Posts Tagged ‘Nirvana’

Kurt Cobain + Time Travel = 3 Books

Friday, April 4th, 2014

Fun fact:  Searching for Cobain time travel on Amazon yields 3 results:The Drawing of the Three

Lost in the ’90s by Frank Anthony Polito — A teenaged rocker stage-dives during a ’90s themed dance and wakes up in 1994.

Eating the Dinosaur by Chuck Klosterman — An essay collection featuring unrelated sections on time travel and Kurt Cobain.

Timely Persuasion by Jacob LaCivita — A rock and roll time travel tale about a music critic trying to save his sister.

Discounting Klosterman (who I love, but isn’t directly relevant here), I was pleasantly surprised to find Lost in the ’90s. I’d never heard of it before, but immediately purchased it — and really dug it too! Not only had someone else decided to revolve a time travel story around a cultural red-letter-date, but they did so with a lot of other interesting overlaps to the way I handled things in Timely Persuasion.  Song titles as chapter titles, lyrical allusions, musician fathers, and even bowling (!!!) pop up in both books.

I reached out to the author and he agreed to do a joint interview around our mutual inspirations.  So without further adieu, here’s Frank & Jake’s timely & persuasive take on being lost in the ’90s…

FAP:  Hey, there! My name is Frank Anthony Polito. I’m a Detroit-based writer and Lost in the ’90s is my first YA novel — though you don’t have to be a Young Adult to enjoy the story. In fact, you may appreciate it even more if you actually grew up in the 1990s.

JL:  Thanks for taking the time to do this. I’m not a young adult anymore, but I did grow up in the ’90s and can say you are spot on that it does help you appreciate the book.

People on this blog likely already know me, but in case you’re coming in for the first time via this post my name is Jacob LaCivita. Timely Persuasion is a rock and roll time travel novel I released in 2008 — though the bulk of it was written back in 2003. You don’t need to be an obsessive music fan like me to get into the story, but as Frank said about his book it may give you some added appreciation.

Let’s start off with the most timely question with the 20th anniversary upon us:  Why Kurt Cobain in a time travel tale? You nicely weave this throughout on a few different levels and have the bulk of the story set during those fateful days in early April 1994; my narrator tries to save Kurt as soon as he realizes what he can do…

FAP: Well, I hope this doesn’t come as a shock, but… When I began writing Lost in the ’90s I didn’t intentionally set out to include Kurt Cobain in my story. I’m a very realistic writer in that I write fiction that is fact-based. Based on my previous publishing experience, I figured (best case scenario) LIT90s would hit bookstores sometime in 2012. That said, I counted back 18 years in order to calculate my protagonist’s birth year — which took me to 1994. When I researched what was going on in the world that spring, I was reminded of the death of Kurt Cobain on 4/5/94 and voila!

JL:  That’s interesting.  I had many similar “count back X years and research” moments while plotting Timely Persuasion, but Kurt Cobain was there from the start.My standard answer to the “If you had a time machine…” question has been “find out how Kurt Cobain died” for as long as I can remember, so I knew I had to explore that in Timely Persuasion. I was 17 when Kurt died, and it hit me pretty hard at the time.  The Tom Grant murder theory started to gain press at about the same I discovered the Internet.  I became super obsessed with it right away. I’m not really a conspiracy theorist in general, but I’ve always been fascinated with unanswered questions. The hardest part in the writing process was figuring out a way to leave the suicide/murder question unanswered while still using it to explain the rules of time travel and give deeper insight into the narrator’s character.

FAP: Again, I hope this isn’t a shocker, but… Back in the day, I was not much of a Nirvana and/or Kurt Cobain fan. I didn’t find the music (or Cobain) attractive or interesting. In fact, I kind of sort of hated it (him). I was more into the music scene that had come out of Manchester (The Sundays, The Charlatans UK, etc.) Now that I’m older (and wiser), in doing research to write LIT90s I was happily surprised to discover that I honestly didn’t get Cobain back in 1994. I didn’t realize how ironic his lyrics were or what a supporter of gay rights he was, and how often he was misunderstood by his peers — something to which I could totally relate. Now I really wish I could go back in time to the early ’90s because I would totally change my tune. 

JL:  Like many ’90s teens Nirvana was my gateway into music I could call my own, but I really dug the British music scene too. The Manchester bands you mention were great (don’t forget the Happy Mondays!), along with new britpop revolution led by Blur & Oasis. Plus my favorite band to this day is still Carter USM — and not so coincidentally they have the most lyrical references in TP.

