Even the Good Girls Will Cry

What makes Melissa Auf der Maur's perspective on the 1990s alternative rock scene particularly unique?

Melissa offers an insider's view as someone who navigated the scene as a woman in predominantly male-dominated spaces, moving between some of the era's most influential bands during their most turbulent periods. Her position as both a participant and observer, coupled with her roots in Montreal's bohemian culture before being thrust into the mainstream American rock world, provides a distinctive vantage point that differs from the typical narratives told by frontmen or male musicians of that era.

How does the memoir's title relate to Melissa's experiences in the music industry?

The title challenges the notion that women in rock, particularly those who appeared professional or composed, were immune to the emotional toll of the industry's chaos and trauma. It suggests that Melissa's memoir explores the vulnerability and genuine emotional responses she experienced despite potentially maintaining an outward appearance of strength or composure during some of alternative rock's most dramatic and tragic moments.

What does 'the last analogue decade' reference mean in the context of this memoir?

This phrase refers to the 1990s as the final era before digital technology fundamentally transformed how music was created, distributed and consumed, as well as how musicians connected with fans and each other. Melissa's account captures a time when rock stardom, touring life and the music industry operated in fundamentally different ways than today, making her firsthand experiences a historical document of a vanished cultural moment.

Beyond her bass playing, what other creative pursuits has Melissa Auf der Maur undertaken?

Melissa has established herself as a multidisciplinary artist and cultural entrepreneur, most notably as co-creative director and owner of Basilica Hudson, a performance and arts centre in New York's Hudson Valley. This venture demonstrates her continued commitment to fostering creative communities and cultural spaces, extending her artistic vision beyond her work as a musician and into the realm of cultural programming and venue curation.

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