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The Week In Music: Come On, Get Reunited

David Cassidy and Danny Bonaduce team for a mini Partridge Family reunion

GRAMMYs/Dec 3, 2014 - 05:06 am

The Beatles never reunited after their 1970 breakup. A rumored Led Zeppelin reunion tour fizzled in recent years. But there's one bright spot for fans of seminal '60s and '70s music. Original "The Partridge Family" cast members David Cassidy and Danny Bonaduce teamed for an April 9 Atlantic City, N.J., show to perform one of the group's big hits, "Doesn't Somebody Want To Be Wanted," with Bonaduce learning and playing the tune's bass part for the performance. Bonaduce, now a radio DJ in Philadelphia, had pantomimed his bass playing during the sitcom's TV run in the early '70s. For Cassidy's part, he told fans, "I'm no different from anybody else, I've been touring around the world for 40 years…been on television shows, on Broadway, and recently got arrested for a DUI…." Quick, someone call Reuben Kincaid.

In semi-related sort of reunion news, the Beastie Boys have directed a bevy of today's stars in a short film celebrating their seminal white-rap hit "Fight For Your Right." Playing two generations of Beastie Boys are Danny McBride, Seth Rogen and Elijah Wood, and Jack Black, Will Farrell and John C. Reilly. Also starring in Fight For Your Right Revisited, which appears to honor the original song's celebration of all things sophomoric, are Steve Buscemi, Ted Danson, Laura Dern, Kirsten Dunst, Rashida Jones, Amy Poehler, Jason Schwartzman, Chloe Sevigny, Alicia Silverstone, and Rainn Wilson, among others. The film will be released in conjunction with the Boys' saucy new album, Hot Sauce Committee Part 2, on May 3.

Sir Paul McCartney is calling on a little help from his friends to record an album of cover songs that will span the former Beatles' solo career and songs he recorded while with Wings. Artists expected to contribute to the covers album include the Cure, Kiss, Billy Joel, and McCartney's son James. While an official track listing and release date have yet to be revealed, we're hoping for a Kiss rendition of "Band On The Run" and a sweet piano melody on "Live And Let Die" from Joel.

Sometimes an album comes along that has a limited chart shelf life but is so artistically rich that it begs to be revisited later. Released in November 2008 with epic fanfare, Guns 'N Roses' Chinese Democracy debuted at No. 3 on the Billboard 200, but just five months later the album dropped off the chart. Longtime GNR fans may have been miffed by the absence of Slash or Duff McKagan and not sure what to make of tracks such as "Shackler's Revenge," "Madagascar" or "Riad N' The Bedouins." But now, more than two years later, the album sold more than 3,000 copies to reenter the Billboard 200 at No. 198. Are listeners rediscovering the opus that took GNR frontman Axl Rose nearly 15 years to finish? Possibly. Either that, or Best Buy's special sale price of $1.99 was just too good to pass up. Welcome to the bargain jungle.

The Prince has landed in Los Angeles and he's there to stay…at least for 21 straight nights. As part of his Welcome 2 America tour, Prince kicked off an impressive 21-date stand in L.A. on April 14 at the Forum in Inglewood, Calif. "I will be starting a 21-night stand text Thursday the 14th at the L.A. Forum with the New Power Generation and a whole gang of special guests," said Prince during an announcement made via phone call on the "Lopez Tonight" show. "I'm gonna blast the roof off that place, I promise!" Sounds like Prince and the gang are ready to go crazy.

Have you ever wondered what your favorite artists do backstage while waiting to perform for thousands of screaming fans? Well, if you're a Liam Gallagher fan, rest assured he's not tiring himself out by doing repeats of push-ups, squats or arm curls to warm up. No, he's listening to Rod Stewart's equally sweat-inducing "Da Ya Think I'm Sexy?" Gallagher spoke with BBC Radio 1 prior to a gig in the UK with his new project Beady Eye, revealing to radio personality Zane Lowe that the 1979 hit gets him "pumped up" to hit the stage. When Lowe asked about a member of the Beady Eye crew who reportedly asked that Gallagher choose something else, the former Oasis member replied, "Someone in our camp needs to get a sense of humor." You're right, Liam, funny is the new sexy.

