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Flash Metal Suicide: Love/Hate

This week: how culture recoiled when it met Love/Hate's debut album Blackout in the Red Room... and created Kurt Cobain

“I'm free to exercise my downward mobility” - Fuel to Run

It is my contention that Jizzy Pearl created Kurt Cobain. While that was arguably good news for rock music in general, it didn't turn out so great for Jizzy or for Kurt. Here's what happened. The golden rule of rock n' roll is the same as comedy: if it bends, it's funny. If it breaks, not funny. By 1990, we endured a good seven years of really tremendous bullshit in the rock world. Flash metal did give us some solid jams, don't get me wrong. Appetite for Destruction has got to be on anybody's list of the top 5 rock records of all time. The first two Motley records are untouchable. Early on, we had Hanoi Rocks and Smack. The sleaze/biker metal wing of the movement was stellar. Whitesnake really brought it during that era. And there were a ton of pop-metal gems, from Ratt to TKO. 

But for the most part, it was a lot of Midwestern goofballs puffing up their hair, prancing around in pirate shirts, and calling themselves things like Rikki Rockett, Vik Foxx, Taime Downe and S St. Lust. You can only take so much of that before you're ready to move on. Love/Hate's debut album came out in 1990. It had a song on it called Slutsy Tipsy. Their singer called himself Jizzy Pearl. If we went along with that, we'd be looking at another decade of dudes writing songs about getting blowjobs from teenagers. We just couldn't allow it. The culture recoiled and searched desperately for the exact opposite of Jizzy Pearl and Blackout in the Red Room, and found it in mopey Kurt Cobain and the the bummed-out slacker-grunge of Nevermind

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