DOCSLIB.ORG

Bruises on the Fruit

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bruises on the Fruit ruises onon thethe fruitfruit B A BRIEF HISTORY OF NIRVANA & THE EVOLUTION OF THEIR MUSIC by Gary Vehar From the moment Nirvana’s landmark CD Nevermind was released, the world of rock music has never been the same. I for one will always be thankful that that album came out when it did, slightly over a week before my eighteenth birthday. I was a still-wet-behind-the-ears college freshman, away from home for the first time. Just as my life was changing drastically, so was the culture. Music, politics, fashion and art underwent an enormous change as the 90’s sloughed off the last vestiges of the 80’s. Concealed as I was in the quiet town of Ellensburg, Washington, within the tiny confines of my third-floor door room, it was the change in musical guard that first caught my attention. Friends from Seattle regularly brought over dubbed tapes to share with those of us here in college, and among one batch was an advance tape for a band called Nirvana. Nevermind was already causing excitement before its official release of September 24th, 1991. Leaving my friends for the night, I couldn’t get the songs, the sounds, out of my head. About a week later I was in yet another dorm room, listening to a brutish lout rave about the same album. Even at this early date it was obvious Nirvana was crossing all boundaries, even if the fellow who owned this copy (the real CD, this time) made fun of the over-the-top screams that so captivated me. I studied the CD booklet, memorizing the pertinent info for a later date. That time came a little over a week later. Armed with my birthday swag, I proceeded at once to the local record store to purchase my copy. CD’s in those days still came in long cardboard boxes, and I walked home studying the track list on the back. I was confident that this would be yet another alt-punk-metal release, with one excellent radio-friendly song (“Smells Like Teen Spirit”) and a number of lesser album tracks– I had yet to hear the whole album. Upon playing the whole album I was pleasantly surprised to find that each track was just as powerful as the last. Repeated listenings soon had me hooked; that album became a part of me, and I was just as much a part of it. I will always remember my college days, with “Teen Spirit” blasting out of my stereo, and my hippie neighbors (in a band called Paisley Schoolbus, no less) banging futilely on the walls. Nevermind was everything I had always been looking for in music, without knowing it: punk-tinged pop, hard rock, grunge and metal mixed with generous helpings of angst, longing, vulnerability, and anger. The music had the unerring ability to do exactly what the band wanted it to, to be exactly what it was wanted to be– a rare gift that few other bands had at their command. 2 Having said that, let’s move on to examine the music’s primordial roots, shall we? The band as we know it formed in 1987, with Kurt as guitarist/vocalist, and Chris Novoselic on bass, changing band names and drummers as it suited them. Twenty-year-old Kurt Cobain already showed a remarkable talent for music. Witness the off-the-cuff solos Kurt throws about during a house party gig caught on tape and known simply as the 87 House Party, and later on at a 1988 Hoquiam, WA, show. This was the result of a lifetime of backwoods Aerosmith/Zeppelin absorption, later tempered and suppressed when Kurt was bitten by the Punk Rock bug. At this point Kurt had such songs as “Downer”, “Spank Thru” and “If You Must” written, offsetting the Zeppelin jams “Heartbreaker” and “How Many More Times.” Even though the band was still very young, the 87 House Party recording shows Kurt’s original songs as striking and very distinct from one another, and the performance is a strong one. Some time before that, in April of 1987, the band recorded a session for Olympia’s KAOS radio station. It would be the start of Nirvana’s association with the Olympian scene, spearheaded by Calvin Johnson’s K records and his flagship band Beat Happening. During that session, which can be found on Outcesticide 5, the band recorded nine songs with drummer Aaron Burkhardt. Six would end up re-recorded on the 1/88 Reciprocal demo; of the remainder, two were cover songs and the final, “Anorexorcist,” was an original song never formally recorded anywhere else. The covers, “White Lace and Strange” by Thunder and Roses and “Love Buzz” by Shocking Blue (of “Venus” fame), show a band picking their covers with an ironic– and