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It has been twenty years since Kurt Cobain died by his own hand in April 1994; it was an act of will that typified his short, angry, inspired life. Veteran music journalist Charles R. Cross fuses his intimate knowledge of the Seattle music scene with his deep compassion for his subject in this extraordinary story of artistic brilliance and the pain that extinguished it. Based on more than four hundred interviews; four years of research; exclusive access to Cobain's unpublished diaries, lyrics, and family photos; and a wealth of documentation, Heavier Than Heaven traces Cobain's life from his early days in a double-wide trailer outside of Aberdeen, Washington, to his rise to fame, success, and the adulation of a generation. Charles Cross has written a preface for this new edition, in which he recounts some of the events regarding Kurt Cobain and this book in the past two decades since his death.… (altro)
Heavier than Heaven - a masterful biography of a doomed artist who kept himself buoyed by hard drugs to keep on making music that came from his heart. Until fame did him in. Something
neither the hardest drugs nor most abysmal depression managed to do... ( )
Heavier Than Heaven: A Biography of Kurt Cobain by Charles R. Cross
A heart-felt biography of a young musician whose life ended too soon. Told from interviews with family, friends and Kurt's wife (Courtney), I really got to know this troubled young man. Added bonus ,photos from his life. A must read for biography lovers. ( )
Well written, detailed, fascinating. If you are a fan of Nirvana this is a must read. i was completely captivated and could not stop reading this book ..... and re-watching all of the videos ...... and listening to the music. An intimate portrait of a troubled soul who left us with amazing music. ( )
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For my family, for Christina and for Ashland.
Incipit
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The first time he saw heaven came six hours and fifty-seven minutes after the very moment an entire generation fell in love with him.
Citazioni
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Kurt was a complicated, contradictory misanthrope, and what at times appeared to be an accidental revolution showed hints of careful orchestration.
Fame and success only seemed to make him feel worse.
Kurt enjoyed making up his own lyrcis, even as a toddler.
Kurt wrote on his bedroom wall: "I hate Mom, I hate Dad. Dad hates Mom, Mom hates Dad. It simply makes you want to be so sad."
One day he and John Fields were walking home from school when Fields told Kurt, he should be an artist, but Kurt casually announced: "I'm going to be a superstar musician, kill myself, and go out in a flame of glory."
Kurt was never one to let the truth get in the way of a good story: the tale that he'd pawned his stepfather's guns for his first guitar was simply too good for the storyteller in him to resist. In this one story were all the elements of how he wished to be perceived as an artist - someone who turned redneck swords into punk rock plowshares. In truth, he did pawn the guns, but used the proceeds to acquire a Fender deluxe amp.
"He was really into getting fucked up; drugs, acid, any kind of drug," Novoselic observed. "He'd get hammered in the middle of the day. He was a mess."
By their very first public show, it was all there, every bit of the Nirvana that would conquer the world in the years to come: the tone, the attitude, the frenzy, the slightly-off-kilter rhythms, the remarkably melodic guitar chords, the driving bass lines that were guaranteed to move your body, and, most important, the hypnotizing focus of Kurt.
Kurt enjoyed stealing sculptures of the Virgin Mary from the cemetery and painting blood tears under her eyes.
His songs and his journal entries fused together at times, but both were obsessed with human body functions: Birth, urination, defecation and sexuality were topics he was accomplished in.
Despite the fact that he'd say the exact opposite in interviews, Kurt cared very much what people thought of him.
Even in the early stages of his career, Kurt had already begun the process of retelling his own story in a manner that formed a separate self. He was commencing the creation of his greatest character, the mythical "Kurdt Kobain".
Far too often the band's shows turned into loud feeedback sessions where virtually none of Kurt's words could be heard above the din.
When the world tapped him on the shoulder and said, "Mr. Cobain, we are ready for your closeup," he had planned how he'd walk toward the cameras, going so far as to even rehearse the way he would shrug his shoulders, as if to give the impression he had only grudgingly acquiesced.
Nothing the band ever did, either in the studio or onstage, matched the way it sounded in his head. He loved the idea of a record until it came out, and then immediately he had to find something wrong with it. It was part of a larger dissatisfaction.
Walking into his apartment any afternoon during 1989, you were as likely to find him with a paintbrush in his hand as a guitar. But he wasn't actually a painter as much as he was a creator. He used whatever implement was in front of him as a brush, and whatever flat object he found as a canvas.
There were seven people in the band's entourage, and among them they couldn't afford a burrito.
"My lyrics are a big pile of contradictions. They're split down the middle between very sincere opinions and feelings that I have, and sarcastic, hopeful, humorous rebuttals towards cliché, bohemian ideals that have been exhausted for years. I mean to be passionate and sincere, but I also like to have fund an act like a dork."
Kurt never actually told Jason he was fired - he simply never called again.
Years later, upon first seeing Nirvana in concert, Bob Dylan picked "Polly" out of the entire Nirvana catalog as Kurt's most courageous song, and one that inspired him to remark of Kurt, "The kid has heart."
Around the same time, he wrote out yet another fake biography of the band, one that would prove strangely prophetic, even as it was filled with adolescent jokes. It described the band as "three time Granny Award Winners, No. 1 on "Billlbored" Top 100 fur 36 consecutive "weaks" in a row. Two times on the cover of "Bowling Stoned", hailed as the most original, thought-provoking and important band of our decade by "Thyme" and "Newsweak"."
"Everything I do is an overly conscious and neurotic attempt at trying to prove to others that I am at least more intelligent and cool than they think."
The hatred he had for others was mild compared to the violence he described against himself. Suicide came up as a topic repeatedly.
One draft of a dedication for the record said more about his childhood than his attempt at biography: "Thanks to unencouraging parents everywhere," he wrote, "for giving their children the will to show them up."
To him, punk rock was a class struggle, but that was always secondary to the struggle to pay the rent, or find a place to sleep other than in the backseat of a car. Music was more than just a fad for Kurt - it had become his only career option.
He felt Courtney intrinsically knew the smell of the shit he'd crawled through.
"So I decided, if I feel like a junkie as it is, I may as well be one."
"He was about to get famous. And it freaked him out."
Later at night at their hotel, Kurt and Courtney were so harrassed by other guests, they put a sign on their door: "No Famous People Please. We're Fucking."
Kurt's harshest critic was always his own inner voice.
Ultime parole
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At the bottom of the hill, he would wave his mitten-covered hand at his family, and a wide, warm smile would come over his face, his blue eyes sparkling in the winter sun.
It has been twenty years since Kurt Cobain died by his own hand in April 1994; it was an act of will that typified his short, angry, inspired life. Veteran music journalist Charles R. Cross fuses his intimate knowledge of the Seattle music scene with his deep compassion for his subject in this extraordinary story of artistic brilliance and the pain that extinguished it. Based on more than four hundred interviews; four years of research; exclusive access to Cobain's unpublished diaries, lyrics, and family photos; and a wealth of documentation, Heavier Than Heaven traces Cobain's life from his early days in a double-wide trailer outside of Aberdeen, Washington, to his rise to fame, success, and the adulation of a generation. Charles Cross has written a preface for this new edition, in which he recounts some of the events regarding Kurt Cobain and this book in the past two decades since his death.
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