"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."

“Imagine this: You're peaking. You're in you youth. At the prime of your life. The last thing you want to be is a symbol of heroin use. You've finally met somebody of the opposite gender who you can write with. That's never happened before in your life. The only other person you could ever write with wasn't as good a writer as you, and this person's a better writer than you. And you're in love, you have a best friend, you have a soul-fucking-mate, and you can't even believe it's happening in your lifetime. And as a bonus he's beautiful. And he's rich. And he's a hot rock star to boot. And he's the best fuck that ever walked. And he wants to have babies, and what you want is babies. You've wanted to have babies forever. And he understands everything you say. And he completes your sentences. And he's lazy, but is spiritual, and he's not embarrassed about praying, he's not embarrassed about God, Jesus, none of it. He fucking thinks it's all really cool. He wants to fucking learn the path. He wants to be enlightened. Everything. And there's even some room for you to fix him, which you like, 'cause you're a fixer-upper. He's perfect in almost every fucking way. The only fucking happiness that I ever had. And then it all gets taken away.”

“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.”

“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.”

“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.”

“My goal keeps me alive, and no personal issue is going to interfere with that. If people try to put me in the crazy box–'crazy fucking Courtney'–go ahead. But if you think you’re going to stop me from where I’m going, you’re not going to do it. I work my ass off. I deliver the goddamn goods. And I will deliver them again.”

“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.”