In scientific research news, UK website Tastebuds.fm announced the results of a music dating "survey" that found fans of Coldplay were least likely to go "all the way" on a first date. On the other side of the spectrum, Nirvana fans were most likely to make whoopee on a first date, followed by fans of Metallica and Linkin Park. (Oddly enough, fans of the Sex Pistols, Wham! or Porno For Pyros did not make the grade.) Whether this survey will cause a surge in catalog album sales for Nirvana remains to be seen. However, it would seem that the question, "Which is your favorite grunge band led by Kurt Cobain?" is a strong candidate to leapfrog "What kind of car do you drive?" and "How much money do you make?" on the essential first-date question list.

It's hard to tell if this story is a comment on the state of music, the economy or just one very stressed-out and musically out-of-touch man. According to the Smoking Gun, a California man shot his son's stereo speaker with a 16-gauge shotgun after the latter didn't turn down his "disco" music to a level meeting the father's approval. Turns out the son, Anthony Jarmolowicz, is an unemployed 24-year-old aspiring DJ living at home and obviously working his dad's last nerve while practicing. Father Stanislaw Jarmolowicz appears to be a fed-up father living in 1977. Meanwhile, the speaker seems to be innocent and caught in the crossfire. Stanislaw was arrested by Yuba County cops, and though no criminal charges were filed, authorities may want to offer anger management and musical styles of the 21st century counseling.

Katy Perry's "E.T." featuring Kanye West is No. 1 on the Billboard Hot 100 and LMFAO's "Party Rock Anthem" featuring Lauren Bennett and GoonRock is tops on the iTunes singles chart.

Any news we've missed? Comment below.

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Last Week In Music 

8 Reasons Soundgarden's 'Superunknown' Is One Of The Most Influential Grunge Albums
Soundgarden in Tokyo in 1994.

Photo: Koh Hasebe/Shinko Music/Getty Images

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8 Reasons Soundgarden's 'Superunknown' Is One Of The Most Influential Grunge Albums

Six years into their career, Soundgarden surged into the grunge stratosphere with their fourth LP, 'Superunknown.' Thirty years after its release, here's why the album is still rocking.

GRAMMYs/Mar 8, 2024 - 03:56 pm

Despite being the first grunge group to sign with a major label in the late '80s, Seattle four-piece Soundgarden were one of the last major players to break through to the mainstream. In fact, by the time they released their fourth LP, Superunknown, in March 1994, Pearl Jam had already sold 20 million records, Stone Temple Pilots had won a GRAMMY, and Nirvana were only a month away from tragically imploding.  

However, when frontman Chris Cornell, lead guitarist Kim Thayil, bassist Ben Shepherd, and drummer Matt Cameron finally entered the big league, they did so in major fashion. Superunknown instantly topped the Billboard 200, and went on to spawn five top 20 hits on the U.S. Mainstream Rock chart, win two GRAMMYs, and achieve five-time platinum status in the United States alone. 

Perhaps the most ironic part is that Soundgarden went stratospheric with an experimental 70-minute opus that resolutely drowns in despair — and that paradox was not lost on Cornell. "There's an eeriness in there, a kind of unresolvable sadness or indescribable longing that I've never really tried to isolate and define and fully understand," the singer told Rolling Stone in 2014, three years before he died by suicide. "But it's always there. It's like a haunted thing." 

Indeed, the cleaner-cut Cornell may have trimmed his signature locks in time for Superknown's array of MTV-friendly videos, but the album is hardly a streamlined affair tailor-made for the masses. Still, its intensity, uncompromising nature, and eclecticism — let's not forget it boasts a cameo from a street artist named Artis the Spoonman — has helped it remain one of premier grunge classics. 

To celebrate the 30th anniversary of Superunknown, here's a look at why the record is a benchmark of Gen X rock.    

It Proved Grunge Could Survive the Death Of Its Hero

Many say that the grunge movement died the day Kurt Cobain took his own life on April 5, 1994. Yet while the tragedy nearly instantly made Nirvana obsolete, many of their peers still enjoyed major success for several years before the slightly more earnest sound dubbed post-grunge took up the angst-ridden mantle.  

Released just a month before Cobain's passing, Superunknown had already joined Nevermind and In Utero, Alice in Chains' Jar of Flies, and Pearl Jam's Vs. on grunge's list of Billboard 200 chart-toppers. But it had a remarkable shelf life, too, spending 80 weeks on the chart and becoming the 13th biggest seller of 1994.  

A 20th anniversary re-release and accompanying tour in 2014 further highlighted how seminal the record had become, with even Cornell — a man typically averse to all things nostalgic — appearing to accept its classic status. "It was showing what we were, not just a flavor of the month," he told Rolling Stone. "We had the responsibility to seize the moment, and I think we really did." 

