Book Talk: Melissa Auf der Maur with Naomi Yang 

As the bass player for iconic ’90s alternative rock bands, Melissa Auf der Maur toured the world, documenting life backstage, onstage and in the crowd. She instinctively turned the camera on herself as the most intimately available subject, as informed by her studies at Concordia University where her professor, Raymonde April, introduced her to the subjective self-portraits of Francesca Woodman. By the time she joined Hole for their Live Through This world tour, she requested a roll of 35mm film backstage at every venue. Her daily practice, continually documenting herself and her surroundings, expanded through her creative uses of self-timers and cable releases to take snapshots in the middle of performances. This dedication resulted in an extensive archive of over 10,000 photographs that go behind the scenes of rock-and-roll stardom—playing with Courtney Love’s daughter, Frances Bean Cobain; hanging out with Pavement, Sonic Youth and Beck; riding in the back of a limousine with Drew Barrymore; and idle time on the set of the music video for Hole’s song “Celebrity Skin.” She was even commissioned by magazines such as Spin to document Lollapalooza 1995 and the Tibetan Freedom Concert of 1996. Gritty and edgy, playful yet deeply personal, Auf der Maur’s intimate photographs celebrate the independent spirit of the ’90s and offer an insider’s view of the decade before smartphones and digital recording software. Through an extensive curatorial selection of more than 200 photographs, her memories create a time capsule for Generation X and a moving self-portrait of a young artist living through the ’90s alternative music scene.

Naomi Yang is a filmmaker, photographer and musician—formerly of the band Galaxie 500, now of Damon & Naomi. She is currently working on a new documentary feature, Superfund: The Unseen Landscape. Her last film, Never Be a Punching Bag for Nobody, was awarded the Special Jury Prize at the Independent Film Festival Boston.

Instagram: @naomivision

Melissa Auf der Maur: My ’90s Rock Photographs

As the bass player for the iconic ’90s alternative rock bands Hole and Smashing Pumpkins, Melissa Auf der Maur toured the world, documenting life backstage, onstage and in the crowd. She instinctively turned the camera on herself as the most intimately available subject, as informed by her studies at Concordia University where her professor, Raymonde April, introduced her to the subjective self-portraits of Francesca Woodman. By the time she joined Hole for their Live Through This world tour, she requested a roll of 35mm film backstage at every venue. Her daily practice, continually documenting herself and her surroundings, expanded through her creative uses of self-timers and cable releases to take snapshots in the middle of performances. This dedication resulted in an extensive archive of over 10,000 photographs that go behind the scenes of rock-and-roll stardom―playing with Courtney Love’s daughter, Frances Bean Cobain; hanging out with Pavement, Sonic Youth and Beck; riding in the back of a limousine with Drew Barrymore; and idling time on the set of the music video for Hole’s song “Celebrity Skin.” She was even commissioned by magazines such as Spin to document Lollapalooza 1995 and the Tibetan Freedom Concert of 1996. Gritty and edgy, playful yet deeply personal, Auf der Maur’s intimate photographs celebrate the independent spirit of the ’90s and offer an insider’s view of the decade before smartphones and digital recording software. Through an extensive curatorial selection of more than 200 photographs, her memories create a moving self-portrait of a young artist living through the ’90s alternative music scene, and a time capsule for Generation X.

Melissa Auf der Maur’s (born 1972) indie band Tinker had just opened for Smashing Pumpkins when Billy Corgan recommended her to Courtney Love as the new bassist for Hole’s grief-marked Live Through This world tour, beginning soon after the deaths of both Kurt Cobain and Kristen Pfaff. She played on the group’s Grammy-nominated album Celebrity Skin. After leaving Hole, Auf der Maur joined Smashing Pumpkins as the bassist for their farewell tour from 1999 to 2000. Following the release of a few solo albums, she moved to Hudson, NY, became a mother and cofounded the multidisciplinary art center Basilica Hudson.

Even The Good Girls Will Cry: A ’90s Rock Memoir

Even the Good Girls Will Cry begins with Melissa Auf der Maur’s bohemian upbringing in Montreal, where her early, deep connection to art and music gave her entry to the colorful and thriving local creative scene. Working as a cassette DJ and ticket girl, she would see (and sometimes meet) the luminaries who’d pass through town—Nirvana, Jane’s Addiction, Pavement, Sonic Youth. Thanks to a thrown beer bottle and a long-shot fan letter to a PO Box, her band Tinker scored a life-changing opening slot for The Smashing Pumpkins and, sensing her natural talent on bass, Billy Corgan recommended her to Courtney Love, just one of the many uncanny threads that weaves destiny throughout this riveting memoir.

Whisked from her local scene and thrust into the eye of a hurricane of grief on a global stage, Melissa joined Hole for the band’s 1994 Live Through This world tour just after the deaths of Kurt Cobain and Hole’s prior bassist, Kristen Pfaff, with Courtney Love at the center of it all. It was a tour of passionate intensity, as a chaotic yet stunningly powerful band constantly threatened to spin out of control. Melissa brings the reader with raging intimacy into the action, offering a heroic portrait of the unforgettable Courtney Love as she howled into the darkness as if to keep grief at bay.

That was only the beginning of Melissa’s journey through alternative rock. Part rock memoir, part travel diary, part psychedelic scrapbook, Even the Good Girls Will Cry is a behind-the-scenes rock ’n’ roll memoir with a soulful intimacy and mystic undertone that sets it apart from memoirs by her peers. It is a vivid dispatch from the last analog decade, artistically capturing that bygone era in all its messy, angsty glory.