Kurt Cobain had surely lost any bit of the enthusiasm he once had for performing by the time he strapped on his acoustic guitar, let out a long, audible breath, and addressed the ’90s coffeehouse crowd MTV had assembled for Nirvana: Unplugged with a self-consciously stiff “good evening.” Less than five months after the special’s November 18, 1993 taping, he would be dead. And in his suicide note, Cobain would cite his alienation from fans at live shows as part of the reason he was taking his own life. “[W]hen we’re backstage and the lights go out and the manic roar of the crowd begins, it doesn’t affect me the way in which it did for Freddie Mercury, who seemed to love, relish in the love and adoration from the crowd, which is something I totally admire and envy,” he wrote. “Sometimes I feel as if I should have a punch-in time clock before I walk out on stage.” … Read More
Long after his death, Kurt Cobain continues to be one of the most intriguing musicians in pop culture. He had… Read More
I can remember the poster perfectly, because for a while in the early 1990s you couldn’t go anywhere without seeing it up on someone’s wall. It was an evocative black-and-white shot of a young Eddie Vedder, clad in shorts, mic in hand, climbing onto a monitor, against a backdrop of an apparently endless crowd. Across the bottom was the wording “Pearl Jam, Vs. — Fastest Selling Album Ever.” These days, you can’t even find it on the Internet (although you can see the photo below). You certainly don’t see it on walls anymore — I guess most copies got torn down as adolescence gave way to adulthood, and maybe some are still gathering dust in garages and attics the world over. The past doesn’t change, but the way we look at it does. Twenty years makes a hell of a difference, really — because Vs. came out 20 years ago tomorrow.
“Why Counting Crows’ August and Everything After is as meaningful as Nirvana’s In Utero.” I’ll admit it. I clicked. It wasn’t exactly a rage-click; it was more a sort of general curiosity as to how the writer in question was going to take on a position that looked to be characterized by the sort of contrarianism that would make even veteran Slatepitchers quail in their boots. The writer in question is Steven Hyden, who presumably got paid a good rate by the generally excellent Grantland to argue his case, which he does here. Can he possibly be right? … Read More
In the course of writing about the director’s cut of the “Heart-Shaped Box” video yesterday, we came across a pretty great behind-the-scenes photo of Nirvana hanging out on set with the woman who appears in the video wearing a terrifying skinless fat suit. We’re very partial to such images here at Flavorwire, and we got to thinking that there must be more out there on the Internet. And indeed there are — so here’s a selection of some of the… Read More
Director’s cuts: sometimes they’re the definitive version that the auteur wanted to make all along, and sometimes they’re a demonstration of why letting the director have the final cut isn’t always such a great idea. Either way, until recently, the music video has been largely untouched by the entire director’s cut phenomenon, but the recent appearance of a new version of Nirvana’s iconic “Heart-Shaped Box” video got us thinking about other alternate cuts of music videos. Here are a selection. … Read More
There’s been quite a bit of discussion online about an interview Wilco frontman Jeff Tweedy gave to the Chicago Grid earlier this week. Specifically, Tweedy discussed the fact that he licensed four of his songs to Volkswagen for a series of commercials, and the inevitable accusations of “selling out” that followed. Tweedy was unrepentant, arguing that “the idea of selling out is only understandable to people of privilege.” It’s always interesting to read what artists think about the whole idea of selling out, given that it’s something that fans seem the need to discuss ad infinitum. Here are some other perspectives from over the years. … Read More
Because, um, it sure looks like it. [via And previously: