Nirvana

"You know what I really need right now?" he asks suddenly. "I need to know what people want from me. I feel like there are all these contradictions about what people want, you know. And in the end they want too much. They want you to be a leader. They want you to be a victim. They want your fuckin' soul. They want everything. And some of them, they don't give up, they're relentless. And why should I care? I shouldn't even fuckin' care, man. I should be strong enough to say 'I don't give a fuck. Fuck you all, I don't give a fuck, you fuckin' bastards."

"And then I'd really be a spokesman for a generation. Because there are a lotta people out there, man, going 'Fuck this fuckin' shit. Fuck it.' They're ignorant and they're happy and they don't give a fuck about anything. I see a lotta people out there, man, and they're beyond fucked up. So maybe I should care a little less about them, because it looks like they don't care about me."

Just over a month ago, Kurt Cobain ended what had become the awful anguish of his life with a shotgun blast that blew his face off. You would have thought it would have been an occasion for nothing more complicated than tears and grief. For some people, however, it was an opportunity for gloating condescension, questionable moralising and something approaching sneering indifference. For these people, Kurt was weak, pathetic, a snivelling little asshole who took a coward's way out. These were the people for whom Kurt was nothing more than an irritating little saddo who, having become successful, did nothing but whine about it. I am thinking here particularly of Chrissie Hynde and the motifyingly embarrassing interview with the silly old dear in the NME the week after Kurt's death, which for sheer churlishness was pretty unbeatable.

"When will people understand the simple fuckin' fact that it's not success that's the fuckin' problem," Eddie veritably froths. "It's a fuckin' honour that people love your music and buy your records and come to your shows. It's what happens when a lot of these people start thinking you can change their lives or save their lives or whatever and create these impossible fuckin' expectations that in the end just start tearing you apart that's the problem. If that's success, fuck it. I'm outta here. The thing is, success on any level can be hard to deal with for most musicians. Why? Because you never really believe you're going to be successful. I mean, I've met very few musicians who truly believed they'd ever be successful on like a major scale. At least, very few that I've liked. If they thought they were going to be successful, they were probably some cocky fuckin' bastard I didn't give two shits about. So when you unexpectedly become more successful than you ever imagined, it can be something that's real heavy to deal with. And I think Kurt, he definitely had a lot of shit to deal with. It's like Mike, our guitar player, I don't mind talking about it, fuck it, he's fuckin' up, man. He's getting fucked up way too much, doing stupid shit and I'm fuckin' worried for him."

"The thing is, we're not Madonna. And I don't mind mentioning the name because it's a good example and she'll be proud of the fact that I've even mentioned her. She's someone who manipulates the media, someone who has a new look and a new theme behind every performance. She orchestrates this kind of anticipation and she thrives on it. 'What's she gonna do now? Where's she gonna go next?' She loves the attention. "And someone like that, look what they've had to do. They end up having to shock and strip and go as far as you can go. And I'm sorry, that's boring, so boring to me. I don't need that attention. I don't want that attention. And I don't think it's fair for anyone to criticise me or Kurt or anyone else for not wanting any fuckin' part of it. Because that's not why we got into this. We got into this because we wanted to be in a band, play music, make records. End of fuckin' story."

Eddie's been quiet these last couple of minutes, so you know something else is on his mind. "The thing is," he goes on then, "you'd think your ego would be massive, playing for all these people, having all these people sing your songs. The fact is, you never think you're that good. You don't feel like you deserve this kind of attention or adulation. And so what you end up feeling instead of this large ego is, you feel like you're worthless. You can't live up to the glorification and it makes you feel small and it makes you feel real shitty."

"Like, we get thousands of letters a week from people who want some kind of help. I've had people sending me notes saying they're going to commit suicide and I've called them up, and some of them, man, they're beyond help. But you're in this position where you start to think there must be something you can do, you know. So maybe I'm more tortured now, because I feel like there's more I should be doing. But you can't help everybody and if you say, 'Well, I'll help this person, but there's nothing I can do right now for that person', it's even worse, because then you do start acting like God. Because there are so many people who deserve whatever help you can give them." "It's the same with organisations. We're constantly getting letters asking us to do this or do that. And they're good causes. But they can't even show them to me any more. Because they know I'll let my innards be scooped out. I'll have nothing left." "And people have advised me on this. They've said, 'What you're doing musically, don't jeopardise that. The music is something everyone can get something out of, and you shouldn't be required to do anything more. And if you put everything into that, then that's helping more people than you could ever imagine.' "And I've come to realise that these people are probably right. Because if you get lost in these individual situations and circumstances, if you get too drawn in, you can lose control of your own life and where you're going. And then you really would be worthless as far as making music and in the end you need to protect that. So as far as all these cries for help go, it's easy to hear and easy to take in. But it's almost impossible to do anything. And that may be really fuckin' hard to accept," he says with a weary finality, "but it's the sad fuckin' truth."

Let me mention here that Eddie had told me about one particular letter that came to his attention. It was from a 13 year-old boy named Michael and it was about his mother. This was a woman whose husband had walked out on her, leaving her to bring up three children on her own. She worked cleaning toilets, delivering mail, anything, to earn enough money to put herself through community college. She eventually got a degree. Then she had an accident, her hip was destroyed, she couldn't walk, she couldn't work. On Valentine's Day last year, she tried to commit suicide. Eddie was moved by the letter, got involved, tried to make what he described as a useful response. The morning after the interview, I wake up in my hotel room to find an envelope pushed under the door. It's from Eddie, a note and the letter Michael's mother sent him thanking him for everything he'd done for her. I read it over breakfast, a chill creeping over me.

