Dark Slivers: Seeing Nirvana in the Shards of Incesticide


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Sometimes I have trouble remembering it all: conversations with odd of the people who played with, shared stage with, recorded with Cobain and Nirvana — conversations with well over of the journalists, radio hosts, students who interviewed the members of the band over the years — that whole visit to the North West of the U.

Omnibus next spring, then in the U. I like the idea of just sitting discussing it with people who are curious about the subject, hearing what people have to say, knocking back and forth the topics on their minds…Is there a nicer way to spend a night than with fellow travellers?

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I thought of this title a long while back when someone raised the point that they felt I was morally compromised because I had written a book about Nirvana and sold it rather than releasing my ideas for free. Dealing first, in brief, with my opinion on Kurt Cobain; did he compromise for commercial reasons? Answer; of course he did.

That context is vital because decisions that, in retrospect, enabled Nirvana to become a multi-million selling phenomenon were made by a guy with next to no money, no imaginable chance of becoming a star, making a type of music that had never hit it big even if it had gained notoriety.

ISBN 13: 9780954471859

Everyone is required to make a compromise with money — to earn a living. It also raises the more pertinent question of intention — was a decision made for the primary reason of profit and is that profit motivation clear in the end result? Nevermind remains the crux of the topic; it was a commercial sounding record, they wanted to sell and for it to sell well — the end product is clearly motivated by acquiescence to the profit-related desires of record company and band.

Complicit, yep — compromised, yep. This brings me to my own compromise. In essence, it was suggested that by writing and selling a book about Nirvana I was exploiting Nirvana and Kurt Cobain. So the decision to express my enjoyment of Nirvana in book form was similarly not a commercial choice.

A última canção de Kurt Cobain - Nirvana

Second, ah…But I did place a price on the book and sell it rather than giving it away for free or simply placing my thoughts on free fan forums — this is a far more solid criticism, for sure! Still, all that work does not entitle me to be re-paid nor does it mitigate the fact I decided to make a commercial product.

So, this leads to the next question, is it legitimate for anyone to do something that has the name of Nirvana on it and that someone might pay for? I did not place the name Nirvana on the book, undertake the writing of the book, for any profit-related motive and I did not make the book about Nirvana because of any commercial reason — I did it because I love Nirvana.

But still…Compromised. So…I put a price on the book — I paid the production costs and hoped to re-coup them.

KIRKUS REVIEW

I printed a first copies and gave away twenty-five to various helpers and supporters. Did I expect to sell all the books? I had no idea.

Questions?

So was I doing it for profit? No, I wanted to write the book and did so anyway independent of what might then happen to it. Could I have given it away for free? I chose not to.

Nick Soulsby | Authors | Macmillan

This is where personal pride comes in — not profit, but pride. I feel that free work is not regarded with the same respect as stuff one pays for — in a capitalist society, despite lipservice to the innate value of things, a price is deemed to be a mark of quality. My feeling is that someone bought the book not just because it was about Nirvana but because of an interest in my thoughts and ideas and the work I had conducted. BBC Proms Sir Elton John. Bohemian Rhapsody.

Lesley-Ann Jones. Tina Turner.

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