Dos too was a marriage, in more ways than one. It was often like a battle, but the cool thing about that is that the battle comes across musically as something that works a b Christgau, Robert (1990). "B". Christgau's Record Guide: The '80s. Pantheon Books. ISBN 0-679-73015-X . Retrieved August 17, 2020– via robertchristgau.com.

In a 1993 article for Spin which featured L7 on the magazine's cover, Renée Crist described L7 as "four of the funniest, meanest, strongest, coolest, most pissed-off women I know" and as "wild, rambunctious, spontaneous" with a stage show that "is a wash of buddy love, crowd working, and acrobatics". [11]

We felt very strongly that there wasn’t going to be a melody and a bassline, you know, with one of us at the bottom and one of us at the top. It was never going to be like that, so that challenged me to write first and second basslines for a given Dos song. Crist, Renée (July 1993). "The Magnificent 7". Spin. 9: 32–35, 90 . Retrieved September 6, 2019– via Google Books.

I learned a lot about how to try and enhance a song without stepping on Mike, who is a very expressive bass player. Because of what we were doing with bass, even when our marriage stopped working I always felt like the music gave us astructure to continue having a kind of relationship when we couldn’t live together any more. A lot of that was driven by our lovefor the bass guitar, truly.” Berman, Judy (September 29, 2017). "After 18 Years, How Do L7 Return? With a Song About Trashing Trump's Mar-a-Lago". pitchfork.com . Retrieved April 7, 2018.

a b c d e f g h Sideleau, Brandon (August 28, 2005). "Slip It In". Punknews.org . Retrieved August 5, 2018.