unusually tasteful– sense of humor. This session became the band’s first informal demo, sent to any and every label they could think of. The tapes received nary a response. The decision to cover “Love Buzz” was perhaps the most crucial choice the band could have made at this early stage in their career. Though Kurt may have agreed to perform it to humor Chris, who was always the hippie of the band, “Love Buzz” was the one song on the tape that caught the attention of Sup Pop, leading to their first single as a recording band. The Reciprocal demo established the band in Sub Pop’s eyes, but it was only “Love Buzz” that warranted a single at that point. Unfortunately, the KAOS show and the 87 House Party bootleg are the only aural documents we have from 1987 so far, but they show a band slowly establishing themselves on the fringe of the Northwest scene. It’s important to note that Nirvana was never really a part of the Seattle scene. Their homebase in the early years was Tacoma, WA, and then Olympia. The band played Seattle often enough, but sonically (at this early point, at least) and ideologically the band belonged to the naive, do-it-yourself movement that was uniquely Olympian in origin. The first major event of 1988 is obviously the Crover demo, recorded at Reciprocal Studios on January 23rd, so-called because Melvins drummer Dale Crover sat in until a permanent replacement could be found. At times mock-pop (“Spank Thru”), noisy belligerence (“Beeswax,” “Hairspray Queen”) and pure underground rock (“Aero Zeppelin” & “Floyd the Barber”), the demo established the band (named Ted Ed Fred, but soon to become Nirvana) as an original presence in Seattle’s own backyard. The lyrics are often hard to discern, and even when written down can be indecipherable at times. Lyrical ambiguity would be the major identifying trait in Kurt’s music for the rest of his career. Ted Ed Fred played a set at the Community World Theater in Tacoma the night of the Reciprocal recording. The bulk of the set consisted of the ten songs recorded earlier that day, in the exact same order. “Hairspray Queen” had to be stopped and redone towards the end of the set, owing to a broken bass string. Two more songs were played that night; one, another version of “Anorexorcist,” the other possibly called “Raunchola,” after a title mentioned in the band’s biography Come As You Are. The finale was a raucous attempt at Led Zep’s “Moby Dick.” It is rumored that had the tape not run out during the day’s recording (in the middle of “Pen Cap Chew”), the band would also have cut “Anorexorcist” and “Raunchola.” Their position towards the end of the set bears this out, but the loss is not so great. Both songs, even allowing for the rough quality of the bootleg, are cruder than the rest of the Crover demo, neither as memorable nor distinct. 3 Sometime after this show, the band settled on the name that would come to define them (and cause them some grief in the future from no less than two other bands of the same name), Nirvana. The name derives from the Hindu concept of total bliss after death, but it is interesting to note its usage as the chorus in the creepy, lurching “Paper Cuts.” Is it possible Kurt simply cribbed the line from this song, then came up with the explanation, as he took the title Nevermind from “Teen Spirit”’s third verse? Knowing the band’s history of acting on an impulse, it is certainly plausible; Kurt could have appropriated the name in order to have something to place on the fliers for an upcoming show– and then found that the name appealed to his love of the innocent and the beautiful. Chad Channing joined the band sometime in May of 1989, playing his first show with the band in June. Nirvana’s dynamic changed subtly with his addition; whether it was a coincidence or whether Chad exerted that much influence on Nirvana is unknown. With Chad, the songs became simpler and more direct, getting from A to B with more of a groove. Songs like “School” and “Mr. Moustache” (especially the drop D-tuned version of this song) are but one step above the material on the Crover demo, but it is a large step in terms of execution and attitude. Not a second of “School” is wasted; its churning verse riff and clever chorus propel the song inevitably forward to its urgent conclusion. The solo is an improvisational blues affair that starts out intentionally awkward, then straightens itself out, conveying the listener from lofty heights back down to the rumbling bass line for a muted, rapidly building crescendo during the song’s bridge.