It Broke The Grunge Mould

While the likes of Pixies, Dinosaur Jr., and Sonic Youth were key reference points for most grunge outfits, Superunknown took inspiration from a much broader musical palette. Producer Michael Beinhorn looked toward the ambient techno of Aphex Twin and the punishing Dutch dance music known as gabber to capture the required intensity; he also pointed Cornell in the direction of specific Frank Sinatra songs to help hone the frontman's performance style. 

There was also a strong Beatles influence, particularly on the Lennon-ish melodies of "Black Hole Sun" and the "Tomorrow Never Knows"-esque drum breaks of "My Wave." "We looked deep down inside the very core of our souls and there was a little Ringo sitting there," Thayil told Guitar World in 1994.. 

The Shepherd-sung "Half," meanwhile, further embraced the band's Middle Eastern tendencies, while the use of mellotrons ("Mailman"), clavinets ("Fresh Tendrils"), and, most intriguingly, various kitchen equipment ("Spoonman") further proved Soundgarden weren't afraid to push the genre outside of its comfort zone.   

It Won The Great Rock War Of 1994

You could say that March 8, 1994 was a momentous day for game-changing American rock, and indeed music retailers across the country. Not only did Soundgarden unleash their blockbuster fourth album, but Nine Inch Nails dropped their very own magnum opus, too.   

Combining transgressive themes such as S&M, self-hatred and substance abuse with pioneering electronics and strong melodic hooks, NIN's The Downward Spiral is credited with pushing industrial rock into the mainstream. And in most other weeks, its first-week sales of 118,000 would have been enough to land the No. 1 spot.  

Unfortunately for Trent Reznor and co., it went up against an even bigger commercial juggernaut. Superunknown sailed to the top of the Billboard 200 with a remarkable 310,000 sales, winning the unlikely chart battle by a landslide. 15 years later, Reznor admitted he'd been wounded by the defeat, but following a brief online beef with Cornell, the two outfits kissed and made up with a 2014 joint tour.   

It Inspired A Generation Of Rockers

Between The Buried and Me ("The Day I Tried to Live"), Halestorm ("Fell on Black Days"), and Ufomammut ("Let Me Drown") are just a few of the modern-day rock bands who've paid tribute to Superunknown with various covers over the years. Its most high-profile champion, though, was another iconic frontman also sadly no longer with us. 

Chester Bennington regularly sang the album's praises, describing it as "one of the best rock records of all time" while also selecting "Limo Wreck" on his ultimate playlist for Shortlist. The Linkin Park singer had struck up such a close friendship with Cornell he was invited to perform at the latter's funeral in 2017 just two months before his own tragic death.  

Proof of just how wide-reaching Superunknown's appeal was, however, came with the fact '80s hair metallers Def Leppard also cited it as a source of inspiration for 1996's Slang, while nine years on, legendary crooner Paul Anka covered "Black Hole Sun" in a big band style on Rock Swings.  

It Spawned The Scene's Defining Video

Soundgarden's controversial video for Badmotorfinger's "Jesus Christ Pose" received a ban from MTV in 1991. In stark contrast, the promo for Superunknown's lead single three years later became a regular fixture on the network.  

Directed by Howard Greenhalgh, the attention-grabbing clip centers around a suburban community which gradually becomes consumed by, well, a black hole sun. While the band make an appearance, valiantly performing while the apocalypse rages on, they are inevitably overshadowed by the nightmarish locals and their exaggerated wide eyes, maniacal grins, and slithering lizard tongues.  

Heavily inspired by the opening minutes of David Lynch's 1986 cult classic Blue Velvet, "Black Hole Sun" was one of the few videos Soundgarden were satisfied with, according to Thayil. And one could argue that alongside Nirvana's "Smells Like Teen Spirit" and Pearl Jam's "Jeremy," it's the grunge movement's visual piece-de-resistance.  

It Made GRAMMYs History

Stone Temple Pilots might have won grunge's first GRAMMY in 1994 (Best Hard Rock Performance for "Plush"). However, Soundgarden were the scene's first — and only — act to pick up two awards in the decade it reigned supreme. 

