LIVE NIRVANA INTERVIEW ARCHIVE January 23, 1993 - Rio de Janeiro, BR

Luiz Fernando, alias Dodô Azevedo
Rodrigo Lariú
Rogério Goulart
Lívia Lazaro Rezende
Leandro Ferreira
Kurt Cobain
Publisher Title Transcript
Fluminense Radio College Radio Yes
Bizz No quarto com Kurt Cobain Yes (Português)

KC: Yeah, I've just got one of the records. I haven't heard it yet, cuz I don't have a turntable, it's on vinyl.

[Rodrigo Lariú talks about a compilation tape he plans to include with the next edition of his fanzine]

KC: Oh, really? That would be great! That's a really good idea.

RL: If you like, you could give me your address and I'll send you the tape.

KC: Right, OK.

Lívia Lazaro Rezende: She gave her address.

KC: Mmm mmm. I'll do the same. OK.

[indistinct chatter and fumbling around]

KC: Are you down with MTV?

[Assistant noisily arranges a hang-gliding session over the telephone]

LLR: Do you like hang-gliding?

KC: Yeah, I did it yesterday for the first time. It's a lot of fun. It's very relaxing.

[Assistant continues to talk on the telephone, asking Kurt what time and how many people to book for the hang-gliding session]

KC: Sorry…

RL: This story was written by the singer of Second Come.

KC: This story?

RL: No, this one…

KC: Oh. Hmm.

[indistinct chatter in Portuguese]

LLR: Did you like the concert in São Paolo?

KC: Yeah, a lot.

LLR: How were the people?

KC: Umm, a lot of times, when we play bigger shows, there's so many bright lights in my eyes that I can't really see anybody.

LLR: It's blinding.

KC: Yeah, it's blinding. And I asked about five times if they would turn the lights off that were out in the audience in my face — but they wouldn't do it, so… I imagined, I sense that they were having fun! Yeah.

RL: When you give a big concert, do people have less fun than in a small place with a lot of feedback?

KC: Well… I have more fun. I know that. I know the rest of the band members have a lot more fun in smaller places, they're always more enjoyable. Because I've never really enjoyed going to a large show and watching bands — the sound is bad and the band is so far away that it's really like watching television, you know? There’s not much I can do about it really. I mean, hopefully if our next record is even noisier we will lose some people in the audience who won't appreciate that and we can start playing smaller clubs.

[Assistant continues to talk on the phone, asking Kurt for further bits of information]

LLR: What about American bands, what do you like the most?

RL: K Records…

KC: Umm, well, I like Pavement…

LLR: Sonic Youth?

KC: Of course, yeah!

LLR: I think they are the avant garde. I love them, I do love them.

KC: Yeah. Do you like their new record?

LLR: Yeah, I like, but I think I prefer their last album. Like, “Daydream Nation,” “Bad Moon Rising,” “Confusion Is Sex” — I love them, I like them a lot. But I think “Dirty” is OK. They had the same producer as you, Butch Vig.

KC: What?

LLR: The same producer, Butch Vig.

KC: Yeah, that's right. I like Pavement and Sebadoh and the Breeders…

LLR: Pixies?

KC: Pixies — I love the Pixies. They broke up…

Leandro Ferreira: They really broke?

KC: Yeah.

RL: Black Francis went solo…

LLR: Yes, “Frank Black.”

LF: And what about the other bands playing with you here — Alice in Chains, Red Hot Chili Peppers — what do you think about them?

KC: Hmm… well, Red Hot Chilli Peppers are entertaining — I like to watch them. I don't own any of their records. They're a fun band but I prefer more noisy, raunchy punk rock kinda stuff.

LF: I like funk music very much.

KC: I like old funk music, like Funkadelic and old black stuff. But not the current stuff.

LF: Do you know Mercury Rev?

KC: Yeah, yeah… they're pretty good.

LF: They released a very good album…

KC: Yeah.

LF: What's the name of the album?

LLR: “Yerself Is Steam”.

LF: And Boo Radleys? Do you know Boo Radleys? Boo Radleys.

LLR: They're English.

LF: They're an English band. They're very good.

KC: I don't know… I don't know them.

[indistinct chatter about MTV VJs]

KC: I'm having a hard time hearing you now… So you have a vu-…

LLR: [interrupting] Do you like gambling?

KC: Ehhh, kind of. Not really.

LLR: Sometimes it's funny.

KC: Yeah.

RL: Have you tried watching Brazilian MTV?

