Journals is a collection of writings and drawings by 
Kurt Cobain, lead singer and guitarist of the 
grunge band 
Nirvana.  Though the content is undated, it is arranged in an approximation of  chronological order, starting with a letter Cobain wrote to Dale Crover  in 1988, and ending with a rant about an interview between Sylvester  Stallone and Larry King that he wrote perhaps during his final trip to 
Rome in 1994 (the notepaper is labelled "Hotel Excelsior - Roma"). It was published in 
hardcover by 
Riverhead Books in November 2002, and in 
paperback  by Riverhead Books in November 2003. Its release polarized fans, some  of whom felt it constituted an invasion of Cobain's privacy, and others  of whom saw it as a unique opportunity to better understand him. 
Journals opened at #1 on the 
New York Times bestseller list (non-fiction).
Letters
Journals contains a number of letters, either early drafts or unsent, that 
Cobain wrote to 
friends or 
peers. Included are friendly letters to 
Dale Crover of 
the Melvins, 
Tobi Vail of 
Bikini Kill and 
Eugene Kelly of 
the Vaselines, a tender letter to his wife, 
Courtney Love, a letter thanking 
The Advocate following his interview with the 
gay and 
lesbian magazine in early 1992, and even a letter to Simon Fair Timony, the then-9-year-old stepson of 
Half Japanese member Jad Fair, asking him to contribute artwork for what would become 
In Utero. It also includes a letter from Cobain and Nirvana bassist 
Krist Novoselic firing then-drummer 
Dave Foster from the band, and angry letters from Cobain to 
MTV and 
Rolling Stone.
 Lists
Like many music fans, Cobain often made lists of his favorite bands and albums, several of which are included in 
Journals. His lists were generally eclectic and included artists of many genres, from 
indie and 
alternative rock (
the Vaselines, 
Pixies, 
the Breeders, 
Sonic Youth, 
R.E.M., 
PJ Harvey, 
Meat Puppets) to 
protopunk, 
punk rock and 
hardcore (
The Stooges, 
the Velvet Underground, 
Butthole Surfers, 
Sex Pistols, 
The Clash, 
The Slits, 
Black Flag, 
Bad Brains, 
Minor Threat, 
Rites of Spring, 
Flipper) to 
hip-hop (
Public Enemy, 
N.W.A.) to 
blues (
Leadbelly) and 
heavy metal (
Black Sabbath's 
Master of Reality). On his "Top 50" albums list, offerings from such obscure artists as 
The Shaggs, 
Tales of Terror, 
The Marine Girls, 
Swans and 
The Frogs coexist with albums by 
The Beatles, 
David Bowie, 
Sparks (band), and 
Aerosmith. The 1973 Stooges record 
Raw Power is listed at #1 on all of Cobain's "favorite album" lists. He also noted an interest in 
grunge and the 
Seattle Sound (
The Melvins, 
Alice In Chains, 
Green River, 
Mudhoney).
 Nirvana-related writings
Contained in 
Journals is an assortment of directly Nirvana-related material, including embryonic 
lyric drafts, early album tracklists, and even a set of unused 
liner notes Cobain had apparently written for 
In Utero in 1993. The lyric sheets are especially revealing, showing that some songs, including the band's biggest hit "
Smells Like Teen Spirit", underwent major revisions before being recorded for release, while others, such as "
Come As You Are",  were changed very little, at least from the drafts included. The  tracklists are also of interest, revealing, for example, that Cobain had  intended to release "girl" and "boy" sides of Nirvana's breakthrough  album 
Nevermind, with songs such as "
In Bloom" and "
Lithium" on the girl side, and songs like "
Sliver" and "
Polly" on the boy side.
 Drawings
Journals contains a 
number of Cobain's rough 
sketches and drawings, some of which are light and humorous, such as his drawing of "
Eddie", the 
Iron Maiden mascot, his sketch of the band as 
choirboys on a hypothetical Nirvana album cover, and his drawing of "Elvis Cooper", in which 
Elvis Presley and 
Alice Cooper are combined into a single entity, but many of which are darker or more violent. Included in the latter are his drawings of a 
sniper shooting members of the swastika-toting Ku Klux Klan from a rooftop (with 
swastikas drawn backwards), his drawing of a 
gun-toting 
football player hanging from a noose, and a sketch of his own 
emaciated body (see: The "Forbidden Page"), as well as a 
comic strip called "Mr. Moustache", in which an unborn child kicks through its mother's belly to kill its 
macho father. The strip was first published in Michael Azerrad's 1993 Nirvana biography, 
Come as You Are. 
Journals also contains a number of drawings of images which would later become a familiar part of Nirvana lore, such as 
Dante's Vestibule of Hell (which appeared on a Nirvana 
T-shirt), a skinny man on a cross (which appeared in the "
Heart-Shaped Box" 
music video), and male 
seahorses giving birth (which appeared on the cover of the "
All Apologies"/ "
Rape Me" 
single). Lyric sheets which originally appeared in 
Michael Azerrad's book 
Come as You Are: The Story of Nirvana were airbrushed in portions upon their reprinting in Journals. This included removal of addresses and phone numbers.
 The "Forbidden Page"
According to an article written by Tim Appelo in the 
Seattle Weekly in 2002, journalists were banned from printing page 204 of 
Journals  (hardcover) in articles or reviews, ostensibly because of its dark  content. The page features a drawing of Cobain's face, torn from a 
comic book,  shouting a refrain from the chorus of his most popular song, "Smells  Like Teen Spirit": "With the lights out, it's less dangerous / Here we  are now, entertain us!" Under the drawing is a sketch by Cobain of the  rest of his body until his hips, its skeletal frame contrasting sharply  with the furious-looking comic book image. Above the drawing-
collage are six lines 
cut-and-pasted from an 
Alicia Ostriker poem  called "A Young Woman, A Tree". The six lines, which begin the poem,  describe a girl who passes a blooming tree, and envies its beauty, and  on top to the poem is the word "Swingers" (in Cobain's handwriting) ; it  has been suggested that by juxtaposing these lines with his emaciated 
self-portrait, Cobain was making a comment on his own loss of creativity and his personal image being in contrast to his public one.
 
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