Rather surprisingly, Nirvana were only ever recognized in 1996 when MTV Unplugged in New York won Best Alternative Music Performance. Likewise, Pearl Jam, who picked up Best Hard Rock Performance for "Spin the Black Circle" (they did win a second in 2015 for Best Recording Package). And although Scott Weiland's outfit received a further two nominations, they never got the chance to make another acceptance speech. 

Both of Soundgarden's victories came for Superunknown in 1995, with "Spoonman" winning Best Metal Performance and "Black Hole Sun" Best Hard Rock Performance. The latter also got a nod in Best Rock Song (which went to Bruce Springsteen's "Streets of Philadelphia"), while the LP itself lost to the Rolling Stones' Voodoo Lounge for Best Rock Album.  

It Put The Poetry Into Grunge

"I write my best songs when I'm depressed," Cornell once told Melody Maker. And the frontman certainly appeared to be going through a lot during the making of Superunknown

"Let Me Drown" was self-described as a song about "crawling back to the womb to die." "Mailman" is the tale of a man driven to murder — specifically, shooting his boss in the head — by the pressures of work. And as its title suggests, "Fell on Black Days" reflects on the moment you realize, "everything in your life is f—ed." 

Yet, having reportedly immersed himself in the works of Sylvia Plath before recording, Cornell's lines are a little more poetic than the usual "woe is me" platitudes. See "Safe outside my gilded cage/ With an ounce of pain, I wield a ton of rage" from "Like Suicide," the haunting closer about a bird who flew fatally straight into his house window. Or "Shower in the dark day, clean sparks diving down/ Cool in the waterway where the baptized drown," from "4th of July," the recounting of a dread-filled LSD trip experienced on an Indian reservation. 

Not every track on Superunknown is particularly deep and meaningful: In a 1996 interview, Cornell freely admitted the album's breakout hit is simply a bowl of word salad. But on the whole, it's a record as intriguing lyrically as it is sonically.  

It's Grunge's Most Immersive Album

"A perfect headphones album." That's how Thayil described Superunknown to Spotify while promoting its 20th anniversary reissue in 2014. And he's not wrong. Although the full-throttle title track and punky "Kickstand" proved Soundgarden could still rock out without any bells and whistles, most of their accompanying tracks are of the intricate variety, the group leaning into their free-wheeling, psychedelic side stronger than ever before.  

Each band member gets the chance to display their versatility throughout the multi-layered affair, with subtleties that unfurl with each listen. Alongside Cornell's expressive vocal range, there's Thayil's winding guitar solos, Shepherd's fluid basslines, and Cameron's dexterous rhythms. The result is a record that appears specifically designed to be experienced via a pair of Dr. Dre's finest (or whatever the equivalent of Beats was back in 1994) — and one that has remained just as jammable and beloved 30 years on.

Behind The Scenes With Nirvana Photog Charles Peterson: 6 Images From His New Book

Freddy Wexler On Helping Billy Joel "Turn The Lights Back On" — At The 2024 GRAMMYs And Beyond
Photo: Lester Cohen/Getty Images for The Recording Academy

(L-R) Billy Joel, Freddy Wexler

interview

Freddy Wexler On Helping Billy Joel "Turn The Lights Back On" — At The 2024 GRAMMYs And Beyond

"Part of what was so beautiful for me to see on GRAMMY night was the respect and adoration that people of all ages and from all genres have for Billy Joel," Wexler says of Joel's 2024 GRAMMYs performance of their co-written "Turn The Lights Back On."

GRAMMYs/Feb 26, 2024 - 09:11 pm

They say to not meet your heroes. But when Freddy Wexler — a lifelong Billy Joel fan — did just that, it was as if Joel walked straight out of his record collection.

"I think the truth is none of it is that surprising," the 37-year-old songwriter and producer tells GRAMMY.com. "That's the best part. From his music, I would've thought this is a humble, brilliant everyman who probably walks around with a very grounded perspective, and that's exactly who he is."

That groundedness made possible "Turn the Lights Back On" — the hit comeback single they co-wrote, and Wexler co-produced; Joel performed a resplendent version at the 2024 GRAMMYs with Laufey. Joel hadn't released a pop album since 1993's River of Dreams; for him to return to the throne would take an awfully demonstrative song, true to his life.

"I think it's a very raw, honest, real perspective that is true to Billy," Wexler explains. "I think it's the first time we've heard him acknowledge mistakes and regret in quite this way."

Specifically, Joel's return highlights his regret over spending three decades mostly on the bench, largely absent from the pop scene. As Joel wonders aloud in the stirring, arpeggiated chorus, "Is there still time for forgiveness?"

"Forgiveness" is a curious word. Why would the five-time GRAMMY winner and 23-time nominee possibly need to seek forgiveness? Regardless — as the song goes — he's "tryin' to find the magic/ That we lost somehow." The song's message — an attempt to recapture a lost essence — transcends Joel's personal headspace, connecting with a universal longing and nostalgia.

Read on for an interview with Wexler about the impact of "Turn the Lights Back On," why he thinks Joel took such an extended sabbatical, the prospect of more new music, and much more.

This interview has been edited for clarity.

**You did a great interview with Rolling Stone ahead of the 2024 GRAMMYs. Now, we're on the other side of it; you got to see how it went down on the telecast, and resonated with the audience and world. What was that like?**

It's why I make music — to hopefully make people feel something. This song has really resonated in such a big way. More than looking at its commercial success on the charts or on radio, which has been awesome to see, the comments on Instagram and YouTube have been the most rewarding part of it.

Why do you think it resonated? Beyond the king picking up his crown again?

I don't think the song is trying to be anything it's not. I think it's a very raw, honest, real perspective that is true to Billy. I think it's the first time we've heard him acknowledge mistakes and regret in quite this way. And to hear him do it in a hopeful way where he's asking, "Is it too late for forgiveness?" is just very moving, I think.

Forgiveness? That's interesting. What would any of us need to forgive him?

He has said in other interviews, "Sometimes people say they have no regrets at the end of their life." And he said, "I don't think that's possible. If you've lived a full life, of course you have regrets." He has said that he has many things he wishes he would've done differently. This is an opportunity to express that.

I think what's interesting about the song is it has found meaning in various ways with various people and listeners. Some people imagine Billy is singing to former lovers or friends. Other people imagine Billy is singing to his fans asking, "Did I wait too long to record again?" Other people wonder if Billy is singing to the songwriting Gods and muses. Did I wait too long to write again?

In Israel, where the song was number one — or is number one, I haven't checked today — I think the song's taken on the meaning of just wanting things to be normal, wanting hostages to come home and turn the lights back on. So, you never know where a song is going to resonate, but I think that Billy just found his own meaning with it.

You know the discography front to back. What lines can you draw from "Turn the Lights Back On" to past works?

I think it draws on various pieces of his catalog, right? "She's Always a Woman" has a sort of piano arpeggio in the chorus. To me, it feels like a natural progression. It feels like, on the one hand, it's a new song. On the other, it could have come out right after River of Dreams. To me, it just kind of feels natural.

**Back when you spoke with Rolling Stone, you said you couldn't wait to hear "Turn the Lights Back On" at Madison Square Garden. How'd it sound?**

Amazing. Billy is a consummate live performer. I think he's one of the few artists where everything is better live, and everything is always a little bit different each time it's played live.

It's been really cool to watch Billy and the band continue to change and improve the song and the song's dynamics for the show. He told me tonight that tomorrow night in Tampa, I think they're going to try to play with the key of the song, potentially — try it a half a step higher.

Those are the sort of things I think great artists do, right? It's different from being on a certain type of tour where every single song is the same, the set list is the same, the key is the same, the arrangements are the same.

With Billy, there's a lot of feeling and, "Hey, why don't we try it this way? Let's play it a little faster. Let's play it a little slower. Let's try it in a different key." I just think that's super cool. You have to be a really good musician to just do that on the fly.

What have you learned from him that applies to your music making, writ large?

I've learned so much from him. As Olivia Rodrigo said to us at GRAMMY rehearsals, "He's the blueprint when it comes to songwriting."

He has helped raise the bar for me when it comes to melodies and lyrics, but the thing I keep coming back to is he's reminded me that even the greatest artists and songwriters ever sometimes forget how great they are. I think we need to be careful not to give that inner voice and inner critic too much power.

Can you talk about how the music video came to be?

Well, I had a dream that Billy was singing the opening two lines of the song, but it was a 25-year-old version of Billy. It was arresting.

When I woke up, I sort of had the vision for the video, which was one set, an empty venue of some kind, and four Billy Joels. The Billy Joel that really exists today, but then three Billys from three iconic eras where each Billy would seamlessly pick up the song where the other left off.

The idea behind that was to sort of accentuate the question of the song — did I wait too long to turn the lights back on?