You wondered, then, how you would cope with things like this, one of many small involvements in people's lives, and the responsibilities you assume when like Eddie you get in so deep. And you were glad then that you'd probably never have to find out. Because you were sure that more than one letter like the one he'd given you would fuck you up, no doubt about it.

Back at the Paramount, the interview is winding down when Steve Gullick turns up. He's been told that he can only take pictures during the first number of Pearl Jam's show, no flash, from an obscure vantage point on the far side of the stage.

"Fuck that," Eddie says. "Take as many shots as you like, from where you like, for as long as you like and if anybody gives you any shit, tell 'em to talk to me about it." Steve asks if he can do a couple of shots in the dressing room. Eddie says sure and goes to fetch his guitar. "Let's go in here," he says, walking into the shower stall and turning on the water. Then he borrows my lighter and starts burning the cork from the wine bottle we've just emptied and starts making up his face, drawing dark circles around his eyes, and a cross on his forehead. "This is going to make you look ever so weird," Gullick tells him. "Let me be as weird as I fuckin' like," Eddie says. "It's my fuckin' life."

дорогие битломане! детёныш просит на др куклу... кто отоваривается через ebay - пожалейте ребеночка, плиз... :))

2PrudenS:

>


>дорогие битломане! детёныш просит на др куклу...
>кто отоваривается через ebay - пожалейте ребеночка,
>плиз... :))

Это не Барби, и даже не Кен.

2PrudenS:
Я её на Горбушке видел.

2SergeK:

барбями, кенами и их детьми уже сами можем торговать ))

KURT COBAIN / VARIOUS ARTISTS Kurt Cobain: About A Boy
(2007 21-track CD album - 'About A Son' is an intimate & moving portrait of the late musician & artist Kurt Cobain, told entirely in his own voice from more than 25 hours of never-before-heard audiotaped interviews conducted by Michael Azerrad and features the music of more than 20 artists who influenced or touched Cobain during his life, from childhood favourites Arlo Guthrie, the influential punk bands Bad Brains & Big Black, Sub Pop contemporaries Mudhoney & Mark Lanegan to legendary music figures Iggy Pop, David Bowie & R.E.M.).

1. Overture - Steve Fisk & Benjamin Gibbard
2. "ever intended" [interview excerpt]
3. Motorcycle Song - Arlo Guthrie
4. Eye Flys - The Melvins
5. "punk rock" [interview excerpt]
6. Banned In D.C. - Bad Brains
7. Up Around The Bend - Creedence Clearwater Revival
8. Put Some Sugar On It - Half Japanese
9. Son Of A Gun - The Vaselines
10. Graveyard - Butthole Surfers
11. "hardcore was dead" [interview excerpt]
12. Owner's Lament - Scratch Acid
13. Touch Me I'm Sick - Mudhoney
14. "car radio" [interview excerpt]
15. The Passenger - Iggy Pop
16. The Bourgeois Blues - Lead Belly
17. New Orleans Instrumental No 1 - REM
18. "the limelight" [interview excerpt]
19. The Man Who Sold The World - David Bowie
20. Museum - Mark Lanegan
21. Indian Summer - Benjamin Gibbard

Release date: Monday 24 September 2007

Почти по теме.

Гениальненько, сплошной офф-бит:-)

Отличнейшая новость. В ноябре на Universal будет выпущен официальный dvd Nirvana - Unplugged In New York.

Nirvana: Unplugged In New York
19/11/2007

DVD release of the legendary unplugged show from Nirvana featuring classic readings of David Bowie's 'The Man Who Sold The World', Leadbelly's 'Where Did You Sleep Last Night', The Meatpuppet's 'Plateau' and 'Lake Of Fire', The Vaselines 'Jesus Don't Want Me For A Sunbeam', as well as Nirvana favourites including 'All Apologies', 'Penny Royal Tea', 'Polly', 'On A Plain', 'Come As You Are' and more.

>Nirvana: Unplugged In New York
>19/11/2007

скорее бы уш...

Pennyroyal Tea с репетиции Unplugged. Pat Smear - офигенный певец :))

Ну вот и может надо кому. 5 песен с репетиций Unplugged в mp3
http://www.sendspace.com/file/zbwmub

Unplugged??? Уррра! Счастью моему нет предела, ведь Нирвана - одна из любимых групп, с ней удалось пережить пик переходного возраста. А спокойный Unplugged - самое то сейчас.

фото Курт- "правша"

Maks, it's all for ya. Look at this mr.Blake)

2 Тёма:

Значится так: первая фотка конец 93го, тур по Америке, ща точно поищу.
Вторая фотка: http://nirvanaguide.com/images.php?id=920125 Австралия 01-25-92
Третья фотка: http://nirvanaguide.com/images.php?id=900922 Сиэттл, 09-22-90. Играет Курт левой рукой, а крушить гитары все равно какой рукой :)

2Kurt Donald Cobain:
вот и я когда увидел фото подумал че за фотомонтажь

Ну вот, первая фотка, http://nirvanaguide.com/images.php?id=931114 Нью-Йорк, 11-14-93

Что и требовалось доказать :)