Come As You Are.

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PostSun Oct 09, 2011 7:49 pm » by Harbin


http://www.alternativeright.com/main/blogs/zeitgeist/come-as-you-are/#axzz1Zsm6g1NX

Come As You Are
Cobain, Nihilism, Nirvana


In his amusingly-titled article “Smells Like Dead Junkie,” Jim Goad, an iconoclastic icon if ever there was one, takes rhetorical dead aim at Kurt Cobain, the famously fame-hating rock star, heroin addict, and supposed voice of Generation X, who took literal dead aim at himself back on April 5, 1994, when the self-directed Shot Heard ’Round the Grunge World tore a massive hole through the Nirvana frontman’s peroxide-fringed head, knocking the life out of this lead screamer’s poetically plaintive blue eyes and caking the ceiling of the celebrated anti-celebrity’s Seattle mansion with his gorgeously tortured brains.

Much as I appreciate Goad’s scathing and inimitably witty invective in assailing the grisly and insufferable rock-journo-fueled Cobain personality cult, however, I find his overall assessment of the left-handed guitarist with the naively left-wing views a bit off the mark. Cobain’s über-politically correct “cultural Marxism,” as expressed in certain sections in his journal where he attacks White heterosexual males and promotes riot-grrl feminism and homosexuality ought not, I believe, unduly inform our understanding of his personality or music.

Cobain himself saw with clarity that he barely knew what he was talking about when he indulged in such rants, and in fact was aware that it amounted to little more than blowing off steam against people who annoyed him—namely, jerky jocks and mean, macho metalheads. He never took himself seriously enough to view himself as anything other than a lightweight on political or social matters.

One journal entry is quite telling on this score: “I like to have strong opinions with nothing to back them up with besides my primal sincerity,” Cobain wrote. “I like sincerity. I lack sincerity,” he added, demonstrating characteristically cutting self-awareness in undermining the very thing that would even lend him credibility in his own eyes. Cobain wasn’t a poseur when it came to self-loathing; one gets the sense, in fact, that this aspect of his personality was very real, indeed, primal.

Self-hatred is a brutally recurrent motif in the lyrics of Nirvana’s songs; it is, in fact, the thematic centerpiece of the now-legendary Nevermind album, whose release 20 years ago suddenly and shockingly changed the sound, look, and feel of hard-rock music, transforming it from a bombastic, flamboyant celebration of hedonist excess (think Poison, Motley Crue, White Lion, Whitesnake and other popular “Hair Metal” bands of the '80s and early '90s) into something darkly satirical, snarlingly bilious and emotionally raw.

By turns achingly sad, raucously angry, and chillingly nihilistic in tone, Nevermind reflects, perhaps consciously, the punk ethos of the similarly-named Never Mind the Bollocks, Here’s the Sex Pistols. Indeed, Cobain often seems to be channeling Johnny Rotten’s outrageously ironic authorial voice; his anthemic indictment of trendy conformity, “Smells Like Teen Spirit,” brings to mind the Pistol’s “Pretty Vacant”; the famous couplet, “I feel stupid and contagious / Here we are now; entertain us!” gleefully attacks the entitlement-mentality of brainless and spoiled youth looking for the New Big Thing to celebrate together in their sheeplike herd.

Vaguely aware of, and dissatisfied with, his own shallowness, the speaker of this song ultimately doesn’t care: “I find it hard, it’s hard to find / Oh, well, whatever, never mind.” At moments like this, the listener becomes aware that Cobain has himself in mind as the object of his own contempt; he feels he cuts a ridiculous figure; his bid to embody the spirit of flaming youth only amounts to something as derivative and contrived as a deodorant spray cynically marketed to teens (the “Teen Spirit” of the title) for profit. Later, Cobain was to reflect, in this same jaded vein, “Teenage angst has paid off well / Now I’m bored and old.”

Other highlights of Nevermind include the bruisingly lacerating yet maddeningly catchy “Lithium,” told from the point of view of a drug-addled manic-depressive schizophrenic who can’t decide if he’s miserable or ecstatic:

I’m so happy, cuz today I found my friends in my head

I’m so ugly; that’s okay, cuz so are you…

I’m so lonely; that’s okay, I shaved my head, and I’m not sad.

Nevermind also included the hypnotic “Come As You Are,” whose folksy, friendly, and welcoming-sounding title is belied by lyrics which suggest mind-control and manipulation, and whose eerily prescient refrain: “Well I swear that I don’t have a gun / No, I don’t have a gun/ No, I don’t have a gun” which sounds more like a lie the more it is endlessly repeated, suggesting that coercion and violence may be in store for the object of the speaker’s attention.

But it’s when Nirvana goes totally low-fi, away from howling guitars and screaming vocals and into quiet ballad-land that the effects are perhaps most startling. The elegantly bleak “Something In the Way” depicts a homeless man’s daily activities with complete lack of sentimentality—this is miles away from the cloying and patronizing territory tread by most rock singers of the era on the then-trendy issue of homelessness (think Genesis’s “Another Day in Paradise” or Bruce Springsteen’s “Philadelphia”)—leaving us only with a flat, barren, cold, and lonely sense of detachment.

Even more striking is “Polly,” which tells of an abduction and rape in progress from the viewpoint of the perpetrator. Cobain couldn’t have been too much of a pre-emo emasculated male feminist, or he wouldn’t have had it in him to write this most politically incorrect of songs, where the speaker dryly taunts his victim, even as he’s violating her: “Polly wants a cracker / I think I should get off her first.” Ultimately, it seems that neither the criminal nor his captive are able to obtain any sense of pleasure or pain from their shared experience: “Polly says her back hurts / She’s just as bored as me.” Again, the listener is caught up short by the overall absence of emotion; the detachment, somehow, is much more devastatingly poignant than any heartfelt plea for justice, tolerance, or mercy would have been in its place.

Indeed, for all of Kurt’s occasional jibes at middle-American conservative values in his diaries, Nirvana’s music determinedly eschews any trace of social-consciousness, or preachy rah-rah “hooray for our side” indulgences in self-righteousness so often expressed by representatives of the trendy-Left cultural cognoscenti in their bitter disdain for the alleged backwardness of the Red State segment of the population. (See, inter alia, Green Day’s immensely irritating American Idiot.)Instead, “Nevermind” turns its rabid vitriol on its own likely audience, and then on itself. The speaker’s tone in all of these songs is consistently rude, abrasive, sardonic, world-weary, and cynical; if he ever affects sincerity, it’s all a façade masking either sinister motives or outright insanity. There is no call to action: all action, it seems, is futile and pointless—all ideologies ridiculous, morally bankrupt, and self-serving—every would-be leader corrupt to the core, the mass of the population little more than brain-dead zombies demanding to be entertained with “stupid and contagious” postmodern bread and circuses.

Cobain may have struck certain political postures in various minor and generally insignificant ways, but at his core he seems to have believed in very little. Nihilism, when truly embraced without compromise, is bound to bear bitter fruit. In Kurt’s case, it led to drug addiction, depression, and his eventual suicide. Apparently even his love for his baby daughter wasn’t enough to prevent Cobain from launching himself into oblivion. If he wasn’t going to stay alive for Frances Bean (now a grown and lovely young woman), he certainly wasn’t going to stick around for the sake of the fortune and fame he’d unwittingly attained.

Kurt’s nihilism was certainly a blight on his existence, leading to many bad choices and habits, and ultimately to his highly ignoble final act of self-extinguishment. Artistically speaking, however, it is the relentless dissatisfaction with all causes, creeds, and smelly little orthodoxies that lends an album like Nevermind both power and a sort of wild, unkempt integrity.

We all have to pass through darkness in order to get to the light. Cobain never made it through the darkness...but while immersed in it, he recorded its gloom and horror brilliantly and pitilessly. Nevermind has given many a lonely soul solace and comfort in the last two decades, simply by reminding them that they are not alone. However overrated Kurt himself might be—and I have little doubt that he would have substantially agreed with Goad’s assessment on this score—such an achievement ought not be undervalued, methinks.
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PostMon Oct 10, 2011 8:00 pm » by Energizer


5star thread! everyone should check out some interviews of Maynard james keenan he is a cool dude

http://www.youtube.com/watch?v=QiKce3DTf_o

skip to like 5mins

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PostMon Oct 10, 2011 8:20 pm » by Cia212


Sounds like this author was really affected by Nirvana. I dug their music - it was trendy and easy to play - but I never really got into the meaning of Kurt's lyrics. I guess that makes me the subject of "In Bloom".

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PostSun Jan 20, 2013 1:31 am » by Energizer


I remember seeing an interview from long ago where he was talking about how meaningless his lyrics are to him. He said that most of the time he is rushing to do them last minute but everything Nirvana did had other meanings to it I assume this is Kurt being sarcastic. Notice the song "you know you're right" as a 1994 version
http://www.youtube.com/watch?v=E7Au0oKqlF4
the lyrics are completely different "dreammmm"
the song today is more known for this version
http://www.youtube.com/watch?v=6Iho1V--8G4
"painnnnnn"

which Kurt finished in the studio after one take I believe I was reading. Dave Grohl(foo fighters singer/guitarist and was Nirvana's drummer) showed up to the studio to finish the album and Kurt didn't show up for 3 days. Dave used this time to make the first Foo Fighters album completely by himself while he waited for Kurt to show up at the studio..played all instruments himself. Kurt showed up did this one song and left, within a week he was found dead.


also the song rape me has different version's

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PostSun Jan 20, 2013 8:58 am » by Malogg


http://www.clashmusic.com/news/nirvana- ... politician

http://novoselic.com/politics/


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http://www.rollingstone.com/music/news/ ... e-20120705

:roll: Baws ,Cobain ended up hating his band members , Grohl up his own @ss and well as you can see Novoselic became the enemy within. . . .


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Last edited by Malogg on Sun Jan 20, 2013 9:13 am, edited 2 times in total.
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PostSun Jan 20, 2013 9:11 am » by Cia212


Malogg wrote:


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Obama's going to put a friendly, multicultural, just, face on globalism.


Ha! What a fool. BO has put on an elitist, unjust, unconstitutional, power-hungry, terror campaign for his globalist masters.

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PostSun Jan 20, 2013 9:16 am » by Malogg


Cia212 wrote:
Malogg wrote:


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Obama's going to put a friendly, multicultural, just, face on globalism.


Ha! What a fool. BO has put on an elitist, unjust, unconstitutional, power-hungry, terror campaign for his globalist masters.



Agreed Novoselic is a fkn @ss ,they drained all the zest from Cobain ,instead of being the driving force behind Cobain they became the cogs that broke the engine. . . .

Most fans will disagree and say Courtney Michelle Harrison(Love) was the one that wrecked Cobain when infact truth is Courtney was the only thing that kept Cobain going ,if it was not for Courtney ,Nirvana would have split up as the tension between the band members drained the sh1t out of Cobain. . . . Courtney gave Cobain a daughter his only treasure in life ,the only thing is years of abuse and self neglect caught up. . . .
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PostMon Jan 27, 2014 4:06 am » by Harbin


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PostSat Feb 01, 2014 12:32 am » by OtheklzeR


I call it the giutardation of musicians, they go about creating a world that they think they would like to live in
and never seem to land on that beach and enjoy the sun.

I doubt that kurt would accend to Nillust dogma, the problem was every road he found brought him down
into that hopless dispair that only dope can aswage. Colbane was just born a tired soul that had been
beat to crap like a cat attacked by a pack of pit bulls.

His music was like a wart that was picked at untill it bleeds by a meathead. a computer that could not
compute Phi to the last digit , he was broken in the truest sense of the word, and he knew it

what is messed up is I understand it, and most people just say "flame it" and move on
broken people circle the drain because it is at least moving them in a direction
instead of just punching a bunch of drugs and sitting in a chair and listening to your own thoughts

and i still hate courtney

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PostThu Feb 13, 2014 12:20 am » by Harbin


OtheklzeR wrote:I call it the giutardation of musicians, they go about creating a world that they think they would like to live in
and never seem to land on that beach and enjoy the sun.

I doubt that kurt would accend to Nillust dogma, the problem was every road he found brought him down
into that hopless dispair that only dope can aswage. Colbane was just born a tired soul that had been
beat to crap like a cat attacked by a pack of pit bulls.

His music was like a wart that was picked at untill it bleeds by a meathead. a computer that could not
compute Phi to the last digit , he was broken in the truest sense of the word, and he knew it

what is messed up is I understand it, and most people just say "flame it" and move on
broken people circle the drain because it is at least moving them in a direction
instead of just punching a bunch of drugs and sitting in a chair and listening to your own thoughts

and i still hate courtney


Hate courtney ? I don't know man, you sure she's worth perfectly good hatred ? :mrgreen:
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