Nirvana Song Quotes

As I started going deeper into meditation, I realised that its silence is more melodious than all the songs of the world.

I just want to sleep the sleep of ages, to know again the Great Rest, the perpetual bliss, to hear the songs the stars sing on the shores of the great sea.

Here's a note to the parents of addicted children: choose your music carefully. Avoid Louis Armstrong's "What a Wonderful World", from the Polaroid or Kodak or whichever commercial, and the songs "Turn Around" and "Sunrise, Sunset" and - there are thousands more. Avoid Cyndi Lauper's "Time After Time," and this one, Eric Clapton's song about his son. Leonard Cohen's "Hallelujah" sneaked up on me one time. The music doesn't have to be sentimental. Springsteen can be dangerous. John and Yoko. Bjork. Dylan. I become overwhelmed when I hear Nirvana. I want to scream like Kurt Cobain. I want to scream at him. Music isn't all that does it. There are millions of treacherous moments. Driving along Highway 1, I will see a peeling wave. Or I will reach the fork where two roads meet near Rancho Nicasio, where we veered to the left in carpool. A shooting star on a still night at the crest of Olema Hill. With friends, I hear a good joke - one that Nic would appreciate. The kids do something funny or endearing. A story. A worn sweater. A movie. Feeling wind and looking up, riding my bike. A million moments.

Nirvana's music dragged you across the floor. You felt every crack; every speck of dirt. Their songs helped you locate the places where you ached, and in that awareness of your hurting, you suddenly knew that the bleakness was collective - not merely your own.

Count all these sufferings from here to the end of the endless sky which is no sky and see how many you can add together to make a figure to impress the Boss of Dead Souls in the Meat Manufactory in city City CITY everyone of them in pain and born to die, milling in the streets at 2 A M underneath those imponderable skies”—their enormous endlessness, the sweep of the Mexican plateau away from the Moon—living but to die, the sad song of it I hear sometimes on my roof in the Tejado district, rooftop cell, with candles, waiting for my Nirvana or my Tristessa—neither come, at noon I hear “La Paloma” being played on mental radios in the fallways between the tenement windows—the crazy kid next door sings, the dream is taking place right now, the music is so sad, the French horns ache, the high whiney violins and the deberratarra-rabaratarara of the Indian Spanish announcer. Living but to die, here we wait on this shelf, and up in heaven is all that gold open caramel, ope my door—Diamond Sutra is the sky.

Not long after I learned about Frozen, I went to see a friend of mine who works in the music industry. We sat in his living room on the Upper East Side, facing each other in easy chairs, as he worked his way through a mountain of CDs. He played “Angel,” by the reggae singer Shaggy, and then “The Joker,” by the Steve Miller Band, and told me to listen very carefully to the similarity in bass lines. He played Led Zeppelin’s “Whole Lotta Love” and then Muddy Waters’s “You Need Love,” to show the extent to which Led Zeppelin had mined the blues for inspiration. He played “Twice My Age,” by Shabba Ranks and Krystal, and then the saccharine ’70s pop standard “Seasons in the Sun,” until I could hear the echoes of the second song in the first. He played “Last Christmas,” by Wham! followed by Barry Manilow’s “Can’t Smile Without You” to explain why Manilow might have been startled when he first heard that song, and then “Joanna,” by Kool and the Gang, because, in a different way, “Last Christmas” was an homage to Kool and the Gang as well. “That sound you hear in Nirvana,” my friend said at one point, “that soft and then loud kind of exploding thing, a lot of that was inspired by the Pixies. Yet Kurt Cobain” — Nirvana’s lead singer and songwriter — “was such a genius that he managed to make it his own. And ‘Smells Like Teen Spirit’?” — here he was referring to perhaps the best-known Nirvana song. “That’s Boston’s ‘More Than a Feeling.’ ” He began to hum the riff of the Boston hit, and said, “The first time I heard ‘Teen Spirit,’ I said, ‘That guitar lick is from “More Than a Feeling.” ’ But it was different — it was urgent and brilliant and new.” He played another CD. It was Rod Stewart’s “Do Ya Think I’m Sexy,” a huge hit from the 1970s. The chorus has a distinctive, catchy hook — the kind of tune that millions of Americans probably hummed in the shower the year it came out. Then he put on “Taj Mahal,” by the Brazilian artist Jorge Ben Jor, which was recorded several years before the Rod Stewart song. In his twenties, my friend was a DJ at various downtown clubs, and at some point he’d become interested in world music. “I caught it back then,” he said. A small, sly smile spread across his face. The opening bars of “Taj Mahal” were very South American, a world away from what we had just listened to. And then I heard it. It was so obvious and unambiguous that I laughed out loud; virtually note for note, it was the hook from “Do Ya Think I’m Sexy.” It was possible that Rod Stewart had independently come up with that riff, because resemblance is not proof of influence. It was also possible that he’d been in Brazil, listened to some local music, and liked what he heard.

We stayed up all night that night trying to figure out how our little tribe was going to work. That’s the words we kept using, “little tribe,” because of that Nirvana song. Well, the live version of that Nirvana song. Never mind.

Not a quote. See page 66 (264) to see Kurt's songs.

Mallory started up the engine and fiddled with the radio, finally settling on an old Nirvana song. Something about a mulatto and an albino and a mosquito.

Mallory started up the engine and fiddled with the radio, finally settling on an old Nirvana song. Something about a mulatto and an albino and a mosquito. The lyrics made absolutely no sense, but hearing a familiar song pulled me back into my everyday world and made me feel better.

The songs on Nirvana’s Nevermind did not tangibly change the world. There are limits to what art can do, to what a record can do, to what sound can do.

In the comfort of routine, love can often be neglected, like a forgotten melody in a familiar song.

I mentioned that my favorite song was Nirvana’s “Heart-Shaped Box,” and an hour later, messing around on her violin, she played the opening measures of “Smells Like Teen Spirit.” I don’t think she realized she’d been doing it; when she caught my gaze, she jumped about a foot and slid directly into Bach’s “Allemanda.” (I learned the names of everything she played. She liked when I asked, and I liked to listen.)

In the last ten years, that Christian bubble has popped. Parents today are woefully aware that the Christian subculture they so gladly embraced as adolescents did not provide the safety it promised. The sex abuse scandals, the devastation left in the wake of purity culture, and the mass church exodus these things caused have made it impossible to ignore any longer: the bubble may have kept some harmful stuff out, but it also allowed a different form of harm to grow unchallenged. Kids were protected from the lyrics in Nirvana or Alanis Morissette songs but not from sixty-year-old elders who blamed their lust problems on preteen girls.