Top 35 Kate Pierson Quotes

When I was little, I used to think, ‘That’s the way people in the future are gonna dress! They’ll be wearing space suits, and it will be all silver, all the time. It’s gonna glitter.’

‘Love Shack’ is such an eternal kind of song; at karaoke, people do it.

I used to stick my head out the window when I was a kid and sing at the top of my lungs and think no one could hear me.

I was doing space girl outfits way before Katy Perry or Gaga!

I know, being a band that’s mostly gay and has women in it, I just think that there are the male icon bands: they are always – and they deserve it – but they are always touted as, ‘These guys are heavy-duty.’ I think bands, because we have a sense of humor, we are not always taken as seriously.

We do benefits for various groups. But the main reason to be B-52’s is to have fun and party and go nuts.

I don’t think we were shy so much as we were terrified. Especially when we did ‘Saturday Night Live’ on live TV. We looked really animatronic because we were scared, but it came off as being this alien sort of attitude, which served us well, because people were like, ‘Whoa, this is so weird.’

I want to be the first rock band on Mars.

We started in 1976, jamming, and we played our first show on Valentine’s Day 1977, so we can mark 40 from there, or we can mark 40 from 1979 when we did our first record.

I had really long hair, and we had this hairdresser, Laverne, that was in Athens. And she did my hair up really big. And she said, ‘Honey, when you hang your head over the bed and make love, that hair is not going to move.’

I’ve always wanted to do a solo record, and in 1999, I went over to Japan and did a project called NiNa, where I co-wrote with Yuki from Judy and Mary. It just sort of unleashed this realization in me that I could write.

There’s this whole split personality thing of being a farm girl and a rock and roll girl.

No beehive. Beehives – we sort of put them – well, we revive them sometimes.

Five people in a Volkswagen station wagon without equipment. Now we tour with six people in a van.

The whole reason to make a solo album is to express what you can’t express with the B-52s. The B’s are so much about fun and partying and dancing.

Cindy had two kids. We did manage to keep playing and doing summer tours with the Go-Gos, the Pretenders, and Blondie.

In the late ’90s, we kind of took a sabbatical, and I got an invitation to play with a Japanese band and formed a supergroup called NiNa. It was Yuki from Judy and Mary and Masahide Sakuma from The Plastics, a Japanese equivalent of the B-52s. It went to No. 1 in Japan.

The B-52s, you know, our songs are about volcanoes or lobsters. Cindy and I sing them like our lives depend on them. I feel very emotional when I’m singing ‘Rock Lobster,’ but I’ve wanted to sing more about my personal experience.

In the B-52s, each of us has our own wacky sensibility, which, when we come together, it’s like the four-headed monster. And it’s great because we have the same sense of humor.

The Beatles had a huge impact on me. I did ‘Strawberry Fields Forever’, and we worked it out in an open tuning. That’s such a beautiful song, and I think I did it in a different way.

We would go on ‘The Voice,’ and we’d get kicked off of the first episode, probably.

I’m always saying in the studio, ‘My vocals are too loud!’ or ‘My vocals have too much effect on them!’ I like some of it, but I’m not a fan of loading effects onto my voice.

I think it really changes things when you’re able to get married. I mean, the Marriage Equality Act was super important. I think you cannot believe it happened as fast as it did. For a lot of gay people, it’s very surprising. You thought that this is going to be a struggle forever.

All our friends – so many friends are gay or lesbian and transgender. We’re just in that world. We all went through the devastating time of the AIDS crisis, and I think that galvanized us to be more activists – AIDS activists.

There’s a very collaborative, collective attitude. That’s a very female principle. We try to nurture that aspect of the band.

I think there are certain genres of music where people are allowed to go on, but there is something about rock and roll, I guess because it originally started out to be a teenage rebellion.

With ‘Love Shack,’ once we put that chorus in, it did have more of a song structure. Even though the verses are all kind of different, the chorus was there along with ‘The Love Shack’ – I think that really made it a hit. Once we heard it in the studio, we played it for R.E.M., and they were like, ‘Yes this is a hit.’

Everyone has that experience in a club where a doorman doesn’t pick you out.

We’ve always been a band who wants to put our money where our mouths are. We have political songs, but we don’t like to hit people over the heads with stuff. So it’s better to do benefits and causes and talk about it later rather than always trying to put it in the song.

Usually, when we write in The B-52s, it’s quite a collaborative process. We really take hours – and sometimes days – jamming, and then we listen and listen to them and go, ‘Oh, let’s use this part, and then this part.’ It’s really like a collage.

When we first played Max’s, people thought Cindy and I were drag queens – we wore these gigantic wigs that sort of his our faces.

I like harmonizing with other people, but a lot of times, I do harmonize with myself.

I like looking for things on tour.

One of my favorite lyrics is ‘Clams on the half-shell and roller skate, roller skate.’ So they can be just really party-inspiring lyrics or just something brilliant like ‘Tutti Frutti.’

It’s true. I’m not a spokesperson. But I can say now that transgendered people like to be heard and to be respected.