Load more

Recommended publications
  • “Grunge Killed Glam Metal” Narrative by Holly Johnson
    The Interplay of Authority, Masculinity, and Signification in the “Grunge Killed Glam Metal” Narrative by Holly Johnson A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © 2014, Holly Johnson ii Abstract This thesis will deconstruct the "grunge killed '80s metal” narrative, to reveal the idealization by certain critics and musicians of that which is deemed to be authentic, honest, and natural subculture. The central theme is an analysis of the conflicting masculinities of glam metal and grunge music, and how these gender roles are developed and reproduced. I will also demonstrate how, although the idealized authentic subculture is positioned in opposition to the mainstream, it does not in actuality exist outside of the system of commercialism. The problematic nature of this idealization will be examined with regard to the layers of complexity involved in popular rock music genre evolution, involving the inevitable progression from a subculture to the mainstream that occurred with both glam metal and grunge. I will illustrate the ways in which the process of signification functions within rock music to construct masculinities and within subcultures to negotiate authenticity. iii Acknowledgements I would like to thank firstly my academic advisor Dr. William Echard for his continued patience with me during the thesis writing process and for his invaluable guidance. I also would like to send a big thank you to Dr. James Deaville, the head of Music and Culture program, who has given me much assistance along the way.
    [Show full text]
  • Grunge Is Dead Is an Oral History in the Tradition of Please Kill Me, the Seminal History of Punk
    THE ORAL SEATTLE ROCK MUSIC HISTORY OF GREG PRATO WEAVING TOGETHER THE DEFINITIVE STORY OF THE SEATTLE MUSIC SCENE IN THE WORDS OF THE PEOPLE WHO WERE THERE, GRUNGE IS DEAD IS AN ORAL HISTORY IN THE TRADITION OF PLEASE KILL ME, THE SEMINAL HISTORY OF PUNK. WITH THE INSIGHT OF MORE THAN 130 OF GRUNGE’S BIGGEST NAMES, GREG PRATO PRESENTS THE ULTIMATE INSIDER’S GUIDE TO A SOUND THAT CHANGED MUSIC FOREVER. THE GRUNGE MOVEMENT MAY HAVE THRIVED FOR ONLY A FEW YEARS, BUT IT SPAWNED SOME OF THE GREATEST ROCK BANDS OF ALL TIME: PEARL JAM, NIRVANA, ALICE IN CHAINS, AND SOUNDGARDEN. GRUNGE IS DEAD FEATURES THE FIRST-EVER INTERVIEW IN WHICH PEARL JAM’S EDDIE VEDDER WAS WILLING TO DISCUSS THE GROUP’S HISTORY IN GREAT DETAIL; ALICE IN CHAINS’ BAND MEMBERS AND LAYNE STALEY’S MOM ON STALEY’S DRUG ADDICTION AND DEATH; INSIGHTS INTO THE RIOT GRRRL MOVEMENT AND OFT-OVERLOOKED BUT HIGHLY INFLUENTIAL SEATTLE BANDS LIKE MOTHER LOVE BONE, THE MELVINS, SCREAMING TREES, AND MUDHONEY; AND MUCH MORE. GRUNGE IS DEAD DIGS DEEP, STARTING IN THE EARLY ’60S, TO EXPLAIN THE CHAIN OF EVENTS THAT GAVE WAY TO THE MUSIC. THE END RESULT IS A BOOK THAT INCLUDES A WEALTH OF PREVIOUSLY UNTOLD STORIES AND FRESH INSIGHT FOR THE LONGTIME FAN, AS WELL AS THE ESSENTIALS AND HIGHLIGHTS FOR THE NEWCOMER — THE WHOLE UNCENSORED TRUTH — IN ONE COMPREHENSIVE VOLUME. GREG PRATO IS A LONG ISLAND, NEW YORK-BASED WRITER, WHO REGULARLY WRITES FOR ALL MUSIC GUIDE, BILLBOARD.COM, ROLLING STONE.COM, RECORD COLLECTOR MAGAZINE, AND CLASSIC ROCK MAGAZINE.
