Grunge (sometimes referred to as the Seattle sound) is a genre of music originating in Seattle that lasted from the mid 1980s to the mid 1990s. It is a sub-genre of alternative rock that emerged as a fusion of punk, alternative, and heavy metal.^[1][2][3][4] Inspired by hardcore punk, metal, and indie rock, grunge is generally characterized by heavily distorted electric guitars and contrasting song dynamics, and the grunge aesthetic is stripped-down compared to other forms of rock music. Lyrics are typically angst-filled, often addressing themes such as social alienation, apathy, frustration, sadness, fear, and depression.

The early grunge movement coalesced around Seattle independent record label Sub Pop in the late 1980s. Grunge became commercially successful in the first half of the 1990s, due mainly to the release of Nirvana's Nevermind and Pearl Jam's Ten. The success of these bands boosted the popularity of alternative rock and made grunge the most popular form of hard rock music at the time.^[5] However, many grunge bands were uncomfortable with this popularity. Although most grunge bands had disbanded or faded from view by the late 1990s, their influence continues to affect modern rock music.

Origin of the term[link]

Mark Arm, the vocalist for the Seattle band Green River—and later Mudhoney—is generally credited as being the first to use the term grunge to describe this genre of music. Arm first used the term in 1981, when he wrote a letter under his given name Mark McLaughlin to the Seattle zine Desperate Times, criticizing his band Mr. Epp and the Calculations as "Pure grunge! Pure noise! Pure shit!" Clark Humphrey, editor of Desperate Times, cites this as the earliest use of the term to refer to a Seattle band, and mentions that Bruce Pavitt of Sub Pop popularized the term as a musical label in 1987–88, using it on several occasions to describe Green River.^[6]

Arm said years later, "Obviously, I didn't make grunge up. I got it from someone else. The term was already being thrown around in Australia in the mid-'80s to describe bands like King Snake Roost, The Scientists, Salamander Jim, and Beasts of Bourbon."^[7] Arm used grunge as a descriptive term rather than a genre term, but it eventually came to describe the punk/metal hybrid sound of the Seattle music scene.^[8]

Characteristics[link]

Grunge is generally characterized by a sludgy guitar sound that uses a high level of distortion, fuzz and feedback effects. Grunge fuses elements of hardcore punk and heavy metal, although some bands performed with more emphasis on one or the other. The music shares with punk a raw sound and similar lyrical concerns.^[5] However, it also involves much slower tempos, dissonant harmonies, and more complex instrumentation – which is reminiscent of heavy metal. Some individuals associated with the development of grunge, including Sub Pop producer Jack Endino and the Melvins, explained grunge's incorporation of heavy rock influences such as Kiss as "musical provocation". Grunge artists considered these bands "cheesy" but nonetheless enjoyed them; Buzz Osborne of the Melvins described it as an attempt to see what ridiculous things bands could do and get away with.^[9] In the early 1990s, Nirvana's signature "stop-start" song format became a genre convention.^[5]

Lyrics are typically angst-filled, often addressing themes such as social alienation, apathy, confinement, and a desire for freedom. A number of factors influenced the focus on such subject matter. Many grunge musicians displayed a general disenchantment with the state of society, as well as a discomfort with social prejudices. Such themes bear similarities to those addressed by punk rock musicians^[5] and the perceptions of Generation X. Music critic Simon Reynolds said in 1992 that "there's a feeling of burnout in the culture at large. Kids are depressed about the future."^[10] Humor in grunge often satirized glam metal—for example, Soundgarden's "Big Dumb Sex"—and other forms of popular rock music during the 1980s.^[11]

Grunge concerts were known for being straightforward, high-energy performances. Grunge bands rejected the complex and high budget presentations of many musical genres, including the use of complex light arrays, pyrotechnics, and other visual effects unrelated to playing the music. Stage acting was generally avoided. Instead the bands presented themselves as no different from minor local bands. Jack Endino said in the 1996 documentary Hype! that Seattle bands were inconsistent live performers, since their primary objective was not to be entertainers, but simply to "rock out".^[9]

Clothing commonly worn by grunge musicians in Washington consisted of thrift store items and the typical outdoor clothing (most notably flannel shirts) of the region, as well as a generally unkempt appearance. The style did not evolve out of a conscious attempt to create an appealing fashion; music journalist Charles R. Cross said, "[Nirvana frontman] Kurt Cobain was just too lazy to shampoo," and Sub Pop's Jonathan Poneman said, "This [clothing] is cheap, it's durable, and it's kind of timeless. It also runs against the grain of the whole flashy aesthetic that existed in the 80s."^[10]

History[link]

Roots and influences[link]

Grunge's sound partly results from Seattle's isolation from other music scenes. As Sub Pop's Jonathan Poneman noted, "Seattle was a perfect example of a secondary city with an active music scene that was completely ignored by an American media fixated on Los Angeles and New York."^[12] Mark Arm claimed that the isolation meant, "this one corner of the map was being really inbred and ripping off each other's ideas."^[13] Grunge evolved from the local punk rock scene, and was inspired by bands such as The Fartz, The U-Men, 10 Minute Warning, The Accüsed, and the Fastbacks.^[9] Additionally, the slow, heavy, and sludgy style of the Melvins was a significant influence on the grunge sound.^[14]

Outside the Pacific Northwest, a number of artists and music scenes influenced grunge. Alternative rock bands from the Northeastern United States, including Sonic Youth, Pixies, and Dinosaur Jr., are important influences on the genre. Through their patronage of Seattle bands, Sonic Youth "inadvertently nurtured" the grunge scene, and reinforced the fiercely independent attitudes of its musicians.^[15] The influence of Pixies on Nirvana was noted by Kurt Cobain, who commented in a Rolling Stone interview, "I connected with that band so heavily that I should have been in that band — or at least a Pixies cover band. We used their sense of dynamics, being soft and quiet and then loud and hard."^[16]

Seattle punk/metal band The U-Men performing in Seattle.

Aside from the genre's punk and alternative rock roots, many grunge bands were equally influenced by heavy metal of the early 1970s. Clinton Heylin, author of Babylon's Burning: From Punk to Grunge, cited Black Sabbath as "perhaps the most ubiquitous pre-punk influence on the northwest scene."^[17] Black Sabbath played a role in shaping the grunge sound, through their own records and the records they inspired.^[18] The influence of Led Zeppelin is also evident, particularly in the work of Soundgarden, whom Q magazine noted were "in thrall to '70s rock, but contemptuous of the genre's overt sexism and machismo."^[19]

The Los Angeles hardcore punk band Black Flag's 1984 record My War, on which the band combined heavy metal with their traditional sound, made a strong impact in Seattle. Mudhoney's Steve Turner commented, "A lot of other people around the country hated the fact that Black Flag slowed down ... but up here it was really great ... we were like 'Yay!' They were weird and fucked-up sounding."^[20] Turner explained grunge's integration of metal influences, noting, "Hard rock and metal was never that much of an enemy of punk like it was for other scenes. Here, it was like, 'There's only twenty people here, you can't really find a group to hate.'" Bands began to mix metal and punk in the Seattle music scene around 1984, with much of the credit for this fusion going to The U-Men.^[21]

The Sacramento hardcore punk band Tales of Terror have often been cited as the foundation of the grunge movement, they blended hardcore, psychedelia and rock to form a high-energy sound that influenced fans nationally. They released one self-titled album in 1984, which had limited distribution, but they toured extensively and included amongst their admirers Kurt Cobain and Mudhoney’s Mark Arm.^[22]

The raw, distorted and feedback-intensive sound of some noise rock bands had an influence on grunge. Among them are Wisconsin's Killdozer, and most notably San Francisco's Flipper, a band known for its slowed-down and murky "noise punk." The Butthole Surfers' mix of punk, heavy metal and noise rock was a major influence, particularly on the early work of Soundgarden.^[23] Soundgarden and other early grunge bands were influenced by British post-punk bands such as Gang of Four and Bauhaus, which were popular in the early 1980s Seattle scene.^[24]

After Neil Young played a few concerts with Pearl Jam and recorded the album Mirror Ball with them, some members of the media gave Young the title "Godfather of Grunge." This was grounded on his work with his band Crazy Horse and his regular use of distorted guitar, most notably on the album Rust Never Sleeps.^[25] A similarly influential yet often overlooked album is Neurotica by Redd Kross, about which the co-founder of Sub Pop said, "Neurotica was a life changer for me and for a lot of people in the Seattle music community."^[26]

Early development[link]

A seminal release in the development of grunge was the Deep Six compilation, released by C/Z Records in 1986. The record featured multiple tracks by six bands: Green River, Soundgarden, Melvins, Malfunkshun, Skin Yard, and The U-Men. For many of them it was their first appearance on record. The artists had "a mostly heavy, aggressive sound that melded the slower tempos of heavy metal with the intensity of hardcore." As Jack Endino recalled, "People just said, 'Well, what kind of music is this? This isn't metal, it's not punk, What is it?' [...] People went 'Eureka! These bands all have something in common.'"^[20]

Later that year Bruce Pavitt released the Sub Pop 100 compilation and Green River's Dry As a Bone EP as part of his new label, Sub Pop. An early Sub Pop catalog described the Green River EP as "ultra-loose GRUNGE that destroyed the morals of a generation."^[27] Sub Pop's Bruce Pavitt and Jonathan Poneman, inspired by other regional music scenes in music history, worked to ensure that their label projected a "Seattle sound," reinforced by a similar style of production and album packaging. While music writer Michael Azerrad acknowledged that early grunge bands like Mudhoney, Soundgarden, and Tad had disparate sounds, he noted "to the objective observer, there were some distinct similarities."^[28]

Early grunge concerts were sparsely attended (many by fewer than a dozen people) but Sub Pop photographer Charles Peterson's pictures helped create the impression that such concerts were major events.^[29] Mudhoney, which was formed by former members of Green River, served as the flagship band of Sub Pop during their entire time with the label and spearheaded the Seattle grunge movement.^[30] Other record labels in the Pacific Northwest that helped promote grunge included C/Z Records, Estrus Records, EMpTy Records and PopLlama Records.^[9]

Grunge attracted media attention in the United Kingdom after Pavitt and Poneman asked journalist Everett True from the British magazine Melody Maker to write an article on the local music scene. This exposure helped to make grunge known outside of the local area during the late 1980s and drew more people to local shows.^[9] The appeal of grunge to the music press was that it "promised the return to a notion of a regional, authorial vision for American rock."^[31] Grunge's popularity in the underground music scene was such that bands began to move to Seattle and approximate the look and sound of the original grunge bands. Mudhoney's Steve Turner said, "It was really bad. Pretend bands were popping up here, things weren't coming from where we were coming from."^[32] As a reaction, many grunge bands diversified their sound, with Nirvana and Tad in particular creating more melodic songs.^[33] Dawn Anderson of the Seattle fanzine Backlash recalled that by 1990 many locals had tired of the hype surrounding the Seattle scene and hoped that media exposure had dissipated.^[9]

Mainstream success[link]

Nirvana performing at the 1992 MTV Video Music Awards.

Grunge bands had made inroads to the musical mainstream in the late 1980s. Soundgarden was the first grunge band to sign to a major label when they joined the roster of A&M Records in 1989. Soundgarden, along with other major label signings Alice in Chains and Screaming Trees, performed "okay" with their initial major label releases, according to Jack Endino.^[9] Nirvana, originally from Aberdeen, Washington, was also courted by major labels, finally signing with Geffen Records in 1990. In September 1991, the band released its major label debut, Nevermind. The album was at best hoped to be a minor success on par with Sonic Youth's Goo, which Geffen had released a year previous.^[34] It was the release of the album's first single "Smells Like Teen Spirit" that "marked the instigation of the grunge music phenomenon". Due to constant airplay of the song's music video on MTV, Nevermind was selling 400,000 copies a week by Christmas 1991.^[35] In January 1992, Nevermind replaced pop superstar Michael Jackson's Dangerous at number one on the Billboard 200.^[36]

The success of Nevermind surprised the music industry. Nevermind not only popularized grunge, but also established "the cultural and commercial viability of alternative rock in general."^[37] Michael Azerrad asserted that Nevermind symbolized "a sea-change in rock music" in which the glam metal that had dominated rock music at that time fell out of favor in the face of music that was authentic and culturally relevant.^[38] Other grunge bands subsequently replicated Nirvana's success. Pearl Jam, which featured former Mother Love Bone members Jeff Ament and Stone Gossard, had released its debut album Ten in August 1991, a month before Nevermind, but album sales only picked up a year later. By the second half of 1992 Ten had become a breakthrough success, being certified gold and reaching number two on the Billboard charts.^[39] Soundgarden's album Badmotorfinger and Alice in Chains' Dirt, along with the Temple of the Dog album collaboration featuring members of Pearl Jam and Soundgarden, were also among the 100 top selling albums of 1992.^[40] The popular breakthrough of these grunge bands prompted Rolling Stone to nickname Seattle "the new Liverpool."^[10] Major record labels signed most of the prominent grunge bands in Seattle, while a second influx of bands moved to the city in hopes of success.^[41]The Grunge scene was the backdrop in the 1992 Cameron Crowe film Singles. There was several small roles, performances, and cameos in the film by popular Seattle grunge bands to include Pearl Jam, Soundgarden, and Alice in Chains. Filmed in an around Seattle in 1991, the film was not released until 1992 during the height of grunge popularity."^[10]

The popularity of grunge resulted in a large interest in the Seattle music scene's perceived cultural traits. While the Seattle music scene in the late 1980s and early 1990s in actuality consisted of various styles and genres of music, its representation in the media "served to depict Seattle as a music 'community' in which the focus was upon the ongoing exploration of one musical idiom, namely grunge."^[42] The fashion industry marketed "grunge fashion" to consumers, charging premium prices for items such as knit ski hats. Critics asserted that advertising was co-opting elements of grunge and turning it into a fad. Entertainment Weekly commented in a 1993 article, "There hasn't been this kind of exploitation of a subculture since the media discovered hippies in the '60s".^[43] The New York Times compared the "grunging of America" to the mass-marketing of punk rock, disco, and hip hop in previous years.^[10] Ironically the New York Times was tricked into printing a fake list of slang terms that were supposedly used in the grunge scene; often referred to as the grunge speak hoax. This media hype surrounding grunge was documented in the 1996 documentary Hype!^[9]

A backlash against grunge began to develop in Seattle; in late 1992 Jonathan Poneman said that in the city, "All things grunge are treated with the utmost cynicism and amusement [. . .] Because the whole thing is a fabricated movement and always has been."^[10] Many grunge artists were uncomfortable with their success and the resulting attention it brought. Nirvana's Kurt Cobain told Michael Azerrad, "Famous is the last thing I wanted to be."^[44] Pearl Jam also felt the burden of success, with much of the attention falling on frontman Eddie Vedder.^[45] Nirvana's follow-up album In Utero (1993) was an intentionally abrasive album that Nirvana bassist Krist Novoselic described as a "wild aggressive sound, a true alternative record."^[46] It has also been described as Cobain's attempt to alienate his audience after releasing a glossy punk album.^[47] Nevertheless, upon its release in September 1993 In Utero topped the Billboard charts.^[48] Pearl Jam continued to perform well commercially with its second album, Vs. (1993). The album sold a record 950,378 copies in its first week of release, topped the Billboard charts, and outperformed all other entries in the top ten that week combined.^[49] The album also saw Pearl Jam broadening its sound.^[50]

Decline of mainstream popularity[link]

A number of factors contributed to grunge's decline in prominence. During the latter half of the 1990s, grunge was supplanted by post-grunge, which remained commercially viable into the start of the 21st century. Post-grunge bands such as Candlebox and Bush emerged soon after grunge's breakthrough. These artists lacked the underground roots of grunge and were largely influenced by what grunge had become, namely "a wildly popular form of inward-looking, serious-minded hard rock." Post-grunge was a more commercially viable genre that tempered the distorted guitars of grunge with polished, radio-ready production.^[51]

Conversely, another alternative rock genre, Britpop, emerged in part as a reaction against the dominance of grunge in the United Kingdom. In contrast to the dourness of grunge, Britpop was defined by "youthful exuberance and desire for recognition."^[52] Britpop artists were vocal about their disdain for grunge. In a 1993 NME interview, Damon Albarn of Britpop band Blur agreed with interviewer John Harris' assertion that Blur was an "anti-grunge band," and said, "Well, that's good. If punk was about getting rid of hippies, then I'm getting rid of grunge."^[53] Noel Gallagher of Oasis, while a fan of Nirvana, wrote music that refuted the pessimistic nature of grunge. Gallagher noted in 2006 that the 1994 Oasis single "Live Forever" "was written in the middle of grunge and all that, and I remember Nirvana had a tune called 'I Hate Myself and I Want to Die,' and I was like . . . 'Well, I'm not fucking having that.' As much as I fucking like him [Cobain] and all that shit, I'm not having that. I can't have people like that coming over here, on smack, fucking saying that they hate themselves and they wanna die. That's fucking rubbish."^[54]

During the mid-1990s many grunge bands broke up or became less visible. Kurt Cobain, labeled by Time as "the John Lennon of the swinging Northwest," appeared "unusually tortured by success" and struggled with an addiction to heroin. Rumors surfaced in early 1994 that Cobain suffered a drug overdose and that Nirvana was breaking up.^[55] On April 8, 1994, Cobain was found dead in his Seattle home from an apparently self-inflicted gunshot wound; Nirvana summarily disbanded. That same year Pearl Jam canceled its summer tour in protest of what it regarded as ticket vendor Ticketmaster's unfair business practices.^[56] Pearl Jam then began a boycott of the company; however, Pearl Jam's initiative to play only at non-Ticketmaster venues effectively, with a few exceptions, prevented the band from playing shows in the United States for the next three years.^[57] In 1996 Alice in Chains gave their final performances with their ailing estranged lead singer, Layne Staley, who subsequently died from a heroin overdose in 2002. That same year Soundgarden and Screaming Trees released their final studio albums, Down on the Upside and Dust, respectively. Soundgarden broke up the following year.

Some grunge bands have continued recording and touring with success, including, most significantly, Pearl Jam. While in 2006 Rolling Stone writer Brian Hiatt described Pearl Jam as having "spent much of the past decade deliberately tearing apart their own fame," he noted the band developed a loyal concert following akin to that of the Grateful Dead.^[58] Despite Nirvana's demise, the band has continued to be successful posthumously. Due to the high sales for Kurt Cobain's Journals and the band's best-of compilation Nirvana upon their releases in 2002, The New York Times argued Nirvana "are having more success now than at any point since Mr. Cobain's suicide in 1994."^[59] In the middle of the first decade of the 21st century, The Seattle Times made note of grunge-influenced groups emerging in Seattle, including Post Stardom Depression, The Valley and The Weapons.^[60] Similarly, The Guardian reported of grunge-influenced groups from Yorkshire, including Dinosaur Pile-Up, The Old Romantic Killer Band, The Tempus, Above Them, Pulled Apart by Horses and Wonderswan.^[61] Also, The New York Times has written about grunge coming back to the city in 2003, citing bands like Pretty Girls Make Graves and Long Winters^[62] and talking about grunge fashion coming back.^[63]

21st century revival[link]

In the latter half of 2009, grunge culture returned to the mainstream. With Stone Temple Pilots already reunited in 2008, Alice In Chains released Black Gives Way to Blue. Soundgarden re-formed and in 2010, the Recording Industry Association of America for the first time, recognized a sale of non-returnable units from a music label to a gaming company with the release of the band's retrospective Telephantasm which was certified platinum instantly for the one million copies included in units of Guitar Hero: Warriors of Rock.^[64]

Prominent bands[link]

See also[link]

	Seattle portal
	Music portal
	1990s portal

• List of grunge albums

Notes[link]

External links[link]

• Allmusic article on grunge

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Todd Snider
Todd Snider at Cactus Cafe in Austin, Texas (2008).
Background information
Born	(1966-10-11) October 11, 1966 (age 45)
Origin	Portland, Oregon, United States
Genres	Americana, Alt-country, Folk-rock
Occupations	Singer, songwriter
Years active	1994–present
Labels	Aimless Records
Website	www.toddsnider.net

Todd Daniel Snider (born October 11, 1966 in Portland, Oregon)^[1][2] is an American singer-songwriter with a musical style that combines Americana, alt-country, and folk.

Biography[link]

Singer-songwriter Todd Snider was born October 11, 1966, in Portland, Ore., and lived there until his family moved to Houston. When he was 15, he ran away from home with a friend and went back to Portland. After high school, he moved to Santa Rosa, Calif., to be a harmonica player. Then his brother, who lived in Austin, Texas, bought him a ticket to move there. After seeing Jerry Jeff Walker in a local bar, Snider decided that he didn't need a band to be a musician.^[3]

After moving to Memphis in the mid-1980s and establishing residency at a club named the Daily Planet, he was discovered by Keith Sykes, a member of Jimmy Buffett's Coral Reefer Band. A longtime acquaintance of John Prine and Walker, Sykes began to work with Snider to help advance his career. Prine hired him as an assistant and then invited him to open shows. In time, Buffett heard Snider's demo tapes and signed him to his own label. Snider is an opinionated musician whose fans know him to be quite the workhorse. On his music, Snider has said "I was just trying to come up with the best... most open hearted ... well-thought-out lyrics I could come up with. I wanted every song to be sad and funny at the same time, vulnerable and entertaining at the same time, personal and universal at the same time. I wanted every song to be as uniquely written as possible and then I wanted to perform them in a studio loose and rugged and hopefully as uniquely as I could. My hope is to be hard to describe and/or new…I'm not saying I am. I'm just saying that's the hope."^[4]

Career[link]

Snider's 1994 debut album on MCA, entitled Songs for the Daily Planet, was named for the bar where Snider used to play regularly in Memphis. On that album were the minor hits "Talkin' Seattle Grunge Rock Blues"—a folk song about the early '90's grunge scene, featuring a band that "refused to play" —and "Alright Guy," which later became the title cut of Gary Allan's 2001 album.

He released two more albums for MCA, Step Right Up and Viva Satellite before moving to John Prine's Oh Boy Records where he made Happy to Be Here, New Connection, Near Truths and Hotel Rooms, East Nashville Skyline, and Peace Love and Anarchy. That Was Me: The Best of Todd Snider 1994–1998 was released on the Hip-O Records label in August 2005.

Snider's next studio album, The Devil You Know, was released in August 2006. It marked his return to a major label, New Door Records, a subsidiary of Universal Records. The Devil You Know was named to several critics' year-end "best" lists, including a #33 ranking in Rolling Stone magazine's top 50 albums of the year, a #25 ranking by No Depression magazine, and #14 by Blender magazine.

Snider's album, Peace Queer, was released on October 14, 2008 and reached #1 on the Americana Airplay Chart on October 27, 2008. His album, The Excitement Plan, was released on June 9, 2009 on the YepRoc Label and was produced by Don Was.

Snider contributed a cover version of A Boy Named Sue to the 2010 Sugar Hill Records album Twistable Turnable Man, a tribute by various artists to songwriter Shel Silverstein.

Snider's songs "Late Last Night" and "I Believe You" have been recorded by the Oklahoma red dirt band Cross Canadian Ragweed. He co-wrote the song "Barbie Doll" with country star Jack Ingram.

In February 2011 Todd Snider released a double disc live album called "The Storyteller" on his own record label Aimless Records. The album features live versions of songs spanning much of Snider's career along with some of the stories that have become a staple of his live show.^[5]

In April 2012, Todd Snider released two albums. The original, Agnostic Hymns & Stoner Fables, and a tribute album, Time As We Know It: The Songs Of Jerry Jeff Walker. The latter album is an homage to country singer-songwriter Jerry Jeff Walker. American Songwriter claims, "Snider has been carrying on Walker’s scraggly Texas-styled country/Americana tradition since he started."^[6]

Discography[link]

Albums[link]

Singles[link]

Music videos[link]

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Todd Snider

• Todd Snider official page
• EighteenMinutes.com - The Todd Snider Archives
• Todd Snider Feature and CD reviews at Country Standard Time
• Interview from honesttune.com
• Interview on AmericanaRoots.com
• Interview June 2009 on NPR

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Kurt Cobain
Kurt Cobain performing in 1993.
Background information
Birth name	Kurt Donald Cobain
Also known as	Kurdt Kobain
Born	(1967-02-20)February 20, 1967 Aberdeen, Washington, U.S.
Died	April 5, 1994(1994-04-05) (aged 27) Seattle, Washington, U.S.
Genres	Alternative rock, grunge
Occupations	Musician, songwriter, artist
Instruments	Vocals, guitar
Years active	1982–94
Labels	Sub Pop, DGC/Geffen
Associated acts	Nirvana, Fecal Matter
Notable instruments
Fender Jag-Stang Fender Jaguar Fender Mustang Fender Stratocaster Martin D-18E Univox Hi-Flier[1]

Kurt's signature

Kurt Donald Cobain (February 20, 1967 – April 5, 1994)^[2][3] was an American singer-songwriter, musician and artist, best known as the lead singer and guitarist of the grunge band Nirvana. Cobain formed Nirvana with Krist Novoselic in Aberdeen, Washington in 1985 and established it as part of the Seattle music scene, having its debut album Bleach released on the independent record label Sub Pop in 1989.

After signing with major label DGC Records, the band found breakthrough success with "Smells Like Teen Spirit" from its second album Nevermind (1991). Following the success of Nevermind, Nirvana was labeled "the flagship band" of Generation X, and Cobain hailed as "the spokesman of a generation".^[4] Cobain, however, was often uncomfortable and frustrated, believing his message and artistic vision to have been misinterpreted by the public, with his personal issues often subject to media attention. He challenged Nirvana's audience with its final studio album In Utero (1993).

During the last years of his life, Cobain struggled with heroin addiction, illness and depression. He also had difficulty coping with his fame and public image, and the professional and lifelong personal pressures surrounding himself and his wife, musician Courtney Love. On April 8, 1994, Cobain was found dead at his home in Seattle, the victim of what was officially ruled a suicide by a self-inflicted shotgun wound to the head. The circumstances of his death at age 27 have become a topic of public fascination and debate. Since their debut, Nirvana, with Cobain as a songwriter, has sold over 25 million albums in the U.S. alone, and over 50 million worldwide.^[5][6]

Early life[link]

Kurt Donald Cobain was born on February 20, 1967, at Grays Harbor Hospital in Aberdeen, Washington,^[7] to a waitress, Wendy Elizabeth (née Fradenburg),^[8] and an automotive mechanic, Donald Leland Cobain. His ancestry included Irish, English, Scottish, and German.^[9][10][11] Cobain's Irish ancestors migrated from County Tyrone of Northern Ireland in 1875.^[11] Researchers have found them to have been shoemakers, originally named Cobane, who came from the village of Inishatieve near Pomeroy, settling in Cornwall, Ontario, Canada, and then in Washington.^[12] Cobain had one younger sister named Kimberly, born in 1970.^[8][10]

Cobain's family had a musical background. His maternal uncle Chuck Fradenburg starred in a band called The Beachcombers, his Aunt Mari Earle played guitar and performed in bands throughout Grays Harbor County, and his great-uncle Delbert had a career as an Irish tenor; making an appearance in the 1930 film King of Jazz. Cobain was described as being a happy and excitable, while sensitive and caring child. His talent as an artist was evident from an early age. His bedroom was described as having taken on the appearance of an art studio,^[7] where he would accurately draw his favorite characters from films and cartoons such as Aquaman, the Creature from the Black Lagoon, and Disney characters like Donald Duck, Mickey Mouse and Pluto.^[13] This enthusiasm was encouraged by his grandmother Iris Cobain, who was a professional artist herself. Cobain began developing an interest in music early in his life. According to his Aunt Mari, he began singing at two years old. At age four, Cobain started playing the piano and singing, writing a song about their trip to a local park. He listened to artists like the Ramones^[14] and would sing songs like Arlo Guthrie's "Motorcycle Song," The Beatles' "Hey Jude", Terry Jacks' "Seasons in the Sun" and the theme song to The Monkees television show at a young age.^[15]

When Cobain was seven years old, his parents divorced.^[16] Later in his life, he said the divorce had a profound effect on his life. His mother noted that his personality changed dramatically; Cobain became defiant and withdrawn.^[17] In a 1993 interview, he elaborated:

"I remember feeling ashamed, for some reason. I was ashamed of my parents. I couldn't face some of my friends at school anymore, because I desperately wanted to have the classic, you know, typical family. Mother, father. I wanted that security, so I resented my parents for quite a few years because of that."^[18]

Cobain's parents both found new partners after the divorce. His father had promised not to remarry; however, after meeting Jenny Westeby, he did, to Kurt's dismay.^[19] Kurt, his father, Westeby, and her two children Mindy and James, moved into a new household together. Cobain liked Westeby at first, who gave him the maternal attention he desired.^[19][20] In January 1979, Westeby gave birth to a boy, Chad Cobain.^[19] This new family, which Cobain insisted was not his real one, was in stark contrast to the attention Cobain was used to receiving as an only boy; he soon began to express resentment toward his stepmother.^[19][20] Kurt's mother began dating a man who was abusive. Cobain witnessed the domestic violence inflicted upon her, with one incident resulting in her being hospitalized with a broken arm.^[20][21] Wendy steadfastly refused to press charges, remaining completely committed to the relationship.^[21]

Kurt behaved insolently toward adults. He began bullying another boy at school. These behaviours eventually caused his father and Westeby to take him to a therapist, who concluded that Kurt would benefit in a single family environment.^[21] Both sides of the family attempted to bring his parents back together, but to no avail. On June 28, 1979, Cobain's mother granted full custody of Kurt to his father.^[22]

Cobain's teenage rebellion quickly became overwhelming for his father, who placed Kurt in the care of family and friends. While living with the born-again Christian family of his friend Jesse Reed, Cobain became a devout Christian and regularly attended church services. Cobain later renounced Christianity, engaging in what would be described as "anti-God" rants. The song "Lithium" is about his experience while living with the Reed family. Religion would remain an important part in Cobain's personal life and beliefs, as he often used Christian imagery in his work and maintained a constant interest in Jainism and Buddhist philosophy. The band name Nirvana was taken from the Buddhist concept, which Cobain described as "freedom from pain, suffering and the external world," which paralleled with the punk rock ethic and ideology. Cobain would regard himself as both a Buddhist and a Jain during different points of his life, educating himself about the philosophies through various sources, including through watching late night television documentaries on both subjects.^[23][24][25]

Although not interested in sports, Kurt was enrolled in a junior high school wrestling team at the insistence of his father. Kurt was a skilled wrestler, yet despised the experience. Because of the ridicule he endured from his teammates and coach, he allowed himself to be pinned, in an attempt to sadden his father. Later, his father enlisted him in a little league baseball team, where Cobain would intentionally strike out to avoid playing on the team.^[26]

Cobain befriended a homosexual student at school, and suffered bullying from heterosexual students who concluded that Cobain was gay. In an interview he said that he liked having the identity of being gay because he did not like people and when they thought he was gay they left him alone. Kurt stated, "I started being really proud of the fact that I was gay even though I wasn't". His friend tried to kiss him and Kurt backed away and told his friend he was not gay but would still be friends with him. In a 1993 interview with The Advocate, Cobain claimed that he was "gay in spirit" and "probably could be bisexual." He also stated that he used to spray paint "God Is Gay" on pickup trucks in the Aberdeen area. However, Aberdeen police records show that the phrase for which he was arrested was actually "Ain't got no how watchamacallit".^[27] One of his personal journals states, "I am not gay, although I wish I were, just to piss off homophobes."^[28]

Cobain enjoyed creating works of art. He would often draw during school classes, including objects associated with human anatomy. When given a caricature assignment for an art course, Cobain drew a posing Michael Jackson. When his art teacher told him the caricature would be inappropriate to be displayed in a school hallway, Cobain drew an unflattering sketch of then-President Ronald Reagan.^[29]

As attested to by numerous of Cobain's classmates and family members, the first concert he attended was Sammy Hagar and Quarterflash at the Seattle Center Coliseum in 1983.^[7][30] Cobain, however, claimed that the first concert he attended was the Melvins; he wrote prolifically in his Journals of the experience.^[31] As a teenager living in Montesano, Cobain eventually found escape through the thriving Pacific Northwest punk scene, going to punk rock shows in Seattle. Cobain soon began frequenting the practice space of fellow Montesano musicians the Melvins.

During his sophomore year in high school, Cobain began living with his mother in Aberdeen. Two weeks prior to graduation, he dropped out of Aberdeen High School upon realizing he did not have enough credits to graduate. His mother gave him a choice: find employment or leave. After one week, Cobain found his clothes and other belongings packed away in boxes.^[32] Feeling banished from his own mother's home, Cobain stayed with friends, occasionally sneaking back into his mother's basement.^[33] Cobain also claimed during periods of homelessness to have lived under a bridge over the Wishkah River,^[33] an experience that inspired the Nevermind track "Something in the Way". However, Nirvana bassist Krist Novoselic said, "He hung out there, but you couldn't live on those muddy banks, with the tides coming up and down. That was his own revisionism."^[34]

In late 1986 Cobain moved into an apartment, paying his rent by working at a Polynesian coastal resort approximately 20 miles (32 km) north of Aberdeen.^[35] During this period, he was traveling frequently to Olympia, Washington to go to rock concerts.^[36] During his visits to Olympia, Cobain formed a relationship with Tracy Marander. The couple had a close relationship, but one that was often strained with financial difficulties and Cobain's absence when touring. Marander supported the couple by working at the cafeteria of the Seattle–Tacoma International Airport, often stealing food. Cobain spent most his time sleeping into the late evening, watching television and concentrating on art projects. Marander's insistence that he get a job caused arguments that influenced Cobain to write "About a Girl", which was featured on the Nirvana album Bleach. Marander is credited with having taken the cover photo for the album. Marander was not aware that "About a Girl" was written about her until years after Cobain's death.^{[37][38][39][40][41][42]}

Soon after Marander separated from him, Cobain began dating Tobi Vail, an influential DIY punk zinester of the riot grrrl band Bikini Kill. After meeting Vail, Cobain vomited as he was so completely overwhelmed with anxiety regarding his infatuation with her. This event would inspire the lyric: "Love you so much it makes me sick," which would appear in the song "Aneurysm".^[43] While Cobain would regard Vail as his female counterpart, his relationship with her waned. Cobain desired the maternal comfort of a traditional relationship, which Vail regarded as sexist within a countercultural punk rock community. Those who dated Vail would be described by her friend Alice Wheeler as "fashion accessories."^[44] Kurt and Tobi spent most of their time together as a couple discussing political and philosophical issues. Cobain's relationship with Vail would inspire the lyrical content of many of the songs on Nevermind. Once, while discussing anarchism and punk rock with friend Kathleen Hanna, Hanna spray-painted "Kurt Smells Like Teen Spirit" on Kurt's apartment wall. Teen Spirit was the name of a deodorant Vail wore; Hanna joked that Cobain smelled like it. Cobain, unaware of this, initially interpreted the slogan as having a revolutionary meaning. The slogan inspired the title to the song "Smells Like Teen Spirit".

Nirvana[link]

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Cobain began learning guitar with a few covers, including "Louie Louie", The Cars' "My Best Friend's Girl", and Jesus Don't Want Me For A Sunbeam and soon began working on his own songs.^[25] During high school, Cobain rarely found anyone with whom he could play music. While hanging out at the Melvins' practice space, he met Krist Novoselic, a fellow devotee of punk rock. Novoselic's mother owned a hair salon. Cobain and Novoselic would occasionally practice in the upstairs room of the salon. A few years later, Cobain tried to convince Novoselic to form a band with him by lending him a copy of a home demo recorded by Cobain's earlier band, Fecal Matter. After months of asking, Novoselic finally agreed to join Cobain, forming the beginnings of Nirvana.^[45]

Cobain was disenchanted after early touring, due to the band's inability to draw substantial crowds and the apparent difficulty in sustaining themselves. During their first few years playing together, Novoselic and Cobain were hosts to a rotating list of drummers. Eventually, the band settled on Chad Channing, with whom Nirvana recorded the album Bleach, released on Sub Pop Records in 1989. Cobain, however, became dissatisfied with Channing's style, leading the band to find a new drummer, eventually settling on Dave Grohl. With Grohl, the band found their greatest success via their 1991 major-label debut, Nevermind.

With the lead single "Smells Like Teen Spirit" from Nirvana's second album Nevermind (1991), Nirvana entered the mainstream, popularizing a subgenre of alternative rock called grunge. Since their debut, Nirvana, with Cobain as a songwriter, have sold over 25 million albums in the United States alone, and over 50 million worldwide.^[5][6]

The success of Nevermind provided numerous Seattle bands such as Alice in Chains, Pearl Jam, and Soundgarden to wider audiences, and as a result, alternative rock became a dominant genre on radio and music television in the United States during the early-to-middle 1990s. Nirvana was considered the "flagship band of Generation X", and frontman Cobain found himself reluctantly anointed by the media as the generation's "spokesman."^[4] Cobain's discomfort with the media attention prompted him to focus on the band's music and, believing their message and artistic vision to have been misinterpreted by the public, challenged the band's audience with its third studio album In Utero (1993).

Cobain struggled to reconcile the massive success of Nirvana to his underground roots. He also felt persecuted by the media, comparing himself to Frances Farmer. He began to harbour resentments for people who claimed to be fans of the band yet refused to acknowledge, or misinterpreted, the band's social and political views. A vocal opponent of sexism, racism and homophobia, he was publicly proud that Nirvana had played at a gay rights benefit supporting No-on-Nine in Oregon in 1992, in opposition to Ballot Measure Nine, a ballot measure, that if passed, would have prohibited schools in the state from acknowledging or positively accepting LGBT rights and welfare.

Cobain was a vocal supporter of the pro-choice movement, and had been involved in Rock for Choice from the campaign inception by L7. He received death threats from a small number of anti-abortion activists for doing so, with one activist threatening Cobain that he would be shot as soon as he stepped on stage.^[46] The liner notes from Incesticide declared "if any of you in any way hate homosexuals, people of different color, or women, please do this one favor for us-leave us the fuck alone! Don't come to our shows and don't buy our records". An article from his posthumously released Journals declares that social liberation could be made possible only through the eradication of sexism.

Musical influences[link]

The Beatles were an early and lasting influence on Cobain; his aunt Mari remembers him singing "Hey Jude" at the age of two.^[15] "My aunts would give me Beatles records," Cobain told Jon Savage in 1993, "so for the most part [I listened to] the Beatles [as a child], and if I was lucky, I'd be able to buy a single."^[18] Cobain expressed a particular fondness for John Lennon, whom he called his "idol" in his posthumously-released journals,^[28] and he admitted that he wrote the song "About a Girl," from Nirvana 1989 debut album Bleach, after spending three hours listening to Meet The Beatles!.^[47]

Cobain was also a fan of classic rock bands from the 1970s, including Led Zeppelin, AC/DC, Black Sabbath, Aerosmith, Queen, and Kiss. Nirvana occasionally played cover songs by these bands, including Led Zeppelin's "Immigrant Song", "Dazed and Confused" and "Heartbreaker", Black Sabbath's "Hand of Doom," and Kiss' "Do You Love Me?", and wrote the Incesticide song "Aero Zeppelin" as a tribute to Led Zeppelin and Aerosmith.

Punk rock proved to be a profound influence on a teenaged Cobain's attitude and artistic style. His first punk rock album was Sandinista! by The Clash,^[48] but he became a bigger fan of a fellow 1970s British punk band the Sex Pistols, describing them as "one million times more important than the Clash" in his journals.^[28] He was introduced to 1980s American hardcore bands like Black Flag, Bad Brains, Millions of Dead Cops and Flipper by Buzz Osbourne, lead singer and guitarist of the Melvins and fellow Aberdeen, Washington native. The Melvins themselves were an important early musical influence on Cobain, with their heavy, grungy sound mimicked by Nirvana on many songs from Bleach.

Cobain was also a fan of protopunk acts like the Stooges, whose 1973 album Raw Power he listed as his favorite of all time in his journals,^[28] and The Velvet Underground, whose 1968 song "Here She Comes Now" the band covered both live and in the studio.

The 1980s American alternative rock band Pixies were instrumental in helping an adult Cobain develop his own songwriting style. In a 1992 interview with Melody Maker, Cobain said that hearing their 1988 debut album, Surfer Rosa, "convinced him to abandon his more Black Flag-influenced songwriting in favor of the Iggy Pop/Aerosmith–type songwriting that appeared on Nevermind.^[49] In a 1993 interview with Rolling Stone, he said that "Smells Like Teen Spirit" was his attempt at "trying to rip off the Pixies. I have to admit it. When I heard the Pixies for the first time, I connected with that band so heavily that I should have been in that band—or at least a Pixies cover band. We used their sense of dynamics, being soft and quiet and then loud and hard."^[50]

Cobain's appreciation of early alternative rock bands also extended to Sonic Youth and R.E.M., both of which the members of Nirvana befriended and looked up to for advice. It was under recommendation from Sonic Youth's Kim Gordon that Nirvana signed to DGC in 1990,^[51] and both bands did a two week tour of Europe in the summer of 1991, as documented in the 1992 documentary, 1991: The Year Punk Broke. In 1993, Cobain said of R.E.M.: "If I could write just a couple of songs as good as what they’ve written … I don’t know how that band does what they do. God, they’re the greatest. They’ve dealt with their success like saints, and they keep delivering great music."^[50]

After attaining mainstream success, Cobain became a devoted champion of lesser known indie bands, covering songs by the Vaselines, Meat Puppets, Wipers and Fang onstage and/ or in the studio, wearing Daniel Johnston T-shirts during photo shoots, having the K Records logo tattooed on his forearm, and enlisting bands like The Butthole Surfers, Shonen Knife, Chokebore and Half Japanese along for the In Utero tour in late 1993 and early 1994. Cobain even invited his favorite musicians to perform with him: ex-Germs guitarist Pat Smear joined the band in 1993, and the Meat Puppets appeared onstage during Nirvana's 1993 MTV Unplugged appearance, to perform three songs from their second album, Meat Puppets II.

Nirvana's Unplugged set also included renditions of "The Man Who Sold the World," by British rock musician David Bowie, and the American folk song, "Where Did You Sleep Last Night," as adapted by the American folk musician, Lead Belly. Cobain introduced the latter by calling Lead Belly his favorite performer, and in a 1993 interview revealed he had been introduced to him from reading the American author, William S. Burroughs. "I remember [Burroughs] saying in an interview, “These new rock’n'roll kids should just throw away their guitars and listen to something with real soul, like Leadbelly,'" Cobain said. "I’d never heard about Leadbelly before so I bought a couple of records, and now he turns out to be my absolute favorite of all time in music. I absolutely love it more than any rock’n'roll I ever heard."^[52]

Nirvana's acoustic Unplugged set, which was released posthumously as an album in 1994, may have provided a hint of Cobain's future musical direction. The record has drawn comparisons to R.E.M.'s 1992 release, Automatic for the People,^[53] and in 1993, Cobain himself predicted that the next Nirvana album would be "pretty ethereal, acoustic, like R.E.M.'s last album."^[50]

"Yeah, he talked a lot about what direction he was heading in," Cobain's friend, R.E.M.'s lead singer Michael Stipe, told Newsweek in 1994. "I mean, I know what the next Nirvana recording was going to sound like. It was going to be very quiet and acoustic, with lots of stringed instruments. It was going to be an amazing fucking record, and I’m a little bit angry at him for killing himself. He and I were going to record a trial run of the album, a demo tape. It was all set up. He had a plane ticket. He had a car picking him up. And at the last minute he called and said, 'I can't come.'"^[54]

Artistry[link]

Dave Grohl stated that Cobain believed that music comes first and lyrics, second. Cobain focused, foremost, on the melodies of his songs.^[55] Cobain complained when fans and rock journalists attempted to decipher his singing and extract meaning from his lyrics, writing "Why in the hell do journalists insist on coming up with a second-rate Freudian evaluation of my lyrics, when 90 percent of the time they've transcribed them incorrectly?"^[56] While Cobain would insist of the subjectivity and unimportance of his lyrics, he was known to labor and procrastinate in writing them, often changing the content and order of lyrics during performances.^[57] Cobain would describe his lyrics himself as "a big pile of contradictions. They're split down the middle between very sincere opinions that I have and sarcastic opinions and feelings that I have and sarcastic and hopeful, humorous rebuttals toward cliché bohemian ideals that have been exhausted for years."^[58]

Cobain originally wanted Nevermind to be divided into two sides: a "Boy" side, for the songs written about the experiences of his early life and childhood, and a "Girl" side, for the songs written about his dysfunctional relationship with Tobi Vail.^[57] Charles R. Cross would write "In the four months following their break-up, Kurt would write a half dozen of his most memorable songs, all of them about Tobi Vail". Though "Lithium" had been written before Cobain knew Vail, the lyrics of the song were changed to reference her.^[59] Cobain would say in an interview with Musician that "some of my very personal experiences, like breaking up with girlfriends and having bad relationships, feeling that death void that the person in the song is feeling. Very lonely, sick."^[60] While Cobain would regard In Utero "for the most part very impersonal",^[61] on the album he dealt with the childhood divorce of his parents, his newfound fame and the public image and perception of himself and Courtney Love on "Serve the Servants", with his enamored relationship with Love conveyed through lyrical themes of pregnancy and the female anatomy on "Heart-Shaped Box". Cobain wrote "Rape Me" not only as an objective discussion of rape, but a metaphorical protest against his treatment by the media. He wrote about fame, drug addiction and abortion on "Pennyroyal Tea", as well as women's rights and the life of Seattle-born Frances Farmer on "Frances Farmer Will Have Her Revenge on Seattle".

Cobain was affected enough to write the song "Polly" from Nevermind, after reading a newspaper story of an incident in 1987, where a young girl was kidnapped after attending a punk rock show^[who?], then raped and tortured with a blowtorch. She managed to escape after gaining the trust of her captor through flirting with him.^[62] After seeing Nirvana perform, Bob Dylan would cite "Polly" as the best of Nirvana's songs, and was quoted as saying about Cobain, "the kid has heart".^[63] Patrick Süskind, whose novel Perfume: The Story of a Murderer inspired Cobain to write the song "Scentless Apprentice" from In Utero. The book is an historical horror novel about a perfumer's apprentice born with no body odor of his own but with a highly developed sense of smell, and who attempts to create the "ultimate perfume" by killing virginal women and taking their scent.^[64]

Cobain immersed himself in artistic projects throughout his life, as much so as he did in songwriting. The sentiments of his art work followed the same subjects of his lyrics, often expressed through a dark and macabre sense of humor. Noted was his fascination with physiology, his own rare medical conditions, and the human anatomy. Often unable to afford artistic resources, Cobain would improvise with materials, painting on board games and album sleeves, and painting with an array of substances, including his own bodily fluids. The artwork seen in his Journals would later draw acclaim as being of a high artistic standard. Many of Cobain's paintings, collages, and sculptures would appear in the artwork of Nirvana's albums. His artistic concepts would feature notably in Nirvana's music videos; the production and direction of which were acrimonious due to the artistic perfectionism of his visions.

Cobain would contribute backing guitar for a spoken word recording of beat poet William S. Burroughs' entitled "the "Priest" they called him".^[65] Cobain regarded Burroughs as a hero. During Nirvana's European tour Cobain kept a copy of Burroughs' Naked Lunch, purchased in a London bookstall.^[66] Ana Finel-Honigman, in her introduction to an interview with the artist Stella Vine on the Saatchi Gallery website, described Vine's art as bitterly honest in the same way Cobain's songs were; "acid outrage over adult lies and injustice", Holden Caulfield's observations about "a world filled with phonies", and Sylvia Plath's poetry an "over-heated anger and bitterness at the world's betrayals".^[67]

Relationships and family[link]

Courtney Love[link]

Courtney Love met Cobain on January 12, 1990, in Portland's Satyricon nightclub,^[68] when they both still led ardent underground rock bands.^[69] Love made advances, but Cobain was evasive. Early in their interactions, Cobain broke off dates and ignored Love’s advances because he was unsure he wanted a relationship. Cobain noted, "I was determined to be a bachelor for a few months [...] But I knew that I liked Courtney so much right away that it was a really hard struggle to stay away from her for so many months."^[70] Courtney Love first saw Cobain perform in 1989 at a show in Portland, Oregon; they talked briefly after the show and Love developed a crush on him.^[71]

Cobain was already aware of Love through her role in the 1987 film Straight to Hell. According to journalist Everett True, the pair were formally introduced at an L7 and Butthole Surfers concert in Los Angeles in May 1991.^[72] In the weeks that followed, after learning from Dave Grohl that Cobain shared mutual interests with her, Love began pursuing Cobain. In late 1991 the two were often together and bonded through drug use.^[73]

Around the time of Nirvana's 1992 performance on Saturday Night Live, Love discovered that she was pregnant with Cobain's child. On February 24, 1992, a few days after the conclusion of Nirvana's Pacific Rim tour, Cobain and Love were married on Waikiki Beach in Hawaii. Love wore a satin and lace dress once owned by the actress Frances Farmer, and Cobain wore green pajamas, because he had been "too lazy to put on a tux". In an interview with The Guardian, Love revealed the opposition to their marriage from various people: "Kim Gordon [of Sonic Youth] sits me down and says, 'If you marry him your life is not going to happen, it will destroy your life.' But I said, 'Whatever! I love him, and I want to be with him!'... It wasn't his fault. He wasn't trying to do that."

Frances Bean Cobain[link]

On August 18, 1992, the couple's daughter Frances Bean Cobain was born.

In a 1992 article in Vanity Fair, Love admitted to using heroin while unknowingly pregnant. Love claimed that Vanity Fair had misquoted her,^[74] but the event created a media controversy for the couple. While Cobain and Love's romance had always been a media attraction, they found themselves hounded by tabloid reporters after the article was published, many wanting to know if Frances was addicted to drugs at birth. The Los Angeles County Department of Children's Services took the Cobains to court, claiming that the couple's drug usage made them unfit parents.^[75] Two-week-old Frances was ordered by the judge to be taken from their custody and placed with Courtney's sister Jamie for several weeks, after which the couple obtained custody in an exchange agreement to submit to urine tests and regular visits from a social worker. After months of legal wrangling, the couple were eventually granted full custody of their daughter.

Health history[link]

Throughout most of his life, Cobain suffered from chronic bronchitis and intense physical pain due to an undiagnosed chronic stomach condition.^[76] His first drug experience was with marijuana in 1980, at age 13. He regularly used the drug during adulthood.^[77] Cobain also had a period of consuming "notable" amounts of LSD, as observed by Tracy Marander,^[78] and was "really into getting fucked up: drugs, acid, any kind of drug", observed Krist Novoselic; Cobain was also prone to alcoholism and solvent abuse.^[77] Cobain's cousin Beverly, a nurse, claimed Cobain was diagnosed with attention-deficit hyperactivity disorder as a child, and bipolar disorder as an adult. She also brought attention to the history of suicide, mental illness and alcoholism in the Cobain family, noting two of her uncles who had committed suicide with guns.^[79]

Cobain's stomach condition was emotionally debilitating to him, and he intermittently tried to find its cause, usually at the insistence of Love. None of the many doctors he consulted were able to pinpoint the specific cause. He suffered from an acute self-consciousness and developed a poor body image, due to his low body weight; which was primarily due to malnourishment caused by his stomach condition, poor diet (attested to by numerous doctors), or a combination of both.

Cobain's first experience with heroin occurred sometime in 1986, administered to him by a local drug dealer in Tacoma, Washington who had previously supplied him with Percodan.^[80] He used heroin sporadically for several years, but, by the end of 1990, his use developed into a full-fledged addiction. Cobain claimed that he was "determined to get a habit" as a way to self-medicate his stomach condition. "It started with three days in a row of doing heroin and I don't have a stomach pain. That was such a relief," he related.^[81]

His heroin use began to affect the band's Nevermind supporting tour. One memorable example came the day of the band's 1992 performance on Saturday Night Live, where Nirvana had a photographic session with photographer Michael Levine. Having taken heroin beforehand, Cobain fell asleep several times during the shoot. Cobain divulged to biographer Michael Azerrad, "I mean, what are they supposed to do? They're not going to be able to tell me to stop. So I really didn't care. Obviously to them it was like practicing witchcraft or something. They didn't know anything about it so they thought that any second, I was going to die."^[82]

Slowly, Cobain's heroin addiction worsened. His first attempt at rehab was made in early 1992, not long after he and Love discovered they were going to become parents. Immediately after leaving rehab, Nirvana embarked on their Australian tour, with Cobain appearing pale and gaunt while suffering through withdrawals. Not long after returning home, Cobain's heroin use resumed.

Prior to a performance at the New Music Seminar in New York City in July 1993, Cobain suffered a heroin overdose. Rather than calling for an ambulance, Love injected Cobain with Narcan to bring him out of his unconscious state. Cobain proceeded to perform with Nirvana, giving the public no indication that anything out of the ordinary had taken place.^[83]

Death[link]

Following a tour stop at Terminal Eins in Munich, Germany, on March 1, 1994, Cobain was diagnosed with bronchitis and severe laryngitis. He flew to Rome the next day for medical treatment, and was joined there by his wife, Courtney Love, on March 3, 1994. The next morning, Love awoke to find that Cobain had overdosed on a combination of champagne and Rohypnol. Cobain was immediately rushed to the hospital, and spent the rest of the day unconscious. After five days in the hospital, Cobain was released and returned to Seattle.^[8] Love later stated that the incident was Cobain's first suicide attempt.^[84]

On March 18, 1994, Love phoned Seattle police informing them that Cobain was suicidal and had locked himself in a room with a gun. Police arrived and confiscated several guns and a bottle of pills from Cobain, who insisted that he was not suicidal and had locked himself in the room to hide from Love. When questioned by police, Love said that Cobain had never mentioned that he was suicidal and that she had not seen him with a gun.^[85]

Love arranged an intervention regarding Cobain's drug use on March 25, 1994. The ten people involved included musician friends, record company executives, and one of Cobain's closest friends, Dylan Carlson. The intervention was initially unsuccessful, with an angry Cobain insulting and heaping scorn on its participants and eventually locking himself in the upstairs bedroom. However, by the end of the day, Cobain had agreed to undergo a detox program.^[86] Cobain arrived at the Exodus Recovery Center in Los Angeles, California on March 30, 1994. The staff at the facility were unaware of Cobain's history of depression and prior attempts at suicide. When visited by friends, there was no indication to them that Cobain was in any negative or suicidal state of mind. He spent the day talking to counselors about his drug abuse and personal problems, happily playing with his daughter Frances. These interactions were the last time Cobain saw his daughter. The following night, Cobain walked outside to have a cigarette, and climbed over a six-foot-high fence to leave the facility (which he had joked earlier in the day would be a stupid feat to attempt). He took a taxi to Los Angeles Airport and flew back to Seattle. On the flight, he sat next to Duff McKagan of Guns N' Roses. Despite Cobain's own personal animosity towards Guns N' Roses and specifically Axl Rose, Cobain "seemed happy" to see McKagan. McKagan later stated he knew from "all of my instincts that something was wrong."^[87] On April 2 and April 3, 1994, Cobain was spotted in various locations around Seattle, although most of his close friends and family were unaware of his whereabouts. He was not seen on April 4, 1994. On April 3, 1994, Love contacted a private investigator, Tom Grant, and hired him to find Cobain. On April 7, 1994, amid rumors of Nirvana breaking up, the band pulled out of that year's Lollapalooza music festival.

On April 8, 1994, Cobain's body was discovered at his Lake Washington home by an electrician who had arrived to install a security system. Apart from a minor amount of blood coming out of Cobain's ear, the electrician reported seeing no visible signs of trauma, and initially believed that Cobain was asleep until he saw the shotgun pointing at his chin. A suicide note was found, addressed to Cobain's childhood imaginary friend "Boddah", that said, paraphrasing, "I haven't felt the excitement of listening to as well as creating music, along with really writing . . . for too many years now". A high concentration of heroin and traces of diazepam were also found in his body. Cobain's body had been lying there for days; the coroner's report estimated Cobain to have died on April 5, 1994.^[88]

A public vigil was held for Cobain on April 10, 1994, at a park at Seattle Center drawing approximately seven thousand mourners.^[89] Prerecorded messages by Krist Novoselic and Courtney Love were played at the memorial. Love read portions of Cobain's suicide note to the crowd, crying and chastising Cobain. Near the end of the vigil, Love arrived at the park and distributed some of Cobain's clothing to those who still remained.^[90] Dave Grohl would say that the news of Cobain's death was "probably the worst thing that has happened to me in my life. I remember the day after that I woke up and I was heartbroken that he was gone. I just felt like, 'Okay, so I get to wake up today and have another day and he doesn't.'" He also believed that he knew Cobain would die at an early age, saying that "sometimes you just can't save someone from themselves," and "in some ways, you kind of prepare yourself emotionally for that to be a reality."^[91] Dave Reed, who for a short time was Cobain's foster father, said that "he had the desperation, not the courage, to be himself. Once you do that, you can't go wrong, because you can't make any mistakes when people love you for being yourself. But for Kurt, it didn't matter that other people loved him; he simply didn't love himself enough."^[92]

A final ceremony was arranged for Cobain by his mother on May 31, 1999, attended by both Courtney Love and Tracy Marander. As a Buddhist monk chanted, his daughter Frances Bean scattered his ashes into McLane Creek in Olympia, the city where he "had found his true artistic muse."^[92]

Cobain's artistic endeavors and struggles with heroin addiction, illness and depression, as well as the circumstances of his death have become a frequent topic of fascination, debate, and controversy throughout the world. He is one of the well known members of the 27 Club.

Legacy[link]

A bench in Viretta Park has become a notable memorial to Cobain.

In 2005, a sign was put up in Aberdeen, Washington, that reads "Welcome to Aberdeen – Come As You Are" as a tribute to Cobain.

Cobain has been remembered as one of the most iconic rock musicians in the history of alternative music. He was ranked by Rolling Stone as the 73rd greatest guitarist and 45th greatest singer of all time,^[93][94] and by MTV as 7th in the "22 Greatest Voices in Music".^[95] In 2006, he was placed at number twenty by Hit Parader on their list of the "100 Greatest Metal Singers of All Time".^[96] Reflecting on Cobain's death over ten years later, MSNBC's Eric Olsen wrote, "In the intervening decade, Cobain, a small, frail but handsome man in life, has become an abstract Generation X icon, viewed by many as the 'last real rock star' [. . .] a messiah and martyr whose every utterance has been plundered and parsed".^[97]

In 2005, a sign was put up in Aberdeen, Washington, that read "Welcome to Aberdeen – Come As You Are" as a tribute to Cobain. The sign was paid for and created by the Kurt Cobain Memorial Committee, a non-profit organization created in May 2004 to honour Cobain. The Committee planned to create a Kurt Cobain Memorial Park and a youth center in Aberdeen. Because Cobain was cremated and his remains scattered into the Wishkah River in Washington,^[98] many Nirvana fans visit Viretta Park, near Cobain's former Lake Washington home, to pay tribute. On the anniversary of his death, fans gather in the park to celebrate his life and memory.

In 2006, Cobain took the place of Elvis Presley as the top-earning deceased celebrity, after the sale of the Nirvana song catalogue. Presley reclaimed the spot in 2007.^[99]

Controversy erupted in July 2009 when a monument to Cobain in Aberdeen along the Wishkah River included the quote "...Drugs are bad for you. They will fuck you up." The city ultimately decided to sandblast the monument to replace the expletive with "f---",^[100] but fans immediately drew the letters back in.^[101] The monument and bridge have become popular places for fans to leave tributes.

Gus Van Sant loosely based his 2005 movie Last Days on the events in the final days of Cobain's life. In January 2007, Courtney Love began to shop the biography Heavier Than Heaven to various movie studios in Hollywood to turn the book into an A-list feature film about Cobain and Nirvana. The video game Guitar Hero 5 features Cobain as a playable character.^[102] However, the inclusion of Cobain incensed surviving bandmates Krist Novoselic and Dave Grohl and wife Courtney Love, expressing their dismay at the ability to use Cobain with any song, including those sung by female vocalists.^[103]

Books and films on Cobain[link]

Prior to Cobain's death, writer Michael Azerrad published Come as You Are: The Story of Nirvana, a book chronicling Nirvana's career from its beginning, as well as the personal histories of the band members. The book explored Cobain's drug addiction, as well as the countless controversies surrounding the band. After Cobain's death, Azerrad re-published the book to include a final chapter discussing the last year of Cobain's life. The book is notable, as it involved the band members themselves, who provided interviews and personal information to Azerrad specifically for the book. In 2006, Azerrad's taped conversations with Cobain were transformed into a documentary about Cobain, titled Kurt Cobain: About a Son. Though this film does not feature any music by Nirvana, it has songs by the artists that inspired Cobain.

In the 1998 documentary Kurt & Courtney, filmmaker Nick Broomfield investigated Tom Grant's claim that Cobain was actually murdered. He took a film crew to visit a number of people associated with Cobain and Love; Love's father, Cobain's aunt, and one of the couple's former nannies. Broomfield also spoke to Mentors bandleader Eldon "El Duce" Hoke, who claimed Love offered him $50,000 to kill Cobain. Although Hoke claimed he knew who killed Cobain, he failed to mention a name, and offered no evidence to support his assertion. Broomfield inadvertently captured Hoke's last interview, as he died days later, reportedly hit by a train. However, Broomfield felt he hadn't uncovered enough evidence to conclude the existence of a conspiracy. In a 1998 interview, Broomfield summed it up by saying,

"I think that he committed suicide. I don't think there's a smoking gun. And I think there's only one way you can explain a lot of things around his death. Not that he was murdered, but that there was just a lack of caring for him. I just think that Courtney had moved on, and he was expendable."^[104]

Journalists Ian Halperin and Max Wallace took a similar path and attempted to investigate any possible conspiracy for themselves. Their initial work, the 1999 book Who Killed Kurt Cobain? argued that, while there wasn't enough evidence to prove a conspiracy, there was more than enough to demand that the case be reopened.^[105] A notable element of the book included their discussions with Grant, who had taped nearly every conversation that he had undertaken while he was in Love's employ. Over the next several years, Halperin and Wallace collaborated with Grant to write a second book, 2004's Love and Death: The Murder of Kurt Cobain.

In 2001, writer Charles R. Cross published a biography of Cobain titled Heavier Than Heaven. For the book, Cross conducted over 400 interviews, and was given access by Courtney Love to Cobain's journals, lyrics, and diaries.^[106] Cross' biography was met with criticism, including allegations of Cross accepting secondhand (and incorrect) information as fact.^[107] Friend Everett True, who derided the book as being inaccurate, omissive, and highly biased; he said Heavier than Heaven was "the Courtney-sanctioned version of history"^[108] or, alternatively, Cross's “Oh, I think I need to find the new Bruce Springsteen now” Kurt Cobain book.^[109] However, beyond the criticism, the book contained many details about Cobain and Nirvana's career that would have otherwise been unnoted. Additionally, in 2008 Cross published Cobain Unseen: Mosaic of an Artist, a compilation of annotated photographs and creations and writings by Cobain throughout his life and career.^[110] In 2002, a sampling of Cobain's writings was published as Journals. The book fills 280 pages with a simple black cover; the pages are arranged somewhat chronologically (although Cobain generally did not date them). The journal pages are reproduced in color, and there is a section added at the back with explanations and transcripts of some of the less legible pages. The writings begin in the late 1980s and were continued until his death. A paperback version of the book, released in 2003, included a handful of writings that were not offered in the initial release. In the journals, Cobain talked about the ups and downs of life on the road, made lists of what music he was enjoying, and often scribbled down lyric ideas for future reference. Upon its release, reviewers and fans were conflicted about the collection. Many were elated to be able to learn more about Cobain and read his inner thoughts in his own words, but were disturbed by what was viewed as an invasion of his privacy.^[111]

In 2003, Omnibus Press released Godspeed: The Kurt Cobain Graphic. It was written by Jim McCarthy and Barnaby Legg with illustrations by Flameboy. It depicts Cobain's life, but is not a factual biography. Rather, it uses artistic license to tell Cobain's story from his own point of view.

In 2009, ECW Press released a book titled Grunge is Dead: The Oral History of Seattle Rock Music. It was written by Greg Prato, featuring portions about Nirvana and Kurt Cobain's life and death (including new interviews with bandmates and friends), as well as exploring the history of grunge in great detail. A picture of Cobain from the Bleach era is used for the book's front cover, and its title comes from a shirt that Cobain was once photographed wearing.^[112]

See also[link]

• List of best-selling music artists
• List of musicians from Seattle

Notes[link]

References[link]

• Azerrad, Michael. Come as You Are: The Story of Nirvana. Doubleday, 1994. ISBN 0-385-47199-8.
• Burlingame, Jeff. Kurt Cobain: Oh Well, Whatever, Nevermind. Enslow, 2006. ISBN 0-7660-2426-1
• Cross, Charles. Heavier Than Heaven: A Biography of Kurt Cobain. Hyperion, 2001. ISBN 0-7868-8402-9.
• Kitts, Jeff, et al. Guitar World Presents Nirvana and the Grunge Revolution. Hal Leonard, 1998. ISBN 0-7935-9006-X.
• Summers, Kim. Kurt Cobain at Allmusic. Retrieved May 9, 2005.

External links[link]

Wikimedia Commons has media related to: Kurt Cobain

Wikiquote has a collection of quotations related to: Kurt Cobain

• Kurt Cobain at Allmusic
• Kurt Cobain at the Internet Movie Database
• The Kurt Cobain Equipment FAQ – Detailed information on Cobain's guitars, amplifiers, and effects.
• Official police reports into Cobain's death at The Smoking Gun
• Kurt Cobain's suicide note