KC: I haven't seen it at all. I haven't even turned on the television since I've been here.

RL: It's the best one.

LLR: Yeah, it's very good.

KC: I've heard it's a lot better than the American one.

[Assistant talks in an exasperated tone about the conversation that he's just had on the phone]

LF: Don't you have any project to combat this mainstream in the future, to get out of the mainstream?

LLR: To go back to the underground?

KC: Well, I've wracked my brains trying to figure out how the hell I could do that. I've tried to think of many scams and it's almost impossible. I mean, I've refused to do interviews and stuff… Who are you talking to?

Assistant: Jackie.

KC: Oh, I have to talk to her. Could you wait for a second?

LLR: Alright.

KC: But I don't know what to do, I don't want to break up my band because I like playing.

LLR: It wasn't supposed to happen?

KC: Huh?

LLR: You didn't mean that?

KC: No.

LLR: When you started, you didn't mean to become successful?

KC: Not at all! No.

LLR: But, in reality, I don't think it is a shame to be successful. If you do what you want — if you do good music, in fact the media wanted you to be successful. Then it's not a question of popularity, it's a question of authenticity. So if you are successful it doesn't mean that you're not good.

KC: That's good. I've noticed that that's the feeling with a lot of people also, finally.

LLR: Yeah, they say Nirvana now is known by everyone so it's not good anymore.

KC: Yeah, well, that means that those people don't like music, you know. They're the kind of people who are really into feeding their egos by pretending that they're discovering new bands that no one knows about so they can feel "cool." Those people are just as stupid as people who only listen to commercial music, as far as I'm concerned.

Dodô Azevedo: Is it true that Pavement and PJ Harvey have signed to major record companies?

KC: Well, Pavement is on Matador and they just got bought out by Atlantic and PJ Harvey… I think she did too, yeah. But one good thing about it, there are some bands - a few bands who are still very raw and still very punk rock who are being signed to major labels and they're not changing their sound at all. And the major labels are letting them do this. Like Flipper, they're a San Francisco band from the early Eighties — well, actually they started in the late Seventies — very noisy, very influential for my band, one of my favorite bands, they're very slow and noisy and fucked up. Punk rock attitude and they've just been signed to Def American and their new album sounds just like their old albums. And Hole has been signed to DGC and they sound just like they used to, really noisy and raunchy. They have a few more pop songs now…

Rogério Goulart: Don't you ever think about producing anything?

KC: Yeah, I have actually. I helped Hole produce their demos that they've been doing and I'm producing the Melvins’ new record, that's going pretty well — we've done about six songs so far.

LLR: What about the concert tonight — do you think that there is a great difference between São Paolo and Rio, in terms of the public?

KC: I don't know, I have no idea because I haven't played the show.

LLR: People always say that the public, the audience in São Paolo, that they're cooler. That in Rio they dance, that they are much easier to deal with. You'll learn tonight.

KC: Yeah, I guess I will.

RG: It was great, the finale of the São Paolo concert — I liked it so much. But people didn't understand it.

KC: Oh, you liked it? Yeah, I didn't expect them to really understand what we were doing.

RG: It was great!

KC: I didn't care, we had fun. I knew there were some people in the audience that, like you guys, would understand and enjoy it. We like to do stuff like that sometimes.

RG: A lot of people don't have a voice so can't say that they enjoyed the show as much as the others. The next day the newspapers said that the end of the Nirvana show was a mess but the people who liked it can say nothing because they don't have the media.

KC: Right.

RG: We liked it because it's a way to play with the mainstream. you're up there, you can do whatever you like.

KC: Yeah. Oh, yeah. [chuckles] Yeah, because they just expect a very professional, slick production — they expect for us to say some chanting thing before a song and get everyone to scream and then play the song perfectly and end it perfectly. And we just like to play noise sometimes…

RG: Any surprise tonight?

KC: Well, we're gonna play a run of new songs.

RG: A surprise is a surprise.

KC: A surprise is a surprise! [chuckles] I dunno, I wouldn't expect much, really. I mean, we're just going to play our songs.

LLR: Do you play songs from “Bleach” and “Nevermind”?

KC: Yeah. Oh yeah, we play those songs.

LLR: That's the setlist.

KC: From both of those albums. Yeah, and some new…

LLR: “Incesticide” too?

KC: Yeah, maybe a couple songs from that.

LLR: Do you still play “Love Buzz” in shows? I love that song.