    [Show full text]
  • Kurt Cobain's Childhood Home
    WASHINGTON STATE Department of Archaeology and Historic Preservation WWASHINGTON HHERITAGE RREGISTER A) Identification Historic Name: Cobain, Donald & Wendy, House Common Name: Kurt Cobain's Childhood Home Address: 1210 E. First Street City: Aberdeen County: Grays Harbor B) Site Access (describe site access, restrictions, etc.) The nominated home is located mid block near the NW corner of E 1st Street and Chicago Avenue in Aberdeen. The home faces southeast one block from the Wishkah River adjacent to an alleyway. C) Property owner(s), Address and Zip Name: Side One LLC. Address: 144 Sand Dune Ave SW City: Ocean Shores State: WA Zip: 98569 D) Legal boundary description and boundary justification Tax No./Parcel: 015000701700 - 11 - Residential - Single Family Boundary Justification: FRANCES LOT 17 BLK 7 / MAP 1709-04 FORM PREPARED BY Name: Lee & Danielle Bacon Address: 144 Sand Dune Ave SW City / State / Zip: Ocean Shores, WA 98569 Phone: 425.283.2533 Email: [email protected] Nomination June 2021 Date: 1 WASHINGTON STATE Department of Archaeology and Historic Preservation WWASHINGTON HHERITAGE RREGISTER E) Category of Property (Choose One) building structure (irrigation system, bridge, etc.) district object (statue, grave marker, vessel, etc.) cemetery/burial site historic site (site of an important event) archaeological site traditional cultural property (spiritual or creation site, etc.) cultural landscape (habitation, agricultural, industrial, recreational, etc.) F) Area of Significance – Check as many as apply The property belongs to the early settlement, commercial development, or original native occupation of a community or region. The property is directly connected to a movement, organization, institution, religion, or club which served as a focal point for a community or group.
    [Show full text]
  • A Case Study of Kurt Donald Cobain
    CORE Metadata, citation and similar papers at core.ac.uk Provided by South East Academic Libraries System (SEALS) A CASE STUDY OF KURT DONALD COBAIN By Candice Belinda Pieterse Submitted in partial fulfilment of the requirements for the degree Magister Artium in Counselling Psychology in the Faculty of Health Sciences at the Nelson Mandela Metropolitan University December 2009 Supervisor: Prof. J.G. Howcroft Co-Supervisor: Dr. L. Stroud i DECLARATION BY THE STUDENT I, Candice Belinda Pieterse, Student Number 204009308, for the qualification Magister Artium in Counselling Psychology, hereby declares that: In accordance with the Rule G4.6.3, the above-mentioned treatise is my own work and has not previously been submitted for assessment to another University or for another qualification. Signature: …………………………………. Date: …………………………………. ii ACKNOWLEDGEMENTS There are several individuals that I would like to acknowledge and thank for all their support, encouragement and guidance whilst completing the study: Professor Howcroft and Doctor Stroud, as supervisors of the study, for all their help, guidance and support. As I was in Bloemfontein, they were still available to meet all my needs and concerns, and contribute to the quality of the study. My parents and Michelle Wilmot for all their support, encouragement and financial help, allowing me to further my academic career and allowing me to meet all my needs regarding the completion of the study. The participants and friends who were willing to take time out of their schedules and contribute to the nature of this study. Konesh Pillay, my friend and colleague, for her continuous support and liaison regarding the completion of this study.
