“When we played Buenos Aires, we brought this all-girl band over from Portland called Calamity Jane,” Kurt recalled. “During their entire set, the whole audience—it was a huge show with like sixty thousand people—was throwing money and everything out of their pockets, mud and rocks, just pelting them. Eventually the girls stormed off crying. It was terrible, one of the worst things I’ve ever seen, such a mass of sexism all at once. Krist, knowing my attitude about things like that, tried to talk me out of at least setting myself on fire or refusing to play. We ended up having fun, laughing at them (the audience). Before every song, I’d play the intro to ‘Smells Like Teen Spirit’ and then stop. They didn’t realize that we were protesting against what they’d done. We played for about forty minutes, and most of the songs were off Incesticide, so they didn’t recognize anything. We wound up playing the secret noise song (‘Endless, Nameless’) that’s at the end of Nevermind, and because we were so in a rage and were just so pissed off about this whole situation, that song and whole set were one of the greatest experiences I’ve ever had.”
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The Disconnect is an offline-only, digital magazine of commentary, fiction, and poetry. Each issue forces you to disconnect from the internet, giving you a break from constant distractions and relentless advertisements.
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ricordo di mestizia: il "festival au desert" (da cui nasce o a cui è giunto questo album, poco importa) non è più possibile dal 2013, cioè da quando il mali è sotto l'assedio di al-qaeda
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andreo passatelli
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Probabilmente dovrete rassegnarvi a vivere in questo mondo senza senso per un po' di tempo. Nel mentre potete chiudere gli occhi: come già facevate, del resto.
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laFondazione
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Magnasciutti che ho conosciuto ieri ad una presentazione e si è rivelato essere un personaggio davvero interessante, con un passato dark wave neanche troppo celato, un presente in una band di folk-rock irlandese e - al di là di questo - ottimi gusti musicali
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