This was in August or September of ’63, and I remember that one. I think the most important, in some ways, was an article he wrote in the New Republic actually, Bork did, in 1963, that laid out his opposition to the 1964 Civil Rights Act. Well, leading up to it, I was essentially gathering information about Bork’s writings. KnottĪnd so could you tell us about the role that you would play in the coming weeks and months during the Bork hearings? Blattner And he walked out of the hearing and onto the Senate floor. There is an allusion in the hearing record to the coming Supreme Court nomination, and Senator Kennedy said-and I thought this was epic understatement-he said, Well, I think I may have something to say about it. And I remember when I was walking with him to the Dirksen Senate Office Building, and Attorney General Meese called him in the anteroom-well, I think he called him in the anteroom-and Senator Kennedy was having an exchange in the hearing, on the record, with Brad Reynolds, who was then still the Assistant Attorney General in charge of civil rights, who’d been denied confirmation as Associate Attorney General at that time. Actually the last hearing on the Fair Housing bill was July 1st, 1987, the day that Bork was nominated. He spoke on the floor of the Senate within an hour after the announcement. ![]() Senator Kennedy was clearly prepared for this to happen. ![]() So that was the first thing I worked on.Īnd then judicial nominations, which were district and court of appeals nominations, until June of 1987, at which point Lewis Powell resigned, and about a week later, Robert Bork was nominated. I came on board in January, and I think hearings started on that bill by March, and we actually had about six days of hearings. So it had been rattling around and reintroduced biennially, and of course, when the Democrats took back over, it in essence bubbled back up. It had been introduced, I think, as far back as 1979, so really about at that point eight years earlier, and it had been filibustered at the end of the 1980 Congress when the Republicans took over as a result of the 1980 election. I guess the first two issues I dealt with, and then things got, perhaps, historic-what ultimately became the Fair Housing Act of 1988 was a piece of essentially unfinished business in terms of civil rights legislation. KnottĬan you give us some sense of some of the early issues that you dealt with once you joined the Kennedy team? Blattner It was just before Christmas in 1986, and just in his office in the Russell Building. I met him again, of course, and really for the first time on a going-forward basis, when he interviewed me. Steve was, at that point, shuttling back and forth between Cambridge and Washington, and he introduced me to him. Steve Breyer, who was then my ad law professor at Harvard, introduced me to him at an event that summer, summer of ’79, in Washington. The first time I met the Senator was not in 1986 when I interviewed there. Knottĭo you recall your first meeting with the Senator? Did he interview you for the position? Blattner He called me up, and that’s essentially how I came on board. I had clerked for Potter Stewart, for whom Carey Parker clerked, so I sent Carey a note. I was, at that time, an associate at a law firm here in Washington, and I sent letters to a few Democrats on the Senate Judiciary Committee. ![]() The Democrats had taken over the Senate as a result of the November 1986 elections. I came to work for him in January of 1987. Well, perhaps the best place to start would be to simply ask you how you came to work for Senator Kennedy.
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![]() Cuts from the album, released seven months after Cobain’s death, would go on to become the most celebrated and defining versions of Nirvana’s songs, “All Apologies,” “Come As You Are,” “About A Girl,” and “Dumb,” as well as covers of David Bowie’s “The Man Who Sold the World” and a haunting rendition of Lead Belly’s “Black Girl” renamed “Where Did You Sleep Last Night.” MTV Unplugged in New York debuted at No. Nirvana’s acoustic performance that night produced one of the greatest live albums of all time, MTV Unplugged in New York. Approximately five months before his death, Cobain chose this guitar to paint what Rolling Stone called “his last self-portrait.” In what would become Nirvana’s most legendary performance, Kurt Cobain played his 1959 Martin D-18E in a live taping for the popular MTV Unplugged series on November 18, 1993. Leading up to their 1993 MTV Unplugged performance, Nirvana was the most popular band in the world, but only two years had passed between the time Nirvana hit the mainstream in 1991 and their iconic MTV Unplugged appearance. With the passage of time and the growth of their legacy, it is easy to forget just how fast and brightly Nirvana’s flame burned. Cobain’s MTV Unplugged performance was a self-disclosure, and his Martin D-18E was at once both instrument and revelation. While at first blush it may seem a peculiar pairing, it should really come as no surprise that Cobain selected a guitar that shared so much of his character for what he intended to be his most intimate and meaningful performance. Cobain saw his art as he saw himself, an outlier, nonconforming, and unassuming. Cobain strove to be authentic, even modest, in a forum previously dominated by the flashy and ostentatious. (Nirvana Hall of Fame Induction 2014)Ī deeply pensive artist, whose disquiet was communicated through his writing and performance, Cobain was particularly ill-at-ease with the celebrity and adulation that came as the result of his music’s commercial success. “It is the highest calling for an artist to capture a moment, to embrace and define their time.” Much as the Beatles had some 28 years earlier, Nirvana simultaneously changed the musical landscape of Rock ‘N’ Roll and became the voice of their own generation with the 1991 release of their second studio album, Nevermind. With the release of "Smells Like Teen Spirit," popular music was set on a completely different trajectory. Nirvana and their unique music were unlike anything that had come before them. Kurt Cobain and Nirvana gave voice to the social and political angst of a disaffected cohort rising from the shadow of 1980s orthodoxy. Not since John Lennon and The Beatles had a songwriter and his band so completely personified the musical and cultural zeitgeist of an era. Kurt Cobain's 1959 Martin D-18E, played with Nirvana in their historic "MTV Unplugged" performance. Please visit our digital "flip book" special edition catalogue with all details and photography providing the history of this guitar and case by clicking on the catalogue cover image below: ![]() The starting bid for the items is estimated at $1 million.Click To Request A Pre-Sale Condition Report The guitar also comes with a few other items: Cobain’s hard-shell guitar case, decorated with a flyer from Poison Idea’s 1990 album Feel the Darkness, baggage claim stubs, and an Alaska Airlines sticker a partially-used pack of Martin guitar strings three guitar picks and a marijuana stash bag. Julien’s Auctions is selling the instrument as part of its “Music Icons” auction in Beverly Hills from June 19 to June 20, 2020. Now, Nirvana superfans have the opportunity to take home the most important prop from the concert-Cobain’s 1959 Martin D-18E acoustic-electric guitar. ![]() The concert album was released several months after Cobain’s death in April 1994, and quickly went on to become one of the most acclaimed live albums of all time. In addition to “About a Girl,” “Come As You Are,” and other Nirvana originals, Kurt Cobain and the rest of the crew performed some unexpected covers, like David Bowie's “The Man Who Sold the World,” and The Vaselines’ “Jesus Doesn’t Want Me for a Sunbeam.” It was a chance for established fans to see a softer side of Cobain, and a chance for skeptics to realize there was much more to Nirvana (and other grunge bands) than the unbridled angst of youth. MTV Unplugged in New York was the Seattle band’s most intimate, stripped-down concert on record. On November 18, 1993, the members of Nirvana assembled beneath a chandelier on a flower-strewn stage and performed an acoustic set in front of a small, captivated audience at Sony Music Studios in New York. |
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