KC: Yeah, sometimes. We didn't write that song, though. That's Shocking Blue.

LLR: I didn't know.

LF: I used to have a band and we wanted to cover the last song… [hums guitar riff] “Before loneliness will break my heart…” — “Send Me a Postcard”?

KC: Oh yeah, that's a great song! Yeah, that's my second favorite Shocking Blue song. That's really good.

LF: What about the new songs from the next album?

KC: Yeah, we're going to play some — we're going to play about three maybe.

LF: I heard some new songs.

KC: Really?

LLR: Yeah. We were listening to your soundcheck.

KC: Ah.

LLR: I liked.

KC: Oh, thanks.

LLR: I heard stuff, some things that I've never heard before, I think they are the new songs.

KC: Ah.

LF: I have a friend who says you're going to record it on an 8-track?

KC: No, it's a change — we're going to do it on a 24-track but we're going to do it with Steve Albini so it'll be really pretty raw. There’s going to be a lot more guitar noise, I'm not going to try and play any solos with notes that go along with the songs, just a lot of noise, and I have a lot of new guitar effect pedals, old Sixties ones that make weird noises, I'll make a lot of noises.

LF: Which ones?

KC: Electro-Harmonix. I use a lot of Electro-Harmonix effects — Echoplex and Phaser… Small Clone… There’s just a lot of different crazy names for them but they make great sounds.

LF: I use a Fuzz Face…A round one.

KC: Oh yeah, those Jimi Hendrix ones?

LF: A Dallas-Arbiter Fuzz Face.

KC: Yeah, they're cool.

RG: Do you have any creative art activity besides Nirvana?

KC: Do I what? Yeah, well I painted the “Incesticide” album cover. I paint a lot. I was supposed to go to art school but I just didn't feel like it, I wanted to be in a band.

RL: How were the old days? Once a friend of mine made me a tape - played me a demo tape of you from 1987 that had five tracks, six tracks, something like that. But the first song, he didn't have the name. I don't know if you remember this demo tape, from 1987?

KC: Mmm…

RL: The first song, he didn't know the name. And I don't know…

KC: Hmmm. Were any of them on “Incesticide”?

RL: I don't think so.

KC: You don't think so…? Mmmm…

RL: It was an instrumental.

KC: It was what?

RL: It was an instrumental. It didn't have a vocal.

KC: Ah, well, I don't know what that could be. That could be a board tape from a rehearsal or who knows what that could be — it could be a soundcheck or something.

RL: It could be.

KC: Yeah…

LF: About the guitars, sometimes you break them on stage, but now I've seen you playing Fender Jaguars — you don't break them do you?

KC: Oh, I've broken a Jaguar before — actually, I broke two…

LF: “I'll get a new guitar for the end of the concert, a new Fender, and then smash it.”

KC: Yeah. Well, I like to buy older ones. I like to use older Fenders, you know, old vintage ones. I always regret breaking them after I do it but in the middle, when I'm doing it, I really don't have much rational thought so…

LLR: What about fanzines, do you have any contact with American fanzines?

KC: Oh sure, yeah. We do fanzine interviews all the time — that's just about all I ever do myself. I don't do the mainstream stuff anymore. Right before “Nevermind” came out we went on tour to Europe and the United States and we were just freshly on a major label and we had a publicist who we weren't familiar with and she just set up these interviews. And we would have interview days that would last for eight hours sometimes — and just sit there and talk about ourselves for eight hours with different people coming in and having no idea what magazines we were doing. We didn't even know what magazines we were doing them for, we just did ‘em. Then months later when they come out we go “Oh my God! We did Metal Hammer, Kerrang and stuff.” And so now we try to have some discretion and we make sure to find out what the magazine is like first and I just offer to make sure we do the fanzines. And a lot of times, someone from the record label will say “We have a fanzine interview for you,” and they come and it's nothing like this at all — it's a glossy magazine, it's like well, fuck that…

LLR: I like fanzines. They're real rock fans.

KC: Yeah.

LLR: They're true fans…

KC: Yeah. It's way better, way better. There always seems to be…

LLR: To be much more true. You can believe what they say.

KC: Right.

LLR: They don't have any kind of compromise, unlike the media. They can say the truth.

RL: My view is that the fanzines talk about the new bands that haven't got any magazines talking about them.

KC: That's great.

RL: So I think there must be someone talking about these bands. And it's better when we can interview and you can talk with the guy who is playing in those bands, not translated into platitudes. But nowadays there are just a couple of fanzines that are trying to write about Brazilian bands. Most of them are making compilation tapes of these bands because in Brazil it's difficult for bands to have an LP, like Second Come has.

