.teganandsara share the lessons they’ve learned from adapting their ‘High School’ memoir into an upcoming TV show.
Neither Tegan nor Sara live in Calgary anymore, but they’ve rented apartments in their hometown while they’re working on the show. “It’s been awesome,” says Sara. “But sometimes I go back to Vancouver and I feel very discombobulated — similar to when I get off of a long tour. It’s like, oh, yeah, right. I live here.”
We also have gone back to the original versions [of some of the songs], so we’ve returned to some of the really ridiculous lyrics and absurd chord changes and stuff that we were experimenting with as teenagers. So I’m not like, “Wow, that ‘chocolate-covered pants’ lyric, it’s really moving me.” It’s ridiculous. But it feels right. You know, I don’t want to rewrite history.
My first really awful homophobic experience was when I moved to Montreal at 23. There was this sort of assumption that now that you’re in Vancouver, or now that you’re in Montreal, or now that you’re in New York, everything’s better. The ambient homophobia that was really, really specific to that time in the world existed everywhere: It existed in the music industry, it existed in New York, it existed in our family.
Part of what’s so unique about writing a book and then making the TV show is that there just isn’t a lot of representation of twins. It’s not like we’re a marginalized people, but we are misunderstood. I think that there is something really profound about seeing two people who you would normally think are the same — and that if they’re going through something, then they must be going through it together — to see them suffer on their own, and to recognize the humanity of that.
Throughout your career, you guys have talked a lot about universe-building and found family. Those terms are common in queer communities, where — either because we’ve been rejected from our families of origin, or simply don’t have a blueprint for what queer lives look like — we often have to build worlds of our own. How do you think that’s translated into your work? I think probably the most glaringly obvious queer impulse we had was to become more mainstream.
You’ve described this album as your most collaborative album so far. You also re-released your 2004 album, and each recorded each other’s tracks, and in your new Substack, “I Think We’re Alone Now,” you annotate each other’s songs. It seems like you’re in a particularly collaborative moment in your partnership. Is that intentional?It could be like, “Oh, we’re really close right now.
So I’ve always thought: it doesn’t really matter if you’re popular or not. You are a role model. Somebody’s looking up to you. I do think that there was an absence of role models and an absence of mentorship and an absence of support when we were coming up in the industry. And a lot of that probably just has to do with the absence of social media — there was just no organic way for artists to reach out to each other.
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