could be about your sister. It could also be called 'Stupid Boy'." Looking back, he also stated, "It's impossible to predict what will be a hit. But subconsciously, I knew the song was good when I kept playing the same rough mix over and over again on my car stereo for months." Composition "Stupid Girl" is a moderately fast alternative rock and electro-rock song with touches of electronica, set in common time. It is built on a I–IV change in F, with both chords, F7 and B7. The tonal function of a dominant seventh chord is to resolve up a perfect fourth. In non-classical harmony, the chord is often used similarly, but especially in blues, funk, and early rock music, it is also commonly used for its color, which seems to mesh major and minor together with its major third, minor seventh and the dissonant interval between the two. When the F7 chord is played, it should traditionally resolve to a B major 7th chord, the M7 being the major 3rd of the tonic. Instead, on the B note is another dominant seventh. Such chords are the basis of the twelve-bar blues, and are used in this way to give "Stupid Girl" a bluesy, rock-'n'-roll feel. The chord change is manipulated to emphasize the B's flatted seventh (a minor third from the tonic), giving the song a sulky mood. This chord change is used for the intro, verse, chorus and the instrumental sections, except for the pre-chorus, which is in the relative key of D minor. Regardless of the chord progression, the song seems to fall somewhere between major and minor, and the use of four-note seventh chords (as opposed to "three-note" chords) help to form a rich atmosphere. "Stupid Girl" is mainly carried by this arrangement, along with the drum beats sampled from "Train in Vain". In the intro, four bars set the rhythm, adorned by only a guitar pick-slide and audio effects. The verse adds Manson's vocals and a bass riff that uses flattened blue notes to give "Stupid Girl" a funky, unsettled feel. The eight-bar pre-chorus abruptly cuts in with minor chords, and sampled feedback replaces the bass, which drops out. This, coupled with Manson singing high in her vocal range, creates tension and enables the presence of the bass to be felt when it re-enters on the chorus. The guitar figures in the bridge include a