No Pocky For Titties wrote:

I don't think his blood is on David Geffen's hands, or that making it onto Touch & Go like they wanted to would have changed anything. But it certainly didn't help. When Kurt Cobain was in the worst shape of his life, rock-bottom, he still had to be out on the road, in the public eye but all alone, when he should have been with family and friends. An indie label would have called Nirvana home. And, as has been pointed out, at least at the time he wouldn't have made less money.

Here's the real point of what I was saying: why did this band agree to a contract where they are forced to spend money they don't have on a studio and producer they don't want? A contract where they get into the black only if they land a hit (read: win the lottery). That's a stupid move. Unless it was sko Suge Knight shakedown, I'm assuming that they can read a contract and make business decisions. Oops! No they can't, they've just got teenaged dreams clouding their vision, .

Bam! That's the nail, being hit on the head. Bands enter into these terrible contracts because they've worked hard, for a long tiime, with pathetically small reward, all the while with the unshakable conviction that international stardom is their inalienable right. So, when that shitty contract comes along, they get the business equivalent of beer goggles.

As wrongly as Ms. Love goes about it, this kind of talk prompts bands to look into this type of thing, and so I think she is providing a public service, even if she is a blowhard and an insignificant talent.