    [Show full text]
  • Marquetry on Drawer-Model Marionette Duo-Art
    Marquetry on Drawer-Model Marionette Duo-Art This piano began life as a brown Recordo. The sound board was re-engineered, as the original ribs tapered so soon that the bass bridges pushed through. The strings were the wrong weight, and were re-scaled using computer technology. Six more wound-strings were added, and the weights of the steel strings were changed. A 14-inch Duo-Art pump, a fan-expression system, and an expression-valve-size Duo-Art stack with a soft-pedal compensation lift were all built for it. The Marquetry on the side of the piano was inspired by the pictures on the Arto-Roll boxes. The fallboard was inspired by a picture on the Rhythmodic roll box. A new bench was built, modeled after the bench originally available, but veneered to go with the rest of the piano. The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION SEPTEMBER/OCTOBER 2005 VOLUME 42, NUMBER 5 Teresa Carreno (1853-1917) ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens VOLUME 42, Number
    [Show full text]
  • Piano Manufacturing an Art and a Craft
    Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Gesa Lücker (Concert pianist and professor of piano, University for Music and Drama, Hannover) Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Since time immemorial, music has accompanied mankind. The earliest instrumentological finds date back 50,000 years. The first known musical instrument with fibers under ten sion serving as strings and a resonator is the stick zither. From this small beginning, a vast array of plucked and struck stringed instruments evolved, eventually resulting in the first stringed keyboard instruments. With the invention of the hammer harpsichord (gravi cembalo col piano e forte, “harpsichord with piano and forte”, i.e. with the capability of dynamic modulation) in Italy by Bartolomeo Cristofori toward the beginning of the eighteenth century, the pianoforte was born, which over the following centuries evolved into the most versitile and widely disseminated musical instrument of all time. This was possible only in the context of the high level of devel- opment of artistry and craftsmanship worldwide, particu- larly in the German-speaking part of Europe. Since 1885, the Schimmel family has belonged to a circle of German manufacturers preserving the traditional art and craft of piano building, advancing it to ever greater perfection. Today Schimmel ranks first among the resident German piano manufacturers still owned and operated by Contents the original founding family, now in its fourth generation. Schimmel pianos enjoy an excellent reputation worldwide. 09 The Fascination of the Piano This booklet, now in its completely revised and 15 The Evolution of the Piano up dated eighth edition, was first published in 1985 on The Origin of Music and Stringed Instruments the occa sion of the centennial of Wilhelm Schimmel, 18 Early Stringed Instruments – Plucked Wood Pianofortefa brik GmbH.
    [Show full text]
  • Kurt Cobain: Montage of Heck Pdf, Epub, Ebook
    KURT COBAIN: MONTAGE OF HECK PDF, EPUB, EBOOK Brett Morgen | 160 pages | 05 May 2015 | Insight Editions, Div of Palace Publishing Group, LP | 9781608875498 | English | San Rafael, United States Kurt Cobain: Montage of Heck PDF Book You must be a registered user to use the IMDb rating plugin. Kurt Cobain: Montage of Heck makes a persuasive case for its subject without resorting to hagiography -- and includes plenty of rare and unreleased footage for fans. Sign In. Rolling Stone. After Kurt Cobain is born in , his parents move to Aberdeen, Washington and shortly after his sister Kim is born. Kurt Cobain. Archived from the original on November 19, Book Category. After recording their next album, Nevermind , their song " Smells Like Teen Spirit " becomes a hit and the band is launched into the mainstream. Kurt Cobain: Montage Of Heck After a short while, Kurt breaks up with Tracy. Bleach Nevermind In Utero. Helen Razer. Nevertheless, Kyle Anderson of Entertainment Weekly praised the album, considering it as "a cultural artifact that provides an inside look at the creative process of an enigmatic genius. Cobain's mother, Wendy, had regret in relation to working on the film. Archived from the original on February 6, We would have known that story. Downloads Wrong links Broken links Missing download Add new mirror links. We get a very intimate glimpse of the beloved musician from his early years all the way up to , when he tragically took his own life at the age of After he attempts to have sex with the girl, his classmates begin insulting and shaming him.
    [Show full text]
  • Complete Band and Panel Listings Inside!