And so, to kind of take us through time and through all these years, I teamed up with an amazing co-director, Warren Fu, who's done everything from Dua Lipa to Daft Punk, and an artificial intelligence company called Deep Voodoo to make that vision possible.

What I'm driven by is the opportunity to create conversations, cultural moments, things that make people feel something. What was cool here is as scary as AI is — and I think it is scary in many ways — we were able to give an example of how you can use it in a positive way to execute a creative artistic vision that previously would've been impossible to execute.

Yeah, so I'm pleased with it and I'm thankful that Billy did a video. He didn't have to do one, but he liked the idea of it. He felt it was different, and I think he was moved by it as well.

What do you think is the next step here?

It's been a really rewarding process. And Billy is open-minded, which is really cool for an artist of that level, who's not a new artist by any stretch. To actually be described as being in a place in his life where he's open-minded, means anything is possible. I could tell you that I would love there to be more music.

I'd love to get your honest appraisal. And I know you're not him. But his last pop album was released 31 years ago. In that long interim, what do you think was going on with him, creatively?

Look, I'm not Billy Joel, but I think there were a number of factors going on with him. Somewhere along the way, I think he stopped having fun with music, which is the reason he got into it, or which is a big part of the reason he got into it. When it stopped being fun, I don't think he really wanted to do it anymore.

Another piece to it is that Billy is a perfectionist, and that perfectionism is evident in the caliber of his songwriting. Having always written 100 percent of his songs, Billy at some point probably found that process to be painstaking, to try to hit that bar where he's probably wondering in his head, What would Beethoven think of this? What would Leonard Bernstein think of this?

I think part of what was different here was that, perhaps, there was something liberating about "Turn the Lights Back On" being a seed that was brought to Billy. In this way, he could be a little disconnected from it, where maybe he didn't have to have the self-imposed pressure that he would if it was an idea that he'd been trying to finish for a while.

Ironically, he still made it. Well, there's no "ironically," but I think that's it. There's something to that.

Billy Joel's Biggest Songs: 15 Tracks That Best Showcase The Piano Man's Storytelling And Pop Hooks

Behind The Scenes With Nirvana Photog Charles Peterson: 6 Images From His New Book
Krist Novoselic and Kurt Cobain in Seattle on September 16, 1991.

Photo: Charles Peterson

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Behind The Scenes With Nirvana Photog Charles Peterson: 6 Images From His New Book

In 'Charles Peterson’s Nirvana,' the Sub Pop photographer chronicles the career of Kurt Cobain and his Seattle band — from their indie days to stardom. Speaking to GRAMMY.com, Peterson shares behind-the-scenes stories about some of his favorite shots.

GRAMMYs/Feb 20, 2024 - 04:07 pm

When photographer Charles Peterson first saw Nirvana at a small Seattle club in 1988, he was so underwhelmed he didn’t bother taking a single picture of them.

The band shared a bill with local act Blood Circus, who, Peterson says, "put on quite a grungy show; lots of hair going everywhere and guitars flying." When Nirvana came on, "they had the lighting guy dim the light really low and Kurt [Cobain] just stood there and stared at his feet. The music came off as kind of heavy, really difficult to play. I just didn’t get it." At one point Peterson even turned to Sub Pop Records co-founder Jonathan Poneman and asked him, "Jon, are you sure about these guys?"

 Sub Pop was sure about Nirvana, and would later sign them. And as the label’s in-house photographer, Peterson (who was in his mid-20s at the time) documented the band’s career for the next five years — from their indie days to international stardom. In his latest book, Charles Peterson’s Nirvana, from Minor Matters Books, Peterson has winnowed down his impressive catalog of an estimated 3,000 shots to a well-curated 90. 

Released on Feb. 20, Cobain’s birthday, Charles Peterson’s Nirvana features shots from his first session with the band, lounging in the wilds of Bainbridge Island, Washington ("They did have that kind of hippie aspect to them") to his last, a promotional shoot for In Utero ("They all, Kurt especially, just seemed a little tired"). While the book tells the band's story, it's less of a history and more reflective of Peterson's own experience. 

As Peterson recalls, Minor Matters Founder Michelle Dunn Marsh defined the book’s direction, believing Peterson's "artistic sensibility and how it moves the viewer and portrays the power of the music" set his work apart from the thousands of other images taken of Nirvana. 

Peterson spoke with GRAMMY.com about the stories behind five images in the book. "And like I say in the introduction, go put on a Nirvana record before you look at this book, