[Link] You Will Ache Like I Ache: The Oral History of Hole's 'Live Through This' | SPIN | Profiles | It Was 20 Years Ago... →
I honestly can’t remember the last time I reacted as intensely, as quickly, to a work of criticism as I have to Jessica Hopper’s work in this piece.
For one thing, speaking as a writer who’s done one in the past, this is an achievement in using the oral-history form to reveal information, rather than aid in cloaking it through self-mythologization. It’s so easy to do that with these things. Shit, it’s baked into the premise of the enterprise: Look at my proximity to all these people’s proximity to greatness!
But it’s not that Hopper doesn’t include all the choice nugs you’d want in an oral history — you know, anecdotes about meeting RuPaul while hammered at the SNL afterparty, differing accounts of how badly Courtney Love wanted to work with Butch Vig, etc. It’s that she treats it not just as a history of a cool thing, but as reporting on that thing. She digs into how the studio was selected, how the personnel came together, what the schedule was like. She digs into the rock climate at the time, the (limited) involvement of Billy Corgan and Kurt Cobain, the (profound) influence of Siamese Dream and Nevermind. She digs into drug use, who was doing what and when. She talks to band members, producers, label people. She lets Love hoist herself by her own petard when that’s called for, but she also lets her emerge, then and now, as someone who had a very clear artistic goal and worked, successfully, to achieve it. Inner torment and commercial ambitions and improved songwriting chops and a better rhythm section and working with a guitarist with little self-confidence and hiring skilled producers and developing a workday routine and navigating the demands of other prominent artists in the field with whom she was close — it all went in and that record came out, and Hopper gets it all down. I suppose she’s lucky that she got such a forthcoming group of interviewees, since god knows that’s rare, but luck’s a fundamental part of a good piece too.
I didn’t listen to Hole in the alt-’90s heyday; didn’t buy the “Yoko” nonsense either, that just didn’t seem to cut any more ice here than it does with actual Yoko. And there’s no way to be judgmental about Love as a parent without being more so about the one who isn’t there anymore at all, so I think I gave that a pass over the years as well. Point is I didn’t have much riding on reading this either way. But what a fascinating document of the making of a work of art, and what an inspiring example of how to write about art. It makes me want to work harder.