    THE STROKES FOUR TET NEW MUSIC REPORT ESSENTIAL October 15, 2001 www.cmj.com DILATED PEOPLES LE TIGRE CMJ MUSIC MARATHON ’01 OFFICIALGUIDE FEATURING PERFORMANCES BY: Bis•Clem Snide•Clinic•Firewater•Girls Against Boys•Jonathan Richman•Karl Denson•Karsh Kale•L.A. Symphony•Laura Cantrell•Mink Lungs• Murder City Devils•Peaches•Rustic Overtones•X-ecutioners and hundreds more! GUEST SPEAKER: Billy Martin (Medeski Martin And Wood) COMPLETE D PANEL PANELISTS INCLUDE: BAND AN Lee Ranaldo/Sonic Youth•Gigi•DJ EvilDee/Beatminerz• GS INSIDE! DJ Zeph•Rebecca Rankin/VH-1•Scott Hardkiss/God Within LISTIN ININ STORESSTORES TUESDAY,TUESDAY, SEPTEMBERSEPTEMBER 4.4. SYSTEM OF A DOWN AND SLIPKNOT CO-HEADLINING “THE PLEDGE OF ALLEGIANCE TOUR” BEGINNING SEPTEMBER 14, 2001 SEE WEBSITE FOR DETAILS CONTACT: STEVE THEO COLUMBIA RECORDS 212-833-7329 [email protected] PRODUCED BY RICK RUBIN AND DARON MALAKIAN CO-PRODUCED BY SERJ TANKIAN MANAGEMENT: VELVET HAMMER MANAGEMENT, DAVID BENVENISTE "COLUMBIA" AND W REG. U.S. PAT. & TM. OFF. MARCA REGISTRADA./Ꭿ 2001 SONY MUSIC ENTERTAINMENT INC./ Ꭿ 2001 THE AMERICAN RECORDING COMPANY, LLC. WWW.SYSTEMOFADOWN.COM 10/15/2001 Issue 735 • Vol 69 • No 5 CMJ MUSIC MARATHON 2001 39 Festival Guide Thousands of music professionals, artists and fans converge on New York City every year for CMJ Music Marathon to celebrate today's music and chart its future. In addition to keynote speaker Billy Martin and an exhibition area with a live performance stage, the event features dozens of panels covering topics affecting all corners of the music industry. Here’s our complete guide to all the convention’s featured events, including College Day, listings of panels by 24 topic, day and nighttime performances, guest speakers, exhibitors, Filmfest screenings, hotel and subway maps, venue listings, band descriptions — everything you need to make the most of your time in the Big Apple.
    [Show full text]
  • Nirvana in Utero Album Download
    nirvana in utero album download Nirvana – In Utero (1993) This 20th Anniversary Super Deluxe Edition of the unwitting swansong of the single most influential band of the 1990s features more than 70 remastered, remixed, rare and unreleased recordings, including B-sides, compilation tracks, never-before-heard demos and live material featuring the final touring lineup of Cobain, Novoselic, Grohl, and Pat Smear. Additional Info: • Released Date: September 24, 2013 • More Info Hi-Res. Disc 1: Original Album Remastered 01. Serve The Servants (Album Version) – 03:37 02. Scentless Apprentice (Album Version) – 03:48 03. Heart-Shaped Box (Album Version) – 04:41 04. Rape Me (Album Version) – 02:50 05. Frances Farmer Will Have Her Revenge On Seattle (Album Version) – 04:10 06. Dumb (Album Version) – 02:32 07. Very Ape (Album Version) – 01:56 08. Milk It (Album Version) – 03:55 09. Pennyroyal Tea (Album Version) – 03:39 10. Radio Friendly Unit Shifter (Album Version) – 04:52 11. Tourette’s (Album Version) – 01:35 12. All Apologies (Album Version) – 03:56 B-Sides & Bonus Tracks 13. Gallons Of Rubbing Alcohol Flow Through The Strip (Album Version) – 07:34 14. Marigold (B-Side) – 02:34 15. Moist Vagina (2013 Mix) – 03:34 16. Sappy (2013 Mix) – 03:26 17. I Hate Myself And Want To Die (2013 Mix) – 03:00 18. Pennyroyal Tea (Scott Litt Mix) – 03:36 19. Heart Shaped Box (Original Steve Albini 1993 Mix) – 04:42 20. All Apologies (Original Steve Albini 1993 Mix) – 03:52. Disc 2: Original Album 2013 Mix 01. Serve The Servants (2013 Mix) – 03:38 02.
    [Show full text]
  • {FREE} Kurt Cobain: Montage of Heck Ebook
    KURT COBAIN: MONTAGE OF HECK PDF, EPUB, EBOOK Brett Morgen | 160 pages | 05 May 2015 | Insight Editions, Div of Palace Publishing Group, LP | 9781608875498 | English | San Rafael, United States Kurt Cobain: Montage of Heck - Wikipedia I loved reading Montage of Heck. Aug 04, Farahdiba Khan rated it it was amazing. I have never watched Montage of Heck. It doesn't seems to be available in my country I live in India btw I am happy to read the interviews from Kurt Cobain's family his dad, mom, step-mom and sister , Krist, Tracy and even Courtney. I think these people too are confused about his death. They seem to try to interpret him from their own perceptions. Anyway, I'll be reading more books later. Need to read Tom Grant's book too. I've absolutely adored Kurt Cobain and his life since the literal moment I was born thanks Dad so I have no idea why it took me so long to get around to this. There are so many aspects of Kurt's life which so many people don't know about and having this compilation of his journals and art "All artists are, in a sense, writing their own biographies with their work. There are so many aspects of Kurt's life which so many people don't know about and having this compilation of his journals and art pieces just really summed him up as a person. May 05, Liliana rated it it was amazing. So I've watched the movie and I've read the book.
    [Show full text]
  • Charles Peterson …And Everett True Is 481
    Dwarves Photos: Charles Peterson …and Everett True is 481. 19 years on from his first Seattle jolly on the Sub Pop account, Plan B’s publisher-at-large jets back to the Pacific Northwest to meet some old friends, exorcise some ghosts and find out what happened after grunge left town. How did we get here? Where are we going? And did the Postal Service really sell that many records? Words: Everett True Transcripts: Natalie Walker “Heavy metal is objectionable. I don’t even know comedy genius, the funniest man I’ve encountered like, ‘I have no idea what you’re doing’. But he where that [comparison] comes from. People will in the Puget Sound8. He cracks me up. No one found trusted the four of us enough to let us go into the say that Motörhead is a metal band and I totally me attractive until I changed my name. The name studio for a weekend and record with Jack. It was disagree, and I disagree that AC/DC is a metal band. slides into meaninglessness. What is the Everett True essentially a demo that became our first single.” To me, those are rock bands. There’s a lot of Chuck brand in 2008? What does Sub Pop stand for, more Berry in Motörhead. It’s really loud and distorted and than 20 years after its inception? Could Sub Pop It’s in the focus. The first time I encountered Sub amplified but it’s there – especially in the earlier have existed without Everett True? Could Everett Pop, I had 24 hours to write up my first cover feature stuff.
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Harper, A. (2016). "Backwoods": Rural Distance and Authenticity in Twentieth- Century American Independent Folk and Rock Discourse. Samples : Notizen, Projekte und Kurzbeiträge zur Popularmusikforschung(14), This is the published version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/15578/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Online-Publikationen der Gesellschaft für Popularmusikforschung / German Society for Popular Music Studies e. V. Hg. v. Ralf von Appen, André Doehring u. Thomas Phleps www.g f pm- samples.de/Samples1 4 / harper.pdf Jahrgang 14 (2015) – Version vom 5.10.2015 »BACKWOODS«: RURAL DISTANCE AND AUTHENTICITY IN TWENTIETH-CENTURY AMERICAN INDEPENDENT FOLK AND ROCK DISCOURSE Adam Harper My recently completed PhD research (Harper 2014) has been an effort to trace a genealogy of an aesthetic within popular music discourse often known as »lo-fi.« This term, suggesting the opposite of hi-fi or high fidelity, became widely used in the late 1980s and early 1990s to describe a move- ment within indie (or alternative) popular music that was celebrated for its being recorded outside of the commercial studio system, typically at home on less than optimal or top-of-the-range equipment.
    [Show full text]