, you know, what does it feel like walking into Target and seeing a Girl Power T shirt? So my band wrote a fanzine in 91 or 92 called Girl Power. And this is long before Spice Girls used it. Before it was like, it's in the dictionary, actually. Girl is in the dictionary without an eye. Three Rs, I think.

David Duchovny (40:07)

Yeah, three Rs.

Kathleen Hanna (40:08)

Yeah. It was supposed to be, like, angry, like, grr. Like, like, you know, feminist, Tony the Tiger.

David Duchovny (40:14)

It's good. It's good.

Kathleen Hanna (40:16)

But it was really weird when it first started happening because, like, we're totally broke. You know, my own community that I was a part of, like, really grassroots style, trying to get feminists to come to our shows, trying to get women to come to our shows, trying to get, you know, people who weren't typically felt invited to shows to come because we would play and it would be all white guys and like, three girls in the back.

David Duchovny (40:40)

How come? Why was that?

Kathleen Hanna (40:43)

Sexism.

David Duchovny (40:44)

Okay. You know, I mean, because sexism.

Kathleen Hanna (40:47)

Because sexism. And so we were trying to get them, you know, to come up front. We were trying to do all this stuff, and we were doing all of this stuff because it was, like, selfish and helpful to us to build an audience to be. You don't write lyrics for a specific group of people and then you're singing them to the wrong group of people every night. It feels really bad. So we're trying to, like. Also, we wanted more bands to play with, so. So we're trying to get girls to come up front so they can see how easy it is to play instruments and be like, oh, I could do that. They could see our mistakes and be like, shit, they suck. I could do better than that. I'm gonna go try to do. And a lot of people did, and a lot of great bands came up, not just because of us, but in that particular scene. So then you flash forward, and it's now, and I feel really different than when I was broke and I was having girls come up to me and telling me I was a terrible feminist and how could I, you know. You know, whatever. And I was having, you know, men just be like, you hate all men, and treating me crazy. And it was really wild. And then I'm like, oh, And Spice Girls are, you know, on TV with their peace symbols and their sequin outfits, talking about how Margaret Thatcher is. Is a feminist. And I'm just like, help. Help. But then later, this thing happened where my friend had a kid and she was, like, 10, and she was. Her and her friends made up a bunch of dances to that song, that Spice Girl song. If you want to be my lover, you gotta get with my friends. And it's all about female friendship. And I saw that, and I was like, you know, stop being such a snob. I was like, if I was a kid and I had this. I was like, better than the Red Hot Chili Peppers. You know what I'm saying? It's like, this kid isn't listening to music about how she's just, like, a sex doll. She's listening to music about how she hangs out with her friends, and they're making up dances together and dressing in outfits as the Spice Girls. And I was like, you know, maybe something that we did kind of trickle down into culture in some ways that are cool. You know, the thing that gets weird is, like, I mean, and for you, because you've been, like, at various times, this, like, international Phenomenon where it's like, you couldn't get away from yourself, I'm sure. And I had a time, like, where I was like, you know, you're like, I'm just going to read Golf Magazine because I know I won't be in there. I mean, I don't know, maybe you golf, but I was in a doctor's office, and I was like, okay, I'm just going to read this, like, Ladies Home Journal, because I know nothing about girl power. Raya Girl or grunge or whatever. And I picked it up and it was like, Michelle Obama espousing girl power everywhere she goes. And I was like, wow, it's everywhere. And then for a second, I was like, you know, I'm kind of proud of that.

David Duchovny (43:39)

Good.

Kathleen Hanna (43:40)

Like, why can't I just be like, that's cool, and move on? And the way I've always thought about various things being ripped off and turned into, like, empty shticks is like, so what? I'm like, you said this before, and you actually reframed something very nicely for me, David, so I wanna thank you.

David Duchovny (43:57)

What was that?

Kathleen Hanna (43:58)

Just when I was saying I couldn't relax. And you're like, well, you're a creative mind, and you're, like, going a million miles an hour and you need places to put this. And it's like, I love that positive spin on it. Obviously, I'm still going to work on trying to relax, but, like, I love. I think you're right. I think I am a creative person, and I do. Like, I want to be doing 10 creative things at once. I wish there were 10 of me so that I could do all the projects I want to do. And that has been endlessly frustrating to me since I was a child. Like, I always wanted to be cloned so I could be in, like, all these different places. And when I think about anybody's creativity being ripped off, and there's what a huge legacy. As a rock and roll musician. My job is to rip off black people, because black people invented rock and roll music and everything that comes out of it. And so we're all a part. You know, for me, as a white American, I'm always gonna be a part of ripping somebody else off. And when I sort of got in tune with that and I was like, what am I complaining about? This really isn't that big of a deal in the worldwide scheme of things. And also, I'm endlessly creative, and I can keep making stuff up. So if a businessman steals something out of one of my fanzines, or one of my songs, or a male band takes my lyrics and uses it as their own without crediting me. I can just be like, I'll just write another one.

David Duchovny (45:21)

Yeah. I mean, when you were saying that when you were. You reframed it for me. My reframing when you were saying that. Because when you were describing yourself through my words as a restless, creative person and you were saying, well, I can do this and I can do that and I can be there, I really had this image for me, and not necessarily of you, where it's also hiding for me. If I can be in 10 places at one time, I don't have to be any one place. So it is. I could spin it beautiful for you, but I can feel like an asshole for me because it's like, well, David, you're still hiding. Whether you're doing that podcast or you're trying to write a song because you're doing that now, or you're writing a novel because you're doing that now, or you're trying to direct. It's like, yes, it's beautiful creativity. It's a restless spirit. But you're also saying, I can't be in this one place at one time.

Kathleen Hanna (46:16)

Yeah, but I mean, I think it's that creative people are, you know, constantly like, oh, I want to do this, I want to do that, I want to do this, and excited and curious and that. That's the really beautiful part of it. Sometimes we hide in our curiosity. Sometimes we hide in being creative. Sometimes we meditate by being creative. Sometimes, you know, if you pick an art form that's very slow, that's like time consuming, you can kind of use it as a way to meditate. So I think it's kind of all of the above. It can be a place you hide and it can be a place you find yourself at the same time.

David Duchovny (46:55)

I hope so. I hope it's just the right mixture of neurotic and inspired, you know, whatever. But I just want. I know I have to end some.

Kathleen Hanna (47:04)

Wait, I want to hear about your band, though. What do you. What kind of music are you making?

David Duchovny (47:07)

You gotta listen to it. I can't describe it.

Kathleen Hanna (47:11)

Oh, I can't describe it.

David Duchovny (47:13)

It's just rock and roll, you know.

Kathleen Hanna (47:15)

It'S just an old fashioned rock and roll. Bob Seeger.

David Duchovny (47:18)

No, not quite that. All right, well, thank you so much. A pleasure to meet you and talk to you and it was fun.

Kathleen Hanna (47:27)

Did you have fun?

David Duchovny (47:28)

I did. I was scared because you were scary to me. You are awesome. I mean, just Because I'm.

Kathleen Hanna (47:34)

Because of that. It's because I'm such a good writer. Because you're like, she's a musician and a literary genius.

David Duchovny (47:43)

It was everything. I just. Your writing is not self pitying at all. I would say that it's really clear eyed and really what disarms me as the reader and what you talked about and disarmed me as an interviewer in the beginning was you're fucking funny. And the book is funny as well. And that, that's like the gold standard to me of life, you know. So I thank you for that.

Kathleen Hanna (48:08)

Wait till you see my tight ten, David.

David Duchovny (48:11)

Bye. Hey. This was a great conversation again with Kathleen Hannah. What a force of thought and feeling that woman is. Anyway, I was thinking about these things as my dog walks up. I'm just. My dog looks at me like, why are you talking into that piece of metal? You are crazy. Yeah, I wanted to think back on, I guess, when I was asking whether or not a pop song or a rock song or a punk song, whatever is a. Is a good delivery system for an ideology. I guess I had some. I guess I had a horse in that race because I always kind of push against what I've seen. If I see politics being put forward in art or even ideology, I guess from the artistic point of view, I get itchy on that because I think any kind of overt politics and art turns into propaganda. Whether or not I believe in the politics or not, whether or not I agree with the politics. And in this case I do. But it's the artist's decision whether or not to approach their art that way as a political tool. Totally legitimate, if that's your approach. But not something ever that I wanted for myself and not the art that I was drawn to. But I'm open, you know, and maybe, maybe I'll get more politicized. Maybe I'll dive in, more into the headlines. I don't know. I don't know. It's not my comfort zone. But now I can see it. And I thank guests like Kathleen. I thank guests like Mary Trump for keeping my eyes open. There's more Fail Better with Lemonada Premium subscribers get exclusive access to bonus content. Like more of my behind the scenes thoughts on this episode. Subscribe now. And Apple Podcasts. Fail Better is a production of Lemonada Media in coordination with King Baby. It is produced by Keegan Zema, Aria Bracci, Donnie Matias and Paula Kaplan. Our engineer is Brian Castillo. Our SVP of weekly is Steve Nelson. Our VP of new content is Rachel Neal. Special thanks to Carl Ackerman, Tom Krupinski and Brad Davidson. The show is executive produced by Stephanie Whittles Wax, Jessica Cordova Kramer and me, David Duchovny. The music is also by me and my band, the lovely Colin Lee, Pat McCusker, Mitch Stewart, Davis Rowland and Sebastian Modak. You can find us online at lemonada Media and you can find me at David Duchovny. Follow Fail Better wherever you get your podcasts or listen. Ad free on Amazon Music with your prime membership.

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Chelsea Clinton (52:24)

To make your everyday life happier, healthier, more productive, and more creative? I'm Gretchen Rubin, the number one best selling author of the Happiness Project, bringing you fresh insights and practical solutions in the Happier with Gretchen Rubin podcast. My co host and happiness guinea pig is my sister, Elizabeth Craft.

Kathleen Hanna (52:42)

That's me, Elizabeth Craft, a TV writer and producer in Hollywood. Join us as we explore ideas and hacks about cultivating happiness and good habits.

Chelsea Clinton (52:51)

Check out Happier with Gretchen Rubin from lemonada Media.