Me meto un tiro,
¡Pum!
El eco suena,
¡Pum!
O quizás es el corazón,
¡Pum!
Que todavía sueña.

Etiqueta: Entrevistas

Dave Grohl: “Hay algo en Lorde que me recuerda a Nirvana”

Dave Grohl: “Hay algo en Lorde que me recuerda a Nirvana”

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Dave Grohl: «There’s something about her (Lorde) that represented or resembled the Nirvana aesthetic»

Lorde

El frontman de Foo Fighters, Dave Grohl, ha recordado a Rolling Stone la primera vez que escuchó a Lorde.

Estaba conduciendo. Mis dos hijas, Violet y Harper, que tienen ocho y cinco años, empezaron a cantar. Estaba tan feliz y aliviado porque mis dos chicas estaban cantando una canción popular de la radio que tenía algo de sustancia y profundidad, algo que consideré saludable para ellas como niñas. Sé que eso suena un poco a padre.

Cuando oí “Royals” por primera vez estaba metido entre todo ese pop de strippers. Joder, quedé tan aliviado. Pensé, “Hey, esto quizá sea otra revolución”. Cuando la conocí, le dije, “Cuando escuché tu canción en la radio y mis hijas la cantaron sentí que había esperanza para que mis hijas crecieran en un ambiente que sea algo más que superficial…”

Llegado el momento en que decidió -junto a Krist Novoselic- que Nirvana subieran al escenario de la gala del Salón de la Fama del Rock con una vocalista, no tuvo dudas de que Lorde debía ser una de las elegidas.

Hay algo en ella que representa o recuerda a la estética de Nirvana. Tiene un futuro increíble como compositor, artista y vocalista.

IN ENGLISH

Dave Grohl vividly remembers the first time he heard Lorde. «I was driving,» he says. «My two daughters, Violet and Harper, who are eight and five years old, started singing along. I was so happy and relieved that my two girls were singing a popular song on the radio that had some substance and depth, which I considered to be healthy for them as kids. I know that sounds kind of parent-ish.»

The Inside Story Of Nirvana’s One-Night-Only Reunion

The Foo Fighters frontman isn’t a fan of most Top 40 music. «When I first heard ‘Royals’ it was sandwiched between all of that other stripper pop,» he says. «I was so fucking relieved. I thought, ‘Hey, this might be another revolution.’ When I met her I said, ‘When I first heard your song on the radio and my kids sang along I felt like there was hope for my kids to grow up in an environment which is more than just superficial.'»

When he decided to bring in a group of female singers to front Nirvana at the Hall of Fame, he had little doubt that Lorde would fit in perfectly. «There’s something about her that represented or resembled the Nirvana aesthetic,» he says. «She has an incredible future ahead of her as a writer, performer and vocalist.»

John McCauley habla de su participación en el concierto post-Salón de la Fama de Nirvana

John McCauley habla de su participación en el concierto post-Salón de la Fama de Nirvana

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Inside Nirvana’s Secret Post-Rock Hall Show with John McCauley

John McCauley deer tick nirvana kurt cobain deervana

Sacado de // From –> http://portalternativo.com – http://www.rollingstone.com

El frontman de Deer Tick, John McCauley, ha charlado con Rolling Stone sobre su participación en el concierto de Nirvana (bueno, Dave Grohl, Krist Novoselic y Pat Smear) posterior a la ceremonia del Salón de la Fama del Rock en un pequeño club neoyorquino.

Aún me cuesta creérmelo. ¿Sabes cuando te despiertas de un sueño y solo recuerdas ciertas imágenes y no sabes lo que te ha pasado o como explicarlo? Fuese tocando canciones de Nirvana o no, siempre he fantaseado con tocar con Dave Grohl a la batería. Es, sin duda, uno de mis favoritos. Estoy emocionadísimo.

McCauley recuerda como conoció al trío de Aberdeen:

Explotaron cuando yo era joven, como cinco o seis años, pero era algo que mi madre escuchaba y que me ponía. Y una vez llegué a la adolescencia y fui un rarito, al que llamaban “marica” o lo que fuese, ahí es cuando conectó conmigo. Era música rabiosa perfecta que en su día conquistó el mundo – fue una banda sonora inspiradora en mis años de adolescencia.

De como le llegó la oportunidad de participar en el concierto:

Recibí un email de Dave personalmente. Pero fue el día antes del April Fool’s Day así que no me emocioné demasiado. Podría haber sido cualquiera con una cuenta de email falsa que me dijera, “Hey, soy Dave Grohl”. Habría sido una buena broma que hacerme. No sé si me la hubiera creído porque pasé dos días con bastante escepticismo. Pero luego recibí un email de su manager. Y luego se hizo real. Y me quedé como, “¡Hostia puta! Esto es raro, tío. Pero hagámoslo’.

Supongo que tenemos un amigo en común que me dijo que Dave era un gran fan de nuestro álbum “Divine Providence”. Y moló saber que sabía que existíamos. Aquello que hicimos de Deervana por lo de “In Utero” logró buena prensa. Y Dave se enteró y supongo que le picó la curiosidad. Y me preguntó si quería tocar en ese concierto de después de la ceremonia del Salón de la Fama. Me dijo, “Será una fiesta pequeña, ruidosa y borracha”. Yo me crezco en esos ambientes. “¡Hagamoslo!”

El concierto no fue su única actuación y es que hubieron ensayos en días anteriores.

Fui a su local de ensayo en el centro. Tocamos unas pocas canciones y fue muy divertido. Yo era al que nadie conocía. Nadie me conocía de antes. Cuando entré, estaban tocando el set con J Mascis. Estaba todo su equipo ahí y yo ahí en la esquina sin hablar con nadie ni nada. Krist estaba en plan, “Oh, me preguntaba quien era ese tío raro de la esquina”. Estaba hecho un saco de nervios cuando entré ahí. Sabía que podía tocar las canciones y cantar bien. Fue simplemente que, “¿Como hablo con esos tíos?” Pero fueron tíos super amables.

Cuando entré oí “Drain You”. Moló. Cuando entré en los Hibson Studios, que supongo solía ser el Hit Factory, toqué el timbre y alguien me dejó entrar. Me dijo, “¿Donde vas?” Y le dije, “Estudio seis”. Y me pregunta, “¿Qué banda?” Y yo, “Uh, Nirvana”. Fue una sensación rara decir eso. Fue maravilloso.

De la actuación en si:

Tuve la sensación a como cuando eres niño y te quedas a dormir en casa de un amigo y te conviertes en parte de la familia de tu amigo por una noche. Pese a no haber estado en una banda en 20 años, a mi me parecieron una banda. Cuando subí al escenario, fue calmado porque tratábamos de aclararnos qué canción hacer y había ‘feedback’ y nosotros gritándonos entre nosotros y Dave dijo, “¡Guau! ¡Esto es como un verdadero concierto de Nirvana!” Y mi banda ha tenido millones de momentos así. Supongo que nuestras bandas son de raza parecida (risas)

Escuchar a Joan Jett en el club fue lo más certero que he oído de toda la noche. Fue bastante increíble. Estuvo maravillosa. Todos lo estuvieron, haciendo lo suyo, pero cierras los ojos y te imaginas que era Kurt y no Joan Jett. Moló. Y los tonos de guitarra y todo. Muy Nirvana.

Pude notar lo emocional que fue para Dave y Krist. Parecían estar realmente felices por hacerlo para honrar a su amigo.

De los rumores de que se podría repetir:

No contaría con ello. No he oído nada sobre eso. No sé se donde sale ese rumor o si tiene algo de verdad. Pero si, no espero hacer esto de nuevo pero si lo hicieran de nuevo y me preguntaran, no creo que me esté permitido decir que no.

Parece que se grabó el concierto:

Tenían algunas cámaras ahí montadas pero no sé quien lo filmó. No firmé ninguna cesión de derechos así que no estoy seguro, quizá no usen mi parte. O quizá emborronen mi cara y distorsionen mi voz como a los criminales en la tele.

IN ENGLISH

John McCauley is such a big Nirvana fan, his band Deer Tick routinely play covers-only shows as Deervana. So he had a hard time believing it when he got an email from Dave Grohl asking him to play with the surviving members at a Rock & Roll Hall of Fame afterparty at Brooklyn’s 230-capacity Saint Vitus on Thursday night. «It was the day before April Fool’s Day, so I didn’t really get my hopes up,» he says.

But it was true, and McCauley fronted Dave Grohl, Krist Novoselic and Pat Smear as they ripped through «Serve the Servants» and «Scentless Apprentice» at the gig, which also included singers Joan Jett, J Mascis, St. Vincent’s Annie Clark and Kim Gordon fronting the band. «I’m having a hard time believing it happened,» McCauley says. «Even though they haven’t been a band in 20 years, they felt just like a band to me.»

Michael Stipe Inducts Nirvana into Rock and Roll Hall of Fame

Congratulations on playing with Nirvana. So far today, I’ve been refusing to believe it happened because I wasn’t there.
I’m having a hard time believing it happened too. You know how you wake up from a dream and can only remember certain images of it you don’t really know what happened or how to explain it?

Is this the peak of your career so far?
Whether it was playing Nirvana songs or not, I’ve always fantasized about playing with Dave Grohl behind the drum set. He’s definitely one of my favorites. I’m just so thrilled about it.

How old were you when you became obsessed with Nirvana?
They had their big breakthrough when I was young, like five or six, but it was something my mother listened to and turned me on to. And once I became a teenager and a weird kid, labeled a «faggot» or whatever, that’s when it really all connected with me. It was perfect angry music that at one time really took over the world –it was an inspirational soundtrack for my teenage years.

Who called you to do this?
I got an email from Dave personally. But it was the day before April Fool’s Day, so I didn’t really get my hopes up. It could have been anybody with a fake email account that says, «Hi I’m Dave Grohl.» That would have been a pretty good prank to pull on me. I don’t know if I would have fallen for it because I was skeptical for a couple days. But then I got an email from their manager. And then it got real legit. And then I was like, «Holy shit! This is weird, man. But let’s do it.»

Dave must have been aware you’re a superfan.

Yeah. I guess I have a mutual friend who has told me that Dave was a big fan of our Divine Providence album. And that was cool to know he was even aware of us. That Deervana thing we did for In Utero got some pretty good press. And Dave found out about it and I guess he was tickled by it. And he asked me if I wanted to play at this afterparty after they got inducted to the Hall of Fame. [He said], «It’s going to be a small, loud, drunk afterparty thing.» I thrive in those environments. «Let’s do it!»

Was there any rehearsal?
Yeah, I went by their rehearsal space in midtown. We ran through a few songs and it was pretty funny. I’m the one guy nobody knew. Nobody had ever met before. When I walked in, they were running over their set with J Mascis. Their whole crew is there and stuff and I’m in the corner not really talking to anybody or anything. Krist is like, «Oh, I was wondering who that weird guy in the corner was.» I was a ball of nerves when I walked in there. I knew I could play the songs and sing fine. It was just, ‘How do I talk to these guys?’. But they were super sweet guys.

What were they playing when you walked in?
I heard «Drain You.» It was cool. When i walked into Hibson Studios, which I guess used to be the Hit Factory, I rang the buzzer and somebody let me in. He said, «Where you going?» I said «Studio Six.»

«What band?»

«Uh, Nirvana.» It felt weird leaving my mouth. It was awesome.

What is it like to play onstage with Krist and Dave and Pat? 

It felt like when you’re a kid and you sleep over at a friend’s house and you become part of your friend’s family for the night. Even though they haven’t been a band in 20 years, they felt just like a band to me. When I got up onstage, it was a lull, because we were trying to figure out what song to do next and there was just feedback and us yelling at each other and Dave was like, «Wow this is like a real Nirvana show!» And my band has had a million moments like that onstage. I guess our bands are just of a similar breed, I guess [laughs].

Was there a moment onstage where it felt like Nirvana?
Hearing Joan Jett at the club was the most spot-on thing that I’ve heard from the whole night. It was pretty amazing. She was awesome. Everyone else was awesome too, doing their own thing, but you could close your eyes and kind of imagine that it was Kurt and not Joan Jett. It was cool. And the guitar tones and everything. Very Nirvana.

Did you feel the spirit of Kurt in that room with those guys playing?

It was so hard for me to imagine. It’s somebody that I’ve never met, but I could definitely feel how emotional Dave and Krist especially were. It seemed like they were really happy to be doing it to honor their friend.

What was the feeling like in the club? Were people going nuts?
Yeah. It was great. Before they opened up the show space, the bar area was so packed, you couldn’t get a drink. You couldn’t take a piss. The show started and the bar area was completely deserted for the whole thing. Everybody was in there watching. It was cool.

Do you see this happening again? Would you want to go on tour with those guys?
I wouldn’t count on it. I haven’t heard anything about that. I don’t know where that rumor started or if there’s any truth to it. But yeah, I don’t expect to do this again, but if they were to do it again and asked me, I don’t think I’m allowed to say no.

How late did last night go?
I don’t think I got home till 6 a.m. or something. It was supposed to be done at 4 but I don’t think I walked out of there until like 5:30.

I heard there were cameras. When will we see this?
They had some cameras set up at the afterparty thing but I don’t know who filmed it. I didn’t sign any release forms, so I’m not sure, maybe they won’t use my portion.

Maybe they’ll blur your face out.
That would be funny. Disguise my voice like ex-criminals on TV.

 

Entrevista a Kim Thayil por Songfacts

Entrevista a Kim Thayil por Songfacts

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Interview to Kim Thayil by Songfacts

Kim Thayil of Soundgarden

Sacado de // From –> http://www.songfacts.com

Greg Prato (Songfacts): ¿Cómo encaras el hacer canciones exactamente?

Kim Thayil: varía canción a canción. Hemos escrito canciones de muy diferentes maneras, con combinaciones distintas para nosotros cuatro. A veces todos participan colectivamente, o quizás dos o tres, o por ejemplo otra veces es solo una persona la que escribe.

Desde que todo el mundo en la banda compone con la guitarra, ser el guitarrista principal me ha llevado a aprender a tocar la guitarra con el estilo de nuestro batería, quien escribe las canciones con la guitarra, con el de nuestro bajo quien también escribe las canciones con su guitarra, y el de nuestro cantante / guitarrista, que también hace lo mismo.

Así que es seguro decir que se comienza con el riff. Se comienza con un riff de guitarra y trabajamos las voces a su alrededor. Chris, al menos en algunas ocasiones, empieza todo con una melodía vocal y construye la canción alrededor de la melodía vocal, pero eso es poco común e incluso grandes programas para creación de música con voz no hacen eso. Tal vez algunos compañeros que tocan el piano construyen música alrededor de la melodía vocal, pero Paul Simon, por ejemplo, comienza con un riff  la canción. The Beatles – Lennon, McCartney – todos iniciaban propablemente sus canciones con un riff y luego construyeron la letra a su alrededor.

Si queréis leer más, en inglés, pasaros por –> http://www.songfacts.com/blog/interviews/kim_thayil_of_soundgarden/

IN ENGLISH

Greg Prato (Songfacts): How exactly do you approach songwriting?

Kim Thayil: It varies from song to song. We’ve written songs in so many different ways, with different combinations of the four of us. Sometimes everybody would partner collectively, or maybe two or three guys, or complete authorship where one guy writes everything.

Since everyone in the band writes on guitar, being the lead guitarist I have to learn to play guitar in the style of our drummer, who writes songs on guitar, and our bass player who writes his songs on guitar, and our singer/guitarist who writes songs on guitar.

So it’s safe to say they start with the riff. They start with a guitar riff and we work the vocals around it. Chris, at least on a few occasions, started with a vocal melody and built the song around the vocal melody, but that’s unusual and even great vocal songsmiths don’t do that. Maybe some piano guys do that where they build the chords around the vocal melody, but Paul Simon, for instance, starts with a song riff. The Beatles – Lennon, McCartney – those guys probably started the music in a riff and then built the lyric around it.

For more –> http://www.songfacts.com/blog/interviews/kim_thayil_of_soundgarden/

Courtney Love: “No habrá manos de jazz en Smells Like Teen Spirit”

Courtney Love: “No habrá manos de jazz en Smells Like Teen Spirit”

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Courtney Love interview: ‘There will be no jazz hands on Smells Like Teen Spirit’

Courtney Love in London, April 2014

Sacado de // From –> http://portalternativo.com/ – http://www.telegraph.co.uk

Si hace unos días Courtney Love revelaba los ensayos que estaban llevando a cabo los miembros de Hole iban por el buen camino, ahora en una entrevista con The Telegraph, Love ha explicado que sus palabras no sentaron muy bien a sus compañeros.

Quizá nos lo montamos pero no se habla de matrimonio. Es todo muy frágil, quizá no pase nada y ahora la banda lo está flipando conmigo.

En otro orden de cosas, Love habla de las comparaciones que siempre ha recibido con Yoko Ono, considerándolas injustas.

Nunca estuve ahí en los ensayos. Pero a Kurt le molaba Yoko. Él era de adoptar rápido. Me dio un cofre de Yoko Ono cuando estaba embarazada, que le tiré a la cabeza. Yo no era demasiado fan.

Aprovecha asimismo para lanzar una andanada contra Dave Grohl al explicar que es muy exigente con su propia música.

No puedo hacer un disco de rock realmente bueno y eso es todo. No puedo ser Nickelback. Y no es por ser una zorra, no puedo ser Foo Fighters.

Hablando del musical sobre su difunto esposo, Kurt Cobain:

Es más una obra de teatro, hecho por un equipo brillante. No puedo dar nombres pero cuando te enteres de quien está metido, la cosa coge otra dimensión. Si no, sería basura de Las Vegas y eso nunca no lo permitiría. ¡No habrán manos de jazz en “Smells Like Teen Spirit”!

IN ENGLISH

Courtney Love glances at a news feed on her phone. “Nirvana to reunite with Courtney Love as singer,” she reads aloud. “Yeah, that’ll be the day,” she snorts. “It’s just nonsense.” Speculative stories are bubbling around Love as we reach the 20th anniversary of Cobain’s death on April 5th, 1994. “It’s hard for me, but I think it’s much harder for Frances,” she says of their 21-year-old daughter, Frances Bean Cobain. “She has no memories of her father. Not one. So that sucks.”

When her late husband’s seminal grunge band are inducted in the Rock and Roll Hall of Fame in New York, on Thursday, April 10th, mother and daughter will collect the award on Cobain’s behalf, alongside surviving band members Dave Grohl and Krist Novoslevic. “I wasn’t in Nirvana, but it’s what widows and kids do. And it does give me ownership of the mythology, rather than just handing over to Krist and Dave their ownership.”

It is a strong statement. Love and Grohl have had public disputes over the legacy of Nirvana, and while she expresses some unease at things that “exacerbate the myth of Kurt and Courtney”, she strongly feels that this is her story as much as anyone’s. She pours scorn on a permanent Nirvana exhibition set up by Grohl and Novoslevic (with Microsoft founder Paul Allen) at the EMP Museum in Seattle. “It makes them look like happy Monkees. Which isn’t the reality at all.”

Yet Love has come under criticism from some quarters after revealing that she is developing a Broadway musical about Cobain, not a genre most fans would associate with his punk sensibility. “It’s more a play, conceived by a brilliant team. I can’t name names, but when you hear who is possibly involved, it takes on a new dimension. Otherwise it’s Vegas rubbish, and I will never allow it. There will be no jazz hands on Smells Like Teen Spirit!”

Love knows she is viewed by some with the same kind of suspicion and antipathy that Yoko Ono has attracted from many Beatles fans. “I don’t think the Yoko comparison is fair, I never sat in on rehearsals,” she protests. “But Kurt thought Yoko was cool. He was an early adopter. He gave me a Yoko Ono box set when I was pregnant. Which I threw at his head. I wasn’t really a fan.”

Love is paying a flying visit to London this month to promote a solo British tour in May, and a forthcoming single, Wedding Day, her first new music in four years. “I’m not prolific but I think I’m prodigious. It’s magical, my best for an ice age, a two minute 59 second slab of punk-pop greatness. I’ve thrown out twenty riffs looking for this. I’m bloody proud of it.” Love believes, and she may well be right, that because of her outspoken and often inflammatory public persona, that the music she creates has to be bold, fearless and of the highest possible standard, or she will be ripped to shreds by critics. “I can’t just do a really good rock record and that’s the end of it. I can’t be Nickelback. And not to be a b****, I can’t be the Foo Fighters.”

It is a typically back-handed swipe at Grohl’s post-Nirvana ensemble, a little verbal hand grenade innocently tossed out as if she doesn’t know the damage it might cause. “America’s Sweetheart was my one true piece of s***, it has no cohesive thread, I just hate it,” she says of her 2004 solo album, made under the influence of drugs, as Love admits. Everything else she has recorded, solo or with her band Hole, she says, “I can stand behind it 100 per cent. And if you don’t like it, you’re the idiot.”

Love is a compelling, beguiling character, combining a motormouth brashness with a surprising sweetness, almost bordering on naivety. At 49, she has a distinctively wonky glamour, crossing rock sleaze and Hollywood elegance, leather trousers and flowing tops – a spaced out Botox beauty beneath a shock of dyed-blonde hair. She is open and loud, energetically jumping from one subject to another, assuming her listener’s intimate acquaintance with all the characters and events in her chaotic life. It is difficult to really convey Love in full flight but she’s fun to be around because she is smart and friendly and says what she thinks with an honesty that, you can imagine, might be quite difficult for those closest to her.

She recently rejected her own ghostwritten autobiography, sending it back to Harper Collins because, she says, “it’s like me jacked on coffee and sugar in a really bad mood. I said keep your bloody money. I’d rather keep my friends.”

She complains she has already been in trouble this week for implying there would be a reunion of the classic line-up of her original band Hole next year. “We may have made out but there is no talk of marriage,” she says of tentative meetings with former band mates. “It’s very frail, nothing might happen, and now the band are all flipping out with me.” There are things that she would like to be known, including that she has been drug free for a decade. “That bad cocaine thing was only a year, but it was not a discreet year, with the photos to prove it. I haven’t done a toot since then.” She says she is “very appropriate on social media now”, after various controversies and law suits. “I’ve learnt my lesson. After I get a spanking, or maybe three, I tend to be good.”

She has been reunited with her daughter, following a very public estrangement, which Love blames on the influence of greedy lawyers. “It was a really dark public humiliation. My own kid. Not fun. But without getting into her personal life, which she’s very private about, she saw people being dishonest and craven, and she eventually came back and said I need my mom. She inherited my big mouth and her dad’s temperament. She’s not someone who should be in the public eye, at this point. I’m glad she didn’t do all the kind of things she was offered because of her beauty and provenance, like to be in Twilight at 15. What she really needs, at this point in her life, is the next level of education.” Love sounds like any concerned mother as she longingly murmurs, “Oxbridge!”

In a way, it’s a disservice to Love to constantly contextualise her with Nirvana, and the soap opera of her life as a rock widow. “It was twenty years ago,” she says, thoughtfully. “I’ve had great loves since Kurt. I probably should have married again. But I couldn’t put my tiara and my little slip dress in a box and go and be Mrs Somebody who used to be Courtney Love.”

As the leader of Hole, she has been a compelling rock star in her own right, a loud, confident, abrasive woman at time when there were relatively few female rock icons, the driving personality on two of the outstanding rock albums of the Nineties, Live Through This and Celebrity Skin. She has been an award-winning actress with fine performances in movies like The People V Larry Flynt (1996) and Man In The Moon (1999). Her 2010 album (with a new line up of Hole), Nobody’s Daughter was powerful and at times spine-tinglingly intense. She admits the record’s poor sales hurt her. “The bitterness of failure doesn’t taste very good. It took me a long time to recover. I went to New York and lived like a socialite, dated a lot of people who didn’t have tattoos, went to film and art openings, until I bored myself silly. Until I had to rock. Four to the floor rock and roll is where I’m stuck. I need guitars in my life.”

I ask her whether she still looks back on her time with Kurt with fondness. “It was bad,” she says, after a long pause, blinking tears. “It wasn’t very fun. It should have been fun. But I can barely remember it because people didn’t take care of us.” She dabs at her eyes. “You’ve made me weep. But that’s OK. It was a long time ago.”

Neil Young, Beck, Billie Joe Armstrong y Win Butler recuerdan a Kurt Cobain

Neil Young, Beck, Billie Joe Armstrong y Win Butler recuerdan a Kurt Cobain

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Neil Young, Billie Joe Armstrong, Beck and More Remember Kurt Cobain

Kurt Cobain Nirvana

Sacado de // From –> http://portalternativo.com – http://www.rollingstone.com

Coincidiendo con el vigésimo aniversario de la muerte de Kurt Cobain, Associated Press ha hablado con Neil Young, Beck, Billie Joe Armstrong (Green Day) y Win Butler (Arcade Fire).

Young muestra su pesar por no haber podido echar una mano a Cobain cuando pasaba por malos momentos.

Me parece triste que no tuviera a nadie con quien hablar y le dijera, “Sé por lo que estás pasando pero no está tan mal”. Realmente no es tan malo. Simplemente parpadea y todo desaparecerá. Todo estará bien. Tienes muchas otras cosas que hacer. ¿Por qué no simplemente te tomas un descanso? No te preocupes de todos estos gilipollas que quieren que hagas todas esas mierdas que no quieres hacer nunca. Deja de hacerlo todo. Diles que se vayan a tomar por culo y aléjate. Eso es. Eso es lo que le habría dicho de haber tenido la ocasión. Y casi tuve la oportunidad pero no pasó.

Beck por su lado recuerda cuando compartió escenario con Nirvana tres años antes de que se publicara “Nevermind”.

Recuerdo que salieron y (Cobain) salió haciendo una peineta, se lo hacía al público. Había estado en muchos conciertos de punk y a muchas bandas cuando era más joven donde los conciertos eran bastante agresivos o beligerantes, pero esto era algo completamente diferente. Recuerdo que sonreía, había cierto elemento juguetón, pero también era algo amenazador y recuerdo que solo empezar a tocar, todo el público estalló de una manera que no había visto nunca antes… Se hicieron con el público desde la primera nota. Aún no habiendo logrado nunca el éxito, aún recordaría eso. Me dejó una gran impresión. Recuerdo pensar en su día, “¿Qué es esto? Aquí está pasando algo” y tras eso me hice fan.

Armstrong recuerda que había visto escrito el nombre de Nirvana en graffitis en locales en los que tocaban.

El tío compuso canciones bonitas. Cuando alguien va de forma tan sincero directo al corazón de lo que son, lo que sienten, y fue capaz de ponerlo ahí, no sé tío, es fantástico. Recuerdo que cuando salió “Nevermind” pensé, “Al fin tenemos a nuestros Beatles. Esta era tiene al fin sus Beatles”. Y desde entonces no ha vuelto a pasar.

Win Butler de Arcade Fire, hoy con 33 años, recuerda como descubrió al grupo con la salida de “Nevermind”.

De golpe, toda dinámica social de mi instituto cambió de forma que esos chavales inadaptados que quizá venían de un hogar roto y que fumaban cigarrillos en la parte de atrás y que no tenían dinero para ropa bonita, estaban, de un extraño modo, al mismo nivel que el resto. Yo era ese chaval raro que no sabía donde encajar y tener esa especie de voz en la cultura. Tengo la sensación que fue un periodo mágico para la música alternativa con Janes Addiction y REM y Nirvana. Era como ver todos esos frikis de diferentes ciudades de Norteamérica y te quedas en plan, “Oh, guau”.

IN ENGLISH

With the 20th anniversary of Kurt Cobain’s death this weekend, musicians everywhere have been paying homage. AP collected reflections from a handful of artists ranging from ones who influenced him to musicians he inspired, including Neil Young, Beck, Green Day’s Billie Joe Armstrong and Arcade Fire’s Win Butler. One thing they all agreed on is that in just a short period of time, Cobain changed their lives.

Kurt Cobain Tributes: Living in Nirvana

For Young, who wrote the album Sleeps With Angels following Cobain’s suicide, the rock vet still feels remorse that he – or anyone – couldn’t reach out to the Nirvana frontman during his time of need.  To this day, he still knows what he would have told Cobain had he gotten the chance. «I think it’s sad that he didn’t have anybody to talk to that could’ve talked to him and said, ‘I know what you’re going through, but it’s not too bad,'» he said. «‘It really isn’t bad. Just [expletive] blink and it will be gone. Everything will be all right. You’ve got a lot of other things to do. Why don’t you just take a break? Don’t worry about all these [expletive] who want you to do all this (expletive) you don’t want to do. Just stop doing everything. Tell them to get [expletive] and stay away.’ That’s it. That’s what I would have told him if I had the chance. And I almost got a chance, but it didn’t happen.»

Beck cherishes a memory of a time he shared a concert bill with Nirvana, three years before Nevermind came out. While the singer didn’t remember who the headliner was at the show, he can clearly recall Kurt Cobain – it was the moment he became a fan. «I have a memory of them coming out and he had his middle finger up, was giving his middle finger to the audience,» he said. «I’d seen a lot of punk shows and I’d seen a lot of bands when I was younger where the shows were pretty aggressive or confrontational, but there was something completely different about this. I remember he had a smile on his face, there was a kind of playfulness, but it was also a little menacing, and I remember the minute they started playing, the entire audience erupted in a way I hadn’t seen before. . . . They had the audience from the first note. Even if they had never become successful, I would still remember that. It made a big impression. I remember at the time thinking, ‘What is this? Something’s going on here,’ and I was a fan after that.»

Armstrong knew of Nirvana before he really knew what Nirvana was, having had seen their graffiti in clubs when Green Day toured in 1990. He told AP that when he heard the trio’s debut, Bleach, he didn’t think much of it, but now he regards Cobain as a Lennon- or McCartney-type figure. «The guy just wrote beautiful songs,» he said. «When someone goes that honestly straight to the core of who they are, what they’re feeling, and was able to kind of put it out there, I don’t know, man, it’s amazing. I remember hearing it when Nevermind came out and just thinking, ‘We’ve finally got our Beatles. This era finally got our Beatles.’ And ever since then it’s never happened again.»

Arcade Fire frontman Win Butler, who is 33, discovered Nirvana in the wake of Nevermind, and he still remembers the impact it had on him and his friends. «All of a sudden, the whole kind of social dynamic at my junior high changed where these kind of misfit kids who maybe come from a broken home and they’re smoking cigarettes in the back and they didn’t have money for nice clothes were in a weird way on the same level as everyone else socially,» he said. «I was sort of like a weird kid who didn’t know where I fit in or whatever and just to have that kind of voice be that big in culture, I feel like that was a magical period of alternative music where we had Jane’s Addiction and R.E.M. and Nirvana. It was like seeing these kind of freaks from all the different cities of North America and you’re like, ‘Oh, wow.'»

Courtney Love ve bien un posible musical sobre Kurt Cobain

Courtney Love ve bien un posible musical sobre Kurt Cobain

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Kurt Cobain musical is ‘very likely’ to happen, says Courtney Love

Photo:

Sacado de // From –> http://www.nme.com – http://portalternativo.com/

Imaginamos que la cuenta corriente de Courtney Love debe andar bajo mínimos ya que según ha reconocido al New Musical Express no descarta hacer un musical dedicado al que fuese su marido, Kurt Cobain.

Tras ser inundada por toneladas de mensajes y posts en redes sociales de fans de Nirvana presionando para que se haga realidad un musical, tanto Frances como yo hemos pensado largo y tendido que, si logramos tirar a lo más alto y elegimos un equipo de guionistas, productores y directores de lo mejor y más respetado, entonces es muy probable que se haga un musical de Broadway.

Tendría que haber una historia, una gran historia, una que no se haya contado antes. Dedicaría incontables horas con un equipo de primera para crear un proyecto que reflejara a Kurt del modo más honesto posible, de modo que su historia, su música y su legado pueda resucitar en el escenario no solo para que el mundo lo vea sino aún más importante, que lo vea nuestra hija. Sé que el espíritu de su padre estará en ese escenario y estar en ese escenario con ella será la experiencia más emocional de nuestras vidas.

IN ENGLISH

Courtney Love has claimed that she will stage a Kurt Cobain-themed musical if she can get the right people involved.

Love speaks as part of NME‘s tribute to Kurt Cobain on the 20th anniversary of the Nirvana frontman’s death, on newsstands and available digitally from tomorrow (April 2).

In the piece, Love opens up about the anniversary and reveals ambitious plans for her late husband’s legacy, including a biopic, documentary and play. Love states that it has been fans’ reactions to the possibility of a stage production involving Cobain’s story which has made it now «very likely» to happen.

«After being swarmed by tons of Nirvana fanmail and social media posts pushing for a musical to become a reality, both Frances [Bean Cobain, Kurt and Courtney’s daughter] and I have thought long and hard and agreed that if we can reach up to the highest shelf and select a team of the greatest and most respected writers, producers and directors, then a Broadway musical is very likely to happen,» says Love.

She continues: «There would have to be a story, and a great story, one that hasn’t been told before. I would devote countless hours with an A-team to create a project that reflects Kurt in the most respectful but honest way possible, so that his story, his music and his legacy can be resurrected on stage for not only the world to see, but more importantly for our daughter to see. I know her father’s spirit will be on that stage, and sitting in that theatre with her will be the most emotional experience of our lives.»

Elsewhere in the issue, musicians who recorded Cobain’s favourite albums (including members of Pixies, Wipers, Gang Of Four, The Vaselines and The Slits) celebrate his legacy.

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