An unintentionally comic history of the band Guns N’ Roses, Appetite for Destruction should be immediately optioned as a screenplay for This Is Spinal Tap II. Sugerman (No One Here Gets Out Alive) compares the Dionysian ”Gunners” to Rimbaud, the Indian deity Siva the destroyer, and the ancient Greeks, bolstering his ambitious analogies with botched references to William Blake and Thomas De Quincey.
Rob Reiner couldn’t have invented a better recipe for parody: the pseudo- intellectual celebration of a band whose idea of radical album-cover art is a robot raping a teenage girl. ”I’m not a f—ing racist. (Not all) black men are niggers,” says singer Axl Rose, whom Sugerman describes as ”a rock ‘n’ roll Hamlet (who has) looked into the city’s black heart and gained knowledge.” Never has obsequious rock criticism been so richly foolish. D-