Sometimes I wonder if the love of the Beatles instilled in me by my parents paved the way for that. Which leads into another interesting overlap our books have: protagonists who meet their parents back in time.  In both cases they are surprised to learn that their father is a musician and decide to teach him some tunes… 

FAP: When my father was in high school he played guitar in a band — which is actually how he met my mother. As a kid, I was always fascinated whenever he would drag out his Fender and plug in the old amp and crank out some Black Sabbath. I can’t say that I based the parental characters in LIT90s on my own parents, but I knew that I wanted my protagonist and his father to have a musical bond. I was also a big time-travel geek growing up (Back to the Future, Voyagers!, Somewhere in Time), and I always enjoyed whenever someone from the future would teach someone from the past something and they would try to take credit for it.

JL:  I was also (and still am) a big time travel geek. I knew I wanted to write a time travel novel, but I had a few options on what the main plot would be. A so-so musician going back in time and finding fame by stealing music was one of my initial ideas.  Sort of a parable about the digital music industry. But I didn’t think I had enough for a full novel and scrapped it. Then somehow this story sent the narrator into the 1960s to meet his Dad (which wasn’t in the original outline), so I revived that older idea and ran with it.

FAP:  My idea for LIT90s came from an obscure “After School Special” called My Mother was Never A Kid, based on an obscure book by Francine Pascal (Sweet Valley High) called Hangin’ Out with Cici. In the story, a teenaged girl travels back in time from the 1970s to the 1940s where she meets (and befriends) her mother, who she doesn’t get along with in present day. And of course the aforementioned Back to the Future.

JL:  At the time I was excited and surprised nobody had done a time travel story that stole music from the future. And even though I included a number of Back to the Future references, it wasn’t until years later I realized that the Marty McFly “Johnny B. Goode” bit counted. Duh… 

FAP: Yes! This is exactly what I’m talking about… That moment when Marty is playing “Johnny B. Goode” with his band and that other guy is on the phone with his cousin, Chuck Berry, and he’s like “Listen to this!”

JL:  Classic moment. And tying it back to Kurt Cobain, there’s an episode of The Simpsons where they parody it by having “Marvin Cobain” call his cousin Kurt after hearing Homer’s band play grunge at a Lollapalooza type festival…

Sticking with music, we both also seem to weave little known “real” songs into the plot. I’m guessing “Basement Ghost” is by someone you know based on a few Googles, but I might be wrong.

FAP: You are correct. “Basement Ghost” was written by a friend of mine, Gabriel Grady. I have my MFA in Dramatic Writing from Carnegie Mellon, and I knew that I would eventually adapt the novel for the screen. Because music is such a part of the story, I wanted to make sure there would be an original song for the soundtrack. I knew that Gabe — being a Class of ’94 grad and a musician himself — was totally the guy to write my movie’s theme song. Now, if I could only sell that screenplay…

JL:  I could totally see LIT90s as a movie. Or maybe even an “After School Special” if they ever revive that concept…

It was especially impressive that you managed to make “Basement Ghost” a downloadable single to go with the book.  I wanted to do something like that but wasn’t ever able to find a musician to work with. It was always my secret hope that putting “Won One” in Timely Persuasion would nudge my college roommate into re-recording it for me (I lost my old cassette copy years ago). But it’s been over 10 years and the song still only exists in my memory and in my book.  And I still dig it way more than he does.  (Chris Evjy, if you’re reading this that was a not so subtle hint :))

FAP:  Again, the credit for this goes to Gabe Grady. It also helps that Gabe was in a band at the time I published LIT90s, and he was looking for promotional opportunities for himself and his work as well. I’m a firm believer in the “you scratch my back, I’ll scratch yours…” theory of life, and in helping others along the way, if possible. The great thing about “Basement Ghost,” I will say, is that I told Gabe the basic gist of my story (how boy meets girl) and he ran with it. The lyrics and subsequent music are all to his credit.

JL:  Another item we share along the lines of great music-themed minds is using song titles as chapter titles. Yours are all great ’90s tunes that often aptly summarize the action.  What gave you that idea and how hard was it to pick the songs? 

FAP:  In my first two novels (Band Fags! and Drama Queers!) I did this same thing — only with ‘80s tunes. While LIT90s isn’t part of the trilogy, I wanted to continue using this technique, especially since music plays such a part in the story. In terms of choosing which songs to include, I have to say “Thank God for the Internet and Wikipedia!”

JL:  Originally Timely Persuasion didn’t have chapter titles. Then one night I woke up at 2am with this idea that every chapter was a song title that contained a number.  It would start with “One” by U2.  Just a single word so nobody realizes what’s going on yet. Then “Two of Us” by the Beatles. Then “Gimme Three Steps” by Lynyrd Skynyrd. And that’s when I jumped out of bed and made a huge list of candidate songs — first from my iTunes library, then falling back on the Internet like you did.

FAP:  That is an awesome idea! (I wondered where you came up with “Tram #7 to Heaven” by one of my faves, Jens Lekman.)

JL:  Jens is one of my favorites too. “Tram #7” plus “Wounded Kite at :17” by Pavement were the two titles that made me so giddy I just had to find a way to make this work. And later figuring out I could slot “Won One” in as #11 sealed the deal.  Hardest one was for 26 — it’s the only song I don’t like in the list. “Across 26 Winters” is a cool title and fits the chapter, but with apologies to Phoenix Mourning it’s not really my style.

Of your titles I especially liked “Fade Into You” & “Divine Thing.” And of course “Here’s Where The Story Ends” was the perfect ending…and it happens to be by another British group.

FAP: I’m particularly fond of “Fade Into You” by Mazzy Star myself. I really think the song sets the tone for this particular chapter. “Action” is such a big component when it comes to film and, if memory serves, this chapter is almost all inner monologue for the female character as she rides along in the car with the two other guys in the story. I look forward to seeing how the scene would play out on the big screen — like an old-fashioned MTV music video.

JL:  Along with the musical nods taking the reader back into the era, I really liked the way you sprinkled references to other time travel stories throughout Lost in the 90s — and not just Back to the Future. Time travel seems to pop up all over the place. I’d never heard of Hangin’ Out With Cici before, but I do remember that time travel episode of Family Matters and liked the Somewhere in Time reference too.

FAP: Thanks. Like I said, I was a big time travel story geek growing up. And no surprise that you’d never heard of Cici — which most would call a “girl” book. I’m actually surprised that you know Somewhere in Time which is set in Michigan where I grew up, and I’ve somehow managed to reference in almost every story I’ve ever written.

JL:  I told you I was a time travel geek too! In TP my narrator sees a movie trailer for Peggy Sue Got Married on his second trip back in time (before he realizes that’s what’s actually happening). I picked it as a hybrid music & time travel reference — though it was totally one of those “need a movie from 1986” research happy accidents along the lines of how you picked Kurt Cobain for LIT90sBTTF & Quantum Leap are where my love of time travel came from, so I felt it only fair (and polite) to tip my cap to the greats.

FAP: Kudos to you, sir! I appreciate your appreciation of the greats who came before us 🙂 I’ve seen Peggy Sue, but only once (years ago!) and I don’t really remember the plot. I also didn’t watch Quantum Leap for whatever reason. But, as I’ve mentioned, there was a time travel show back in the early ‘80s that I loved as a kid called Voyagers!, starring Jon-Erik Hexum, whose career was tragically cut short after he accidentally shot himself in 1984. If you haven’t seen it, you should totally check it out.

JL:  Yes, I like Voyagers! too. And the Omni is one of the coolest time machines, right up there with the DeLorean and the Tardis.

Anyways, this was pretty fun. Anything else to add in closing?

FAP: Thanks for finding me and making this happen. It’s been almost 2 years since LIT90s was released, which in book terms makes it “old news.” My goal was to do a big publicity push to coincide with the 20th anniversary of Kurt Cobain’s death… But having worked in the New York City publishing industry as a book publicist, I know what a pain — and how futile — it can all be. Here’s hoping we both will find some new readers.

JL:  Indeed. We write books so people can read them, right?

Anyone interested in learning more about either Lost in the ’90s or Timely Persuasion can check out both of our books below for a trip down memory lane via April 8th, 1994:

Re-imagined, Reissued, Remixed, Recovered

Saturday, October 5th, 2013

My original plan wasn’t to review these two albums together, but when the synergy hit me I couldn’t pass it up.

Nirvana & Mike Doughty somehow managed to intertwine themselves with my musical DNA years ago and haven’t ever let go. Nevermind was my first favorite album and the one that pretty much made me who I am today. Doughty’s Skittish solo record dethroned it when I’d tell everyone I knew that “the guy from Soul Coughing has this amazing acoustic solo album!” Both artists left a heavy stamp on Timely Persuasion. By my unofficial count Nirvana got 14 allusions and a subplot about a time traveler trying to stop Kurt’s death, while Doughty got 21 allusions (10 solo & 11 SC) and his handwriting font used on Local Boy’s setlists and retirement letters. (Yeah, I’m not fanatical…)

And now they both put out records a week apart that let me revisit my misspent youth in new and interesting ways. Nirvana’s In Utero gets the 20th anniversary deluxe treatment highlighted by a new nifty alternate-history style Steve Albini mix. Doughty hits the reset button on his past band by re-imagining 13 songs from the Soul Coughing back catalogue in solo form on the greatly titled Circles Super Bon Bon Sleepless How Many Cans? True Dreams Of Wichita Monster Man Mr. Bitterness Maybe I’ll Come Down St. Louise Is Listening I Miss the Girl Unmarked Helicopters The Idiot Kings So Far I Have Not Found the Science (which are the names of all the songs included, but not the actual running order…).  Re-issues and re-covers in general tend to be a mixed bag with a touch of a bad name, but these manage to pull it off in differing ways.

When I heard about the In Utero deluxe edition I was more excited about spending some 20th anniversary time with the record than actually buying it again. I’d already bought it thrice in my life (on the day of original release, then again 6 months later when I found an import copy, noticed something was off about the back cover tracklist and excitedly realized it had a bonus track!, and finally about a year later when I found a bootlegged version billed as the Pachyderm Sessions with Albini’s mixes), already had all of the B-Sides (pre-box set from singles and compilations — I confess I bought The Beavis & Butt-head Experience the day it came out so I could hear Nirvana’s “I Hate Myself and Want to Die” song…), and never really found remastered or remixed versions of anything all that compelling. But when details of the mysterious “2013 Mix” started to emerge I was pretty intrigued.

The idea was pretty cool. This remix would be more about “exploring the roads not taken” by subbing in different guitar solos, vocal takes, and backing parts recorded originally but not used. Sort of an alternate history, second chance at mixing the album with 20 years of hindsight. The changes are relatively minor in the scheme of things, but I still smile when I catch one of them. “Serve the Servants” has a different guitar solo. “Dumb” no longer has a cello. “Heart-Shaped Box” has an extra harmony on the verse. “Very Ape” adds some more guitar feedback to the intro. But my favorite part of all are Kurt’s screams on “Scentless Apprentice.” I’ve always said that “Spank Thru” had my favorite studio version of a Cobain howl, but now there’s a new winner.

While the In Utero 2013 mix is about small differences, Mike Doughty went for some bigger changes with his album of re-imagined Soul Coughing songs. Soul Coughing covers used to be a big part of his solo shows, but they slowly dwindled as he had more of his own material until they evaporated altogether. Doughty later started discussing more openly how much he really hated his time in Soul Coughing and how the old songs brought back that pain, culminating with the release of his memoir, The Book of Drugs.

After reading the book I felt guilty about often referring to Doughty as “the guy from Soul Coughing” (as I did at the start of this post), but later realized that wasn’t really such a sin. I wasn’t calling him “one of the guys” from an old band, but specifically “THE GUY” — as in the one and only. In the eyes of my younger self it was his band, they were his songs, and he can and should take them with him to do whatever the heck he wants with him. So I was especially excited to learn he was taking them back in an attempt to reclaim them for himself and purge the demon of a dark time in his life.

The differences in the new Doughty versions vs. the old Soul Coughing versions vary a bit, but all in all I’m really digging the re-done versions. “Sleepless” loses the lo-fi intro I never really liked and gender swaps the personified sleep character to make the lyrics work better. I have a vague recollection of sitting in a car outside a party listening to the original “How Many Cans?” when a friend said “this song would be awesome if the music part was better.” Seems he was right. “True Dreams of Wichita” has always been one of my favorite songs by any artist, and the new version further cements it for me — even improving on it by nicely retconning the awkward “stand on the corner and bellow for mush” lyric with the far better “stand in the branches of a juniper bush.”  (Plus I love the inclusion of “I Miss The Girl” since the line “going down to Baltimore, going in an off-white Honda” is among the top utterances to slip out in my lifelong battle with lyrical tourette’s.)

Of course playing the comparison game sometimes exposes some questionable calls on the new takes. Does “Dumb” really benefit by taking away the cello? Was “Monster Man” really worth redoing when most of the lyrics were skipped? How would Kurt Cobain have felt about the whole reissue/anniversary type thing?  That’s a loaded question that’s pretty much impossible to answer. Doughty’s change of heart around revisiting his past illustrates that anyone’s perspective can shift — and that’s a good thing.

15 Years

Wednesday, April 8th, 2009

Couldn’t let today pass by without at least some sort of acknowledgment.  15 years.  Wow.

Nirvana’s Kurt Cobain: Still Missed, By Kurt Loder

Also, here is my related post from 1 year ago today:

Pretending I’m Like Kurt Cobain

Pretending I’m Like Kurt Cobain

Tuesday, April 8th, 2008

I can’t believe Kurt Cobain has been dead for 14 years. Both he specifically and Nirvana in general were big influences on me growing up, and that influence clearly bled into the narrator and the book. And how about this for an illustration of time travel cause and effect in action: One could make an argument that if Jon Mack hadn’t left me with extra tickets when he decided to skip out on a Nirvana concert one fateful night in 1993 so he could go to a high school dance (“I’ll see them next time around” was his reasoning), there might not even be a Timely Persuasion at all. Talk about a butterfly effect…

I’ve not so coincidentally timed the commentaries so we’d reach the Kurt Cobain chapters this week. But before we get to those, here’s something else. For a fleeting moment early on I flirted with having the Local Boy songs only be Nirvana covers, but it never got past the idea phase. To be honest I can’t decide if it would have been better or worse. Figured today would be an appropriate day to explore what might have been with a rundown of essential Nirvana filtered through the folky acoustical lens of Local Boy. Selections and liner notes below.

LBDN: Local Boy Does Nirvana

On A Plain
I distinctly recall my excitement when this was played on Unplugged, as it was both unexpected and perfect at the same time. This was originally the Nirvana track chosen for Local Boy back when the songs skewed towards “famously covered,” but I felt it was too obvious and changed it to “Lounge Act” for the final draft.

Lounge Act
This has gone back and forth for me over the years, but I think I can finally cement in writing that it’s my favorite song on Nevermind. Thus why it ended up being the Local Boy choice in the book. I can vividly hear the Nevermind/Rubber Soul hybrid version described in my head, but I’d be doing it a disservice by attempting to articulate it further.

Curmudgeon
An underrated B-side that I was this close to using for Local Boy, but I was worried that people either wouldn’t know the song or if they did they wouldn’t believe it could be done acoustically. Almost makes me want to learn guitar to prove my vision. This is another that I can clearly hear in my head as a beauty all stripped down, though I think Kurt would be disgusted if he knew that.

Oh, The Guilt
Probably my favorite rarity and another that was under consideration for Local Boy initially, but abandoned for the same reasons described in “Curmudgeon” above.

About A Girl
A no brainer to be played in a folk rock style, but impossible to omit. The Beatlesque comparisons are spot on, and something that has always made me appreciate music criticism.

Hairspray Queen
The trippiest song in the Nirvana catalog and one that every musical loving instinct I have tells me I should hate, but I’ve dug it since the first time I played Incesticide. Has to be included in an all-Nirvana Local Boy set, detractors be damned.

Swap Meet
An overlooked Bleach song I’ve always been partial to. I hear this toned down in a bit of a Lou Reed Velvet Underground style, doing the chorus like the verses of “Temptation Inside Your Heart.”

In Bloom
There’s a part on the uncut Unplugged In New York DVD where Kurt sarcastically says “How are we supposed to play ‘In Bloom’ acoustic?” in response to a request. (Odd since he once did an acoustic “Negative Creep” at an in-store.) When I first heard that I took it as a dare and was up for the challenge. Here’s how: Play “Be Here Now” by Mason Jennings but use the lyrics to “In Bloom.” Spooky how perfectly they fit…

Blandest
When I first started collecting B-Sides and rarities this was my holy grail. Never understood why it wasn’t the first B-Side, or even A-Side for that matter.

Breed
An odd choice, but I think I can articulate this one. Imagine the main riff finger-picked in a Nick Drake style, with the lyrics not much more than a slow and grainy whisper ala M. Ward. Can you hear it?

Frances Farmer Will Have Her Revenge On Seattle
In Utero being a more aggressive screamer of an album makes acoustic translations tough without going for obvious choices like “All Apologies” or “Dumb,” so I’ll take this as my surprise token eastern song.

Spank Thru
This one could totally be pulled off almost as is in a very straightforward acoustic number. A bit of a shame to downplay Kurt’s best recorded scream, though maybe Local Boy could get away with it if it was the encore.

Full Playlist at iTunes

Timely Persuasion Press Release for Cobain Anniversary