Book Review of "Serving the Servant: Remembering Kurt Cobain" by Danny Goldberg

In his captivating memoir "Serving the Servant: Remembering Kurt Cobain" (released in April 2019) Danny Goldberg (former manager of Nirvana) delves into the intricate world of managing one of the most iconic bands in music history. Goldberg skillfully unveils not only the artistic brilliance of Kurt Cobain but also the myriad challenges encountered while steering the band through the chaotic reality that is fame.

Navigating the press, television appearances, and the daunting task of keeping Nirvana grounded as they were becoming a household name, Goldberg found himself in a whirlwind of responsibilities. The journey unfolds in Los Angeles, California, circa 1990, where Goldberg's first encounter with Nirvana set the stage for what would be an unforgettable ride.

In Goldberg's narrative, Kurt Cobain emerges as a true artistic force with his brilliance rooted in his upbringing in Aberdeen, Washington. Goldberg paints a vivid picture of Cobain's teenage years. They are marked by a profound sense of alienation which is ultimately amplified by the conservatism of Aberdeen. Reflecting on Cobain's early years, Goldberg notes, "Kurt’s alienation as a teenager was magnified by having to grow up in the conservative logging town of Aberdeen, Washington, where his artistic sensibilities made him an outcast" (Goldberg, p. 25).

Nirvana's trajectory from an indie artist to a major label sensation is a testament to Cobain's vision and determination. Despite the disdain for major labels within the punk culture, Cobain remained steadfast in his pursuit of artistic expression. Nirvana's debut album, Bleach (released under Sub Pop Records) gained a devoted following and propelled them into the spotlight. Despite the allure of major label attention, Nirvana signed with DGC Records; an imprint of Geffen Records. They, then, released their albums Nevermind and In Utero which solidified their status as trailblazers of the grunge movement.

The massive rise of Nirvana's Nevermind catapulted the band into global fame and fortune. However, with this newfound success came pressure and turmoil. As the band embarked on a six-week tour of the UK and continental Europe, rumors of Cobain's alleged heroin use began to circulate.

Goldberg sheds light on these rumors, recounting, "Some people now say that there were already whispers that Kurt was shooting heroin when the band was in France, possibly fueled by the fact that he’d missed a couple of sound checks. Smack was easy enough to get in the country at the time so in retrospect I suspect the rumors that Kurt was using were true, but the problem would not show up on my radar screen for several more weeks" (Goldberg, p. 126). Despite initial skepticism, the mounting evidence of Cobain's behavior and physical symptoms of drug use soon became undeniable.

"McCulley, the writer for BAM, arrived shortly thereafter, and the way he described Kurt was an unmistakable alarm bell to everyone connected to Nirvana. ‘He nods off occasionally. He’s had but an hour’s sleep, he says, but the pinned pupils, sunken cheeks, and scabbed sallow skin suggest something more serious than mere fatigue.’ The other damning clipping was a column in Hits magazine that included the line ‘Kurt slam dancing with Mr. Brownstone,’ which was slang for heroin" (Goldberg, p. 129). Despite attempts to conceal his addiction, Cobain's deteriorating condition became increasingly difficult to ignore.

The repercussions of Cobain's substance abuse were compounded when his partner, Courtney Love, also grappling with heroin addiction, became pregnant with their first child, Frances Bean Cobain. This only intensified the gravity of Cobain's addiction and the media catching wind of the struggling couple only worsened the matter. This would eventually lead to years of legal battles involving custody of Frances, along with rehab.

Amidst the media scrutiny and legal battles, Kurt Cobain remained focused in preserving his artistic integrity. Cobain maintained autonomy over every facet of Nirvana's identity, including album covers, titles, interviews, and even stage design. This was palpable in the band's third and final album, 'In Utero'. Nirvana's iconic MTV Unplugged performance still remains a true testament to Cobain's unwavering commitment to his craft.

But on March 4, 1994, Cobain suffered an overdose on Rohypnol in Rome. Episodes thereafter highlighted Cobain's deteriorating mental state. This prompted Courtney to set up another intervention. Goldberg stated "A few days after that, on March 24, Courtney prevailed upon me to join a few people in Seattle and be part of an intervention the next day. She said that Kurt was the worst she’d ever seen him and that for the first time since Frances had been born even being with his daughter wasn’t making him smile. Over the last couple of years I’d lived through some tough times with Courtney. I’d witnessed her in despair, in a rage, and stoned, but this was the first time I’d ever heard fear in her voice" (Goldberg, p. 254).

Merely weeks after the couple admitted themselves back into rehab, Cobain took his life at his home in Seattle, Washington. His untimely death reverberated across the globe, leaving an indelible void in the hearts of countless fans. Goldberg poignantly reflects on Cobain's profound impact. "He gave us quite a lot in a short time. John Lennon had seventeen years of access to recording studios. Prince had thirty-eight; David Bowie had forty-nine. Kurt had only five" (Goldberg, p. 274).

Danny Goldberg's insights into the inner workings of the music industry offer some real perspective. At the beginning of his book, Goldberg combats the common misconceptions about the role of managers and booking agents in the music industry. He explains, "In subsequent years the word 'manager' in the music business came to mean various things depending on the practitioner and on the artist. For actors, agents often provide some of the kinds of career guidance that managers do for musicians and singers. However, in the music business 'booking agents' are responsible solely for the important but narrowly focused job of arranging live appearances and rarely have much to do with record companies, music publishers (which are the entities that own or administer songwriting copyrights), or media strategy, which are all overseen by managers. Music managers also serve as the liaison between the artist and their lawyers and accountants as well as booking agents, especially when balancing tour options for various parts of the world" (Goldberg, p. 16).

He further underscores the nature of the managerial role, emphasizing, "The word 'manager' is somewhat misleading. It can sound as if we are somehow in charge of our clients when in reality it’s the opposite. It’s a service profession and the artist is the boss" (Goldberg, p. 17).

Then Goldberg touches on the significance of record producers and notes their varied roles across different musical genres. He wrote, "Record producers play different roles for different artists. For many pop, country, R & B, commercial pop, and rock records, producers pick the material and the arrangements, often making an artistic contribution that is almost equal to that of the artist. However, on recordings by rock auteurs who write their own material, such as R.E.M., U2, and Nirvana, producers play a more limited role but they are nonetheless crucial supporting characters in the creation of an album. They are responsible for the sound, and the best producers also help artists make creative choices. Some, like Vig, are also audio engineers and physically control the console in the studio during recording" (Goldberg, p. 53).

Additionally, Goldberg provides clarity on the concept of publishing in the music business. "In the music business 'publishing' refers to the copyright for the songs as distinguished from the recordings" (Goldberg, p. 63). He further underscores key principles guiding decision-making in the industry, such as "the axiom to double down on something you know people like" (Goldberg, p. 90), shown in the strategic promotion of Nirvana's hit "Smells Like Teen Spirit".

Navigating the complexities of songwriting royalties, Goldberg writes about the complicated world of revenue distribution within bands. He particularly focused on Kurt Cobain's desire for sole ownership of songwriting royalties. Goldberg reflects on Cobain's perspective, stating, "Now that Nirvana was big enough for members of the band to make a lot of money in other ways, Kurt wanted the royalties on his songs for himself. This sort of thing can drive nonwriters in rock bands crazy. There is a thin line between being a musician in a band and being a writer. Bass parts and drum beats are vital to any record, and Krist and Dave 'wrote' their own parts. However, the counterargument is that such playing is what a musician does as an artist. The traditional definition of 'songwriting' is 'the authorship of the lyrics and the melody,' and Kurt usually did those things by himself" (Goldberg, p. 152).

Through his narrative, Goldberg offers a compelling glimpse into the intricacies of managing a band as iconic as Nirvana, navigating the complexities of artistic vision, and interpersonal dynamics within the music industry. His experiences with Cobain and the band underscore the challenges and rewards that come with such a role and invite readers into the captivating world of one of the most influential musical acts of all time.

Here is a free Audiobook on YouTube for anyone interested!

Uju Ike is a Public Relations major and Music & Entertainment Industries minor at William Paterson University. He is in his third year of his BA program and an aspiring publicist.