Women Guitarists

"Hush your highness, don't you breathe No, baby, hold me in your arms, I'm shivering But what's all this for? If I was the battle, baby, you have won the war"

"You should've loved me baby When redemption's too blind Nature took my soul And sin left a scar so wide Time ravaged my body And now I live in the house Where the red light's always on"

"So you think that you could save him, And we know that someone died. Oh, an unkindness of ravens, And we know that Mary lied"

"Love hangs herself with the bedsheets in her cell Threw myself on fires for you Ten good reasons to stay alive Ten good reasons that I can't find"

"Crash and burn All the stars explode tonight How'd you get so desperate? How'd you stay alive?"

"And I wait staring at the Northern Star I'm afraid it won't lead you very far He's so cold, he will win the world tonight All the angels kneel into the frozen lights Feel their hearts they're cold and white"

"In your endless summer night I'll be on the other side When you're beautiful and dying All the world that you've denied When the water is too deep You can close your eyes and really sleep tonight Tonight"

"Oh, make me over I'm all I wanna be A walking study In demonology"

"And I don't care what it takes my friend I will never go hungry, go hungry again Oh, and I don't care what I have to pretend I will never go hungry, go hungry again And the phoenix she rises, she is sure to descend She will never go hungry, go hungry again And you're looking to me more and more like a godsend We will never go hungry, go hungry again And we owe each other nothing, there's no one left here to offend We will never go hungry, go hungry again"

"Why do guys get to take off their shirts and we don't?"

"I am the girl you know, can't look you in the eye I am the girl you know so sick I cannot try I am the one you want, can't look you in the eye I am the girl you know, I lie and lie and lie"

"And the sky was all violet I want it again, but violent, more violent I'm the one with no soul One above and one below"

"He shakes his dead rattle Spittle on his bib And I don't do the dishes I throw them in the crib"

"Don't blush when I rip you open."

"Sister ectoplasma she's incredulous Just like a pro she takes off her dress And she kicks you down in her snow white pumps Just remember it was me who found the lumps"

"Slutkiss girls, won't you promise her smack? Is she pretty on the inside? Is she pretty from the back? Slutkiss girls, won't you water her rack? Is she pretty on the inside? Is she pretty from the back? Slutkiss girl, molasses, rot blackstrap Is she rotten on the inside Is she ugly, ugly from the back?"

"Every time that I sell myself to you I feel a little bit cheaper than I need to I will tear the petals off of you Rose red, I will make you tell the truth"

"LA is easier. People have garages. And then as you go up the coast, in Washington and Oregon people have bigger houses and bigger garages, and people have parents."

"I always took myself really seriously... but sometimes I’d be at a venue and the guy would call me ‘sweetie’ or ‘honey’ when we were doing drums and stuff. I’d carry the drums in myself so people wouldn’t say I was a bitch. I went very briefly to an engineering school, so I knew the difference between white noise and pink noise and what a view meter was, and a logs player and things like that. I didn’t need to know but it came in handy when I was sitting with Steve Albini like ‘really? Is that a good logs player?’ I barely know what it is, but I learned "Smoke On The Water" so I could go to Guitar Center and play that and not have guys look at me. It was a different time—I think girls get taken a lot more seriously now."

"When I was a teenage whore My mother asked me, she said, "Baby, what for?""

"When my looks are shot—which I reckon will be in about six years—I’ll have plastic surgery here on my chin, and they can pull my cheeks back, but I’m not ready for that. And because of the smoking, the mouth is starting to give."

"If I see a chick playing guitar, I’m drawn to that band immediately. I want to know everything, even if it’s completely electronic. But you have to really get my attention if you’re male. I can’t help it. It’s part of my nature."

"I always said I’d never go to New York until someone pays me—because I’ve seen people come back from New York like desiccated, broken… New York is a tough place if you’re coming out of Port Authority or from Oregon, and they were paying me 356 dollars a day to be on the set [of Sid and Nancy] so that was really wonderful. Then I did Straight To Hell which went straight to video (but) then Andy Warhol noticed me from those two films. Then I got to be in Interview magazine and I got this little measure of celebrity, but with no money (laughs) that sucks… (but) it feels great if you’ve been wanting it. A lot of people like to say, ‘oh I didn’t ask for this, it just happened. I’m the luckiest guy in the world…’ I always wanted it."

"Without, without a doubt Come on and let me out Hey, where the fuck were you when my lights went out?"

"I want to be the girl with the most cake He only loves those things because he loves to see them break I fake it so real, I am beyond fake And someday you will ache like I ache Someday you will ache like I ache"

"When I was fourteen, I was so bloody ugly and I thought I was Kate Moss. I chased this guy named Mark Rennie, who was the hottest photographer in Portland, around, convinced him to [take pictures of me]. I had this big schnoz, I had blusher on, I'm wearing white gloves, and I [was] making new wave faces, and, like, voguing... there was a gap in my teeth, and I was 180 pounds. So if someone calls me ugly, it sort of rolls off my back because it's not about looks, it's about attitude—you get laid on attitude."

"I don't know why I ever succumbed to any of it... [but] I liked the rush of going under. It's such a high—it's like dying. I die, but then I come out prettier."

"I don’t like coming to Seattle much. I talked to [[w:Chris Cornell|[Chris] Cornell]] about it not that long ago. And Jerry Cantrell. None of us like it. It is beautiful, objectively. The arboretum is great. But it freaks me out for obvious reasons. I didn’t really live there. I lived behind a gate. I would try to go up to [Pike Place] Market. My big expedition would be Urban Outfitters and the yoga store."

"I started chanting when I was living on Hollywood Boulevard, working as a stripper. Within six months, I got my first million dollars and I didn’t have to strip for bucks any more. Then I met Kurt and we still chanted, but we did a lot of drugs together."

"After what I've been through, I'd rather die than take drugs again."

"Someone once said that Nirvana attracted everybody that had ever been through a broken home... my niche is a lot more specific: It's a lot of females, and a lot of gay guys, and a few advanced and evolved heterosexual men—not many, but there's a few out there."

"America's Sweetheart was my one true piece of shit. It has no cohesive thread. I just hate it."

"I didn't know it was such a guy's job. It's like playing football in high heels and lipstick; no wonder it smears."

"I do remember not having good social skills [as a child], although I learned them later. I learned them from hanging out at a gay disco, learning them from drag queens; and I learned them in Liverpool, and I learned them in juvenile hall. So, I learned [my social skills] from future criminals, drag queens, and rock stars."

"When I post, I forget I’m famous. It’s a really bad thing."

"Look, you've got these highly intelligent imperious girls, but who told them it was their undeniable American right not to be offended? Being offended is part of being in the real world. I'm offended every time I see George Bush on TV! And, frankly, it wasn't very good music."

"I love being around people that are smarter than me, that think faster than me. So even if you're a dork, and you wear stupid clothes, and you make a fool of yourself, and everyone makes fun of you, and you're just an idiot—I don't care about the context. I don't care. If you're genius and I recognize it, I kind of dig that."

"I never expected I would be connected to the Alpha male as some kind of ancillary object, and to this day it mystifies me."

"It’s been twenty years—we didn’t even talk at [Kurt's] funeral. None of us. And so, twenty years of me getting Yoko-bashed, and Dave bashing, and me bashing and making it worse, all that shit. The legal stuff, the trial. We just buried it. It was really deep. It brings tears to my eyes to even talk about it."

"I’ve protected it [the Nirvana catalogue] from everything from Kentucky Fried Chicken commercials to movies about board games. We’ve been offered $6 million for 18 seconds of one Nirvana song and I turned it down."

"I've got a blister from touching everything I see The abyss opens up It steals everything from me"

"Since I’ve basically been giving my music away for free under the old system, I’m not afraid of wireless, MP3 files or any of the other threats to my copyrights. Anything that makes my music more available to more people is great. MP3 files sound cruddy, but a well-made album sounds great. And I don’t care what anyone says about digital recordings. At this point they are good for dance music, but try listening to a warm guitar tone on them. They suck for what I do. … I’m looking for people to help connect me to more fans, because I believe fans will leave a tip based on the enjoyment and service I provide. I’m not scared of them getting a preview. It really is going to be a global village where a billion people have access to one artist and a billion people can leave a tip if they want to. It’s a radical democratization. Every artist has access to every fan and every fan has access to every artist, and the people who direct fans to those artists. People that give advice and technical value are the people we need. People crowding the distribution pipe and trying to ignore fans and artists have no value. This is a perfect system."

"Do you remember when you were young, and you’d stare at someone on-stage and think ‘Oh my God—he looked right at me?’ I do, so I have this kind of rescue-fantasy thing. When I see kids in the audience I think, ‘Okay, that’s me, and it would be kind of cool if the person on-stage would come down and save me.’ I’m not going to be able to save every one of them, but I’ll do my best, because I genuinely like kids. If I didn’t have my lust for my art, I probably would have ended up working with them."

"My brother, Toby, is six-foot-six, [and] he [went to] Vassar; my other brother, Brown; my sister, without one penny from me or my [step]dad, NYU Law, number one in her class—Jesus, it's such a functional family, I don't know where I came from."

"Releasing those songs into the void, and not having the void answer back, led all of us to splinter off and attempt to make our mark by deconstructing. Instead of going forward with my tunesmithing, I went back to the beginning. And that’s what Pretty on the Inside was about. I said, ‘I’m not going to follow any of the songwriting values that I’ve been learning for a good seven years. Instead, I’m going to set up on my own land and make my own stake, and see where it goes.’ And the next place that takes me is Seattle, where what was happening was so heavy, and so intense."

"Without the benefit of history, there was no way you could be in the middle of all that and understand what it was like. To be a couple that persecuted, and to be such weak people, so frail and reactive, huddling together because the whole world is going [she makes a sound like a bomb going off]. You’ve got your own team, the sectarian left, splintering off and pointing accusing fingers. We’re fucking picking nits off Eddie Vedder and Eddie Vedder is trying to take on the constitution, and the whole fucking world is damning me to the stake. It was insanity. So in reaction to that, I made a record about it."

"Even though I now feel more confident and happy, I was really paranoid for about a year and a half. Basically, what happened was that I quit taking drugs and I walked out into the world and was sort of in this film that was really well received. So, after years of living a more destructive lifestyle, I had to, instantly, kind of court this world which had incredibly nice value systems, but with protocols that I had never encountered before. And then I had to reconcile these two worlds. You know—I want to live a happier, more productive lifestyle, but the question was, did I want to renounce being in a great rock ’n’ roll band for that? The answer was ‘No way.’"

"[Crack] used to be called freebase when white rich people did it. Then it got sold in batches, and white rich people were still doing it, and it was still called freebase. And then all of a sudden this guy named Ricky Freeway Ross started making it and he happened to be black, and— everything is political— and, then it turned into "crack.""

"I wore a dress that was so restricting and shoes that were five inches high, I could barely stage-dive. Then I got the best write-ups, for being feminine, I guess. I couldn’t move well and I was restrained, which equals great review. That’s pretty horrid."

"I punched out Kathleen Hanna... Sonic Youth brought her. I punched her, and she screamed, "I'll take you on, any college in America, any feminist debate," and I said, "But Kathleen, that means you're going to have to read!""