KC: Right.

RL: You must have received a few records from Brazilian bands? I don't know — maybe you have received Gash, Killing, Second Come?

KC: Gash, Second Come and that's it, just those two, that's all I've gotten so far.

[indistinct chatter about Brazilian bands writing songs in English]

KC: [about Portuguese words] It's very hard to rhyme those things.

KC: That's not the point at all.

LLR: Kurt, there's someone knocking at the door?

KC: We're supposed to go flying right now, at 5:30… It's a little past 5:30.

[indistinct chatter about singing in Portuguese. The guy seems to be translating and singing “Hello, hello” from “Teen Spirit”]

KC: If it's good music, it's good music. But I understand what you're saying — because, obviously, the English language is simpler in the way the paraphrasing is easier to use because there are more rhyming words and there aren't as many, um… I don't know what it's called… syllables, yeah. And so in other languages it is harder — I just find it a little bit harder to comprehend. But! If the music itself is good you can tell, you can always tell. And I can't explain why… There are a lot of bands that I've heard, I haven't heard a lot of bands from other countries — I just don't have access to finding that kinda stuff. If I looked really hard I could, I have no excuse for that. But I can't explain why I don't find very many Japanese bands, besides Shonen Knife because they sing in English but they also sing in Japanese too and they have a charm with those songs as much — and they're just as good. But I just don't understand why, from other countries, there aren't as many good bands as there are from bands who choose to use the English language. I don't understand it, really, other than the syllable thing. But, still, your point is very…

[indistinct chatter about a new generation of bands]

DA: I sent out a demo tape, my group and the other guys are called Pelvs.

KC: Pelvis? Great. [laughs] That's a great name.

DA: The name of the demo is “Peter Greenaway's Surf.” Do you know this movie-maker, Peter Greenaway?

LLR: Peter Greenaway…

LF: “Drowning By Numbers”

LLR: Yeah, he did “Drowning By Numbers,” “Prospero's Books” and…

DA: “The Cook, The Thief, His Wife…”

LLR: “The Cook, The Thief, His Wife And Their Lover”, yeah, the movie-maker is Peter Greenaway…

KC: Yeah?

DA: “Peter Greenaway's Surf” is the name of the demo.

LLR: He's a very alternative movie-maker [laughs].

KC: Mmm-hmm.

DA: Like if there was a surf movie made by Peter Greenaway, the music is the soundtrack of this movie [laughs].

KC: Wow. Well, I've got to get going. I'm late to go hang-gliding. I know it's a lame excuse to stop an interview, but I have to do it again, I had so much fun yesterday.

RL: Where did you go yesterday?

KC: Just right out here to this mountain.

RL: Did you go to any nightclubs here in Rio?

KC: Umm, no, I didn't.

RL: In São Paolo you went to The Temple?

KC: Yeah, that was fun! I had a great time, a really good time.

RL: Is Courtney here?

KC: Huh?

© College Radio, 1993

Durante o Hollywood Rock 93, enquanto a imprensa gigante corria atrás do Nirvana, um pequeno grupo de outsiders conseguiu o que todos queriam: descobrir as verdades de Kurt Cobain. A entrevista publicada agora pela primeira vez, revela um retrato inesperado do maior mito do rock anos 90. [Por Luiz Fernando “Dodô”]

No início da tarde de sábado em que o Nirvana ia se apresentar no Rio de Janeiro, pegamos um ônibus munidos apenas de dois crachás de imprensa. O Novoselic (Chris, baixista do Nirvana) nos havia prometido uma entrevista logo após a passagem de som.

O esquema de segurança estava tão rigoroso que apenas eu, o repórter sortudo, consegui entrar na Apoteose. Dei de cara com o mito em pessoa e o mito em pessoa ficou esperando que eu falasse alguma coisa. Ainda bem que o sortudo sabia aranhar um inglês. O assustado repórter arriscou: “Hello, I’m student. Drummer too. See those people out there? They are my folks, they have a fanzine, and we want a interview”.

“Manda todo mundo subir no ônibus cara! Vamos lá pro hotel!”, respondeu Kurt Cobain – o mito - num inglês ainda mais ordinário que o do repórter sortudo (que mal pôde acreditar). Mais surpresa ainda estava a galera lá fora e o chefe de segurança. O mito sorrindo para um reporte? Ninguém acreditou.

Minutos depois o repórter sortudo já estava dentro do ônibus da banda tentando bater um papo com Kurt Cobain - o mito.” A gente só sai daqui se os caras lá fora embarcarem com a gente!”, divertia-se ele. Foi preciso dar uma prensa no repórter sortudo: “Se você não tirar essa idéia da cabeça do cara, nós te cobrimos de porrada”, ameaçou o chefe de segurança. O repórter aprendeu a falar inglês rapidinho e convenceu o mito de que a galera iria num táxi.

Durante o trajeto até o hotel, os dois - o repórter sortudo e o mito - conversaram sobre coisas simples e… J. Mascis (mentor, vocalista e guitarrista do Dinosaur Jr.)!” Ele é um cara muito estranho, caladão… Muito esquisito mesmo”. O olhar de Kurt perdeu-se no horizonte e o do repórter também. Os dois sorriram. No final do caminho, pelo menos uma conclusão o sortudo já havia tirado: Kurt Cobain não era um mito. Era um cara muito legal, muito simples.

Foi Tony – o segurança particular quem levou todo mundo até o quarto de cobain, para espanto da imprensa que acampava no saguão do hotel Intercontinental. Éramos uma cambada. Eu e o Rogério Maradona, produtores do programa College Radio; Leandro Ferreira, guitarrista do Stellarblast, com uma camisa do Spacemen 3; Lívia Lazarro, apresentadora do College, de modelito high school; Rodrigo Lariú, de camisa do Killing Chainsaw, com seu fanzine debaixo do braço.

O Papo

Quando começou o papo, o único não-atônico era o entrevistado.Afinal. a cambada não sabia direito como havia parado ali. Nada fazia sentido. Kurt Cobain era famoso por nunca dar entrevista, não falar com ninguém, viver chapado e deprimido. Kurt Cobain, o que estava sentado no meio de uma roda de desconhecidos, à nossa disposição, era expansivo, interessado e provavelmente a pessoa mais lúcida dentro daquele quarto.

Courtney, a patroa, repousava no quarto ao lado enquanto Tony, brasileiro, berrava ao telefone procurando marcar outro vôo de asa delta para o casal. Rodrigo começou a mostrar seu fanzine para Kurt, que o folheou com interesse surpreendente. Leu uma história em quadrinhos desenhada por Fábio Leopoldino, vocalista do Second Come e depois soltou o primeiro “great!” (“legal”) da tarde. Seus “great!” eram sempre seguidos de um sorriso muito largo.

Lariú perguntou se ele gostava de voar. Ele respondeu que tinha voado pela primeira vez no dia anterior e que tinha sido a experiência mais relaxante de sua vida. Sorriu. Em seguida, Lívia perguntou como o cara se sentia tocando em estádios.

Kurt ficou sério e a entrevista começou de verdade: “Eu realmente odeio tocar em lugares como esses, com aquelas luzes nos olhos não dá pra ver o público e ficam pensando que isso é atitude de estrela…”

Arrisquei: “Você acha que em lugares pequenos o público se diverte mais?”

“Eu me divirto muito mais. A banda também. Eu não gosto de lugares grande porque o som é ruim, as pessoas ficam muito distantes umas das outras. Sei lá, é como se o público estivesse assistindo TV. Felizmente nosso próximo LP será muito mais esporrento (Kurt se referia a In Útero), o que vai desagradar o público de estádio, nas nos levará de volta aos pequenos clubes.”

Começamos a falar sobre bandas. O cara se mostrou mais curioso que a gente: “Vocês conhecem Pavement?! Nunca imaginei que ia encontrar gente da sua idade gostando de Pavement!”

“E do Chilli Peppers, você gosta?”. Perguntou Lívia.

“Eles são muito divertidos”.

“Eu não gosto de funk metal”, retrucou Leandro.

“Eu também não”, concordou Kurt, “gosto de funk music antiga, tipo Funkadelic…”

“Você conhece as bandas inglesas tipo Stereolab e Boo Radleys?”, perguntei.

Kurt respondeu em tom de desculpas: “Não. Não tenho tempo. É tão estranho ficar rodando o mundo todo e não ter oportunidade de conhecer nada do que está acontecendo… É uma coisa que eu não sei explicar e, na verdade não há desculpas para essa minha ignorância.”

“Já que a vida mainstream te enche tanto o saco, por que você não se dedica a voltar ao underground?”, provocou Maradona.

Kurt franziu a testa antes de responder: “Tenho esquentado meus miolos imaginando como fazer isso. Mas é sempre impossível! Eu me recuso a dar entrevistas e a atitude se torna mainstream! Tudo o quer eu faço acaba enrolando ainda mais esse nó. Tudo o que eu estrago consertam…”

“Mesmo a gente tinha uma imagem tua como um cara fodido deprimidão, sabe como é…” Interrompi. Meu inglês ia piorando.

“É, eu sei como é…”, concordou Cobain.

Nesse momento, todos começaram a falar ao mesmo tempo, resmungando contra o esquema maisntream. Kurt chegou à conclusão de que a culpa era do próprio mundo underground, que simplesmente abandona as bandas quando elas fazem sucesso: “As pessoas que param de escutar uma banda porque ela fez sucesso não entendem nada de música. Elas estão preocupadas apenas em alimentar seus egos dizendo que conhecem bandas ‘udigrudis’. Essas pessoas são estúpidas quanto as que ouvem música comercial”.

Maradona interrompeum ainda mais sério: “Você disse que gostou do show em São Paulo, mas algumas pessoas não entenderam…”

“Mas eu não esperava mesmo que entendessem. Não estou ligando: nós nos divertimos ao mesmo tempo, eu sabia que havia pessoas como vocês que entenderiam e poderiam gostar… Em todo lugar é assim.”

“É uma pena que esse pessoal não tenha como dizer que gostou. É uma minoria que não tem voz”, completou Lariú.

“Eu imagino. É chato: todos ficam esperando um set profissional, bem produzido. Querem que falemos alguma gracinha antes de cada música para que todos gritem…”

Leandro desviou completamente o assunto. Estava chapado no sofá, ao lado de Kurt: “A gente (a banda dele, o Srellarblast) tá pensando em fazer um cover de ‘Send Me A Postcard’ do Shocking Blue…”

“Great! Ótima música!”, sacudiu-se Cobain, rindo.

Os dois começaram a trocar seqüências de acordes e tipos de harmonia como se fossem parceiros:

“Quais os pedais que você sua?”, animou-se Leandro.

“Eletric harmonica, fuzz, phaser (imitando os sons de cada pedal). Acabei de comprar pedais da década de 60’.

Leandro lembrou: ”Você vive quebrando guitarra nas apresentações. Eu já vi você tocando com uma Fender Jaguar, essa você não quebra, né?”

Risos: “É claro que não! Quebro essas Fender novas, que só servem pra isso mesmo…”

“Isso aqui é uma entrevista séria”, lembrou Lívia, divertida. Kurt emendou:

“Quando o Nevermind saiu, nós fomos em tour pra Europa. Tínhamos acabado de entrar numa grande gravadora e nossa promoter marcava entrevistas com várias revistas de uma vez.Só que elas duravam oito horas! Tínhamos que falar sobre nós mesmos com pessoas que nem conhecíamos. Lá pelas tantas estávamos tão cansado que só falávamos merda… (risos) Depois que a publicação saíam, nos assustávamos:’ Meu Deus, eu falei isso?!’ (risos) Agora, antes de darmos entrevista, queremos ter idéia do que é a revista. Mas nunca nego entrevista para fanzine. a gravadora descobriu isso e começou a dizer que estava marcando entrevista com fanzine e, quando a gente chegava lá, era uma puta Spin da vida…”

“Meu fanzine ideal”, gabou-se Rodrigo, “é aquele que fala sobre bandas que estão começando, principalmente na cena local. No meu caso, aqui no Brasil.”

“Great!”, riu Cobain de novo, já empolgado.” A cena de um lugar só vai pra frente quando as pessoas têm orgulho dela…”

O Fim


Decidimos desligar a câmera de vídeo: a entrevista já havia terminado. Era hora de bater papo sobre a MTV, televisão, videogame, bandas brasileiras, arranjos, Hole (a banda de Courtney). Cantamos “Smells Like Teen Spirit” em português, imitamos tipos de feedback com a boca. Estava anoitecendo, e o cara tinha que tocar – e a gente, que ir ver.

Kurt nos deu seu endereço pessoal em Seattle, nos fazendo jurar que escreveríamos. Quando da despedida, simples como ele só, perguntou-nos uma coisa que ninguém soube responder, a não ser por alguns sorrisos amarelos: “Por que vocês achavam que eu vivia fodido, e deprimidão?”

© Luiz Fernando & Rodrigo Lariú, 1993