En un día como hoy pero de 1994 Nirvana terminaron de grabar su última grabación en los estudios Robert Lang de Seattle
On a day like today but in 1994 Nirvana wrapped up their final recording session ever at Robert Lang Studios in Seattle
NIRVANA – SMELLS LIKE TEEN SPIRIT (Comentar la letra)
NIRVANA – SMELLS LIKE TEEN SPIRIT (REACT: Lyric Breakdown)
Sacado de // From –> https://www.youtube.com/channel/UCHEf6T_gVq4tlW5i91ESiWg
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Los adolescentes intentan desglosar la letra de una de las canciones de más éxito de Nirvana, «Smells Like Teen Spirit», sin que sepan el autor de la canción ni el nombre de la misma. Estate atento para más Lyric Breakdown, una vez cada mes, los jueves, aquí en el canal de REACT.
IN ENGLISH
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The Teens try to breakdown the lyrics to one of Nirvana’s most successful songs, «Smells Like Teen Spirit» without being told the artist or title beforehand. Stay tuned for more Lyric Breakdown, once a month on Thursdays here on the REACT channel.
Nuevo libro sobre Nirvana en el horizonte
New book about Nirvana on the horizon
Steve Gullick – Nirvana Diary from Joe Watson on Vimeo.
Sacado de // From –> http://www.pledgemusic.com/
Uno de los fotógrafos de rock líderes de su generación, Steve Gullick, ha capturado algunos de los retratos musicales más perdurables de los últimos 20 años. Desde tomas clásicas de Nirvana, Nick Cave, The Prodigy, Patti Smith, Pearl Jam, Foo Fighters y muchos más, sus fotografías han aparecido en The Times, Mojo, Rolling Stone, Wire, Q y NME, por nombrar sólo algunos. Sus fotografías de Nirvana nos proporcionaron algunas de las imágenes más duraderas e icónicas; al imaginar la banda es difícil no evocar una imagen desde la visión de Steve Gullick.
Ahora Steve ha reunido el photobook definitivo de su trabajo con Nirvana y las bandas que cabalgaban a su lado, como Mudhoney, Jesus Lizard, Screaming Trees, Hole y Soundgarden. Un libro con 196 páginas que contiene impresionantes reproducciones de lo ya icónico, así como fotografías inéditas acompañadas de recuerdos de Steve y un prólogo por Everett True.
«NIRVANA entró en mi vida en octubre de 1990 cuando escuché ‘Sliver’ en el programa de John Peel, el acuerdo fue sellado al escuchar la bella y brutal sesión que grabaron para el show de John en su primera actuación principal de Londres en el teatro Astoria ese mismo mes. En ese momento yo era un fotógrafo para un periódico semanal de música, Sounds, al instante se convirtió en mi ambición de trabajar con la banda.
Si queréis leer más, pasaros por –> http://www.pledgemusic.com/projects/nirvanadiary
IN ENGLISH
One of the leading rock photographers of his generation, Steve Gullick has captured some of the most enduring music portraits of the last 20 years. From classic shots of Nirvana, Nick Cave, The Prodigy, Patti Smith, Pearl Jam, Foo Fighters and many more, his photos have appeared in The Times, Mojo, Rolling Stone, Wire, Q and NME to name but a few. His photographs of Nirvana provided us with some of the most lasting and iconic images, when imagining the band it’s hard not to conjure up an image that was the vision of Steve Gullick.
Now Steve has put together the definitive photo book of his work with Nirvana & the bands that rode shotgun including Mudhoney, Jesus Lizard, Screaming Trees, Hole & Soundgarden. A 196 page coffee table book containing stunning reproductions of the already iconic as well as unseen photographs accompanied with Steve’s recollections and a forward by Everett True.
“NIRVANA entered my life in October 1990 when I heard ‘Sliver’ on the John Peel show, the deal was sealed upon hearing the beautifully brutal session they recorded for John’s show and their first London headline performance at the Astoria theatre that same month. At the time I was a photographer for weekly music paper Sounds, it instantly became my ambition to work with the band.
If you want more –> http://www.pledgemusic.com/projects/nirvanadiary
MTV lanzan un vídeo de una entrevista a familiares de Kurt Cobain y a fans de Nirvana antes de un concierto
Rare footage of interviews with Kurt Cobain’s family and fans before Nirvana’s September 1992 show in Seattle
Get More:
Nirvana, Music News
Iggy Azalea critica la actuación de Lorde con Nirvana
Iggy Azalea Criticizes Lorde’s Performance With Nirvana
Sacado de // From –> http://www.billboard.com/
En la portada de historias de Billboard de esta semana, el número uno es Iggy Azalea, quien tiene algunas palabras críticas hacia la joven superestrella que no es ajena a la controversia.
El objetivo fue Lorde y el asunto de su reciente colaboración con los miembros restantes de Nirvana en el Rock and Roll Hall of Fame Induction Ceremony el 10 de abril en Brooklyn.
«No tengo nada en contra de ella, pero creo que cuando estás haciendo un tributo a alguien que está muerto, generalmente debería ser algo entre iguales,» comenta Azalea. «Lorde no está al nivel de Kurt Cobain. No importa si la clavó en la actuación o no, simplemente creo que no es lo apropiado».
Si queréis saber más, pasaros por –> http://www.billboard.com/articles/news/6113852/iggy-azalea-lorde-nirvana-rock-hall-tribute-kurt-cobain
IN ENGLISH
In this week’s Billboard cover story, reigning Hot 100 No. 1 artist Iggy Azalea had some critical words for another young superstar who’s no stranger to controversy.
The target was Lorde and the topic was her recent collaborative performance with the surviving members of Nirvana at the Rock and Roll Hall of Fame Induction Ceremony on April 10 in Brooklyn.
«Nothing against her, but I think when you’re doing a tribute to someone that’s dead, generally it should be the person’s peer,» Azalea commented. «Lorde is not Kurt Cobain’s peer. No matter if she killed the performance or not, I just don’t think it’s appropriate.»
If you want to read more –> http://www.billboard.com/articles/news/6113852/iggy-azalea-lorde-nirvana-rock-hall-tribute-kurt-cobain
Historias detrás de «Superunknown»
New oral history of Soundgarden’s Superunknown
Sacado de // From –> carticles/oral-history-soundgarden-superunknown-anniversary-reissue/
Somewhere between a man beating himself bloody with spoons and a producer ripping a door off its hinges, Soundgarden made the record they’d been waiting nine years to unleash. Already beloved in the Seattle rock scene, and reaping the benefits of their town’s early ’90s grunge celebrity alongside their friends Nirvana and Pearl Jam, the band’s previous album, 1991’s Badmotorfinger, had gone platinum and earned a Grammy nomination for Best Metal Performance. They’d helped spur Sub Pop records on to greatness, hit the road with Guns N’ Roses, and commanded the mainstage of Lollapalooza.
But the band that so identified with muscular, pistoning hard-rock believed they were also capable of a deeper pop melodicism, of more nuanced anthems. By the summer of 1993, frontman and guitarist Chris Cornell, a longtime Beatles and Pink Floyd devotee, and bassist Ben Shepherd, a blithely experimental hand with tunings and dynamics, had begun crafting songs that would defy headbangers’ expectations. They recruited the producer Michael Beinhorn — who’d helmed releases by the Red Hot Chili Peppers and Soul Asylum — to help realize their ambitions.
The six months of recording, engineering and mixing that went into Superunknown did not progress as in-step with that idealism. The band clashed constantly with Beinhorn — whose methodical repetition was at odds with their down-and-dirty recording habits — and all began to doubt the results. But their vindication would come, unsubtly, in the radio ubiquity of «Black Hole Sun,» two Grammy wins, and the enduring career the band had cemented for themselves as a result of the album’s success. Furthermore, the record handily dispelled any notion of Soundgarden being reductive metalheads: From the roiling surf-pop guitars of «My Wave,» to Cornell’s menacing, discomfiting vocal operatics on «Mailman,» to the tetchy, bluesy crawl of «Limo Wreck,» and the Gonzo nonchalance and psychedelic-pop agility of «Black Hole Sun,» Superunknown thrived in its eccentric outer limits.
Here, 20 years after the album’s release, is the story behind its creation from the people who were there, plus a Bill Nye the Science Guy cameo, because Seattle was pretty weird back then.
If you want to read the whole article –> carticles/oral-history-soundgarden-superunknown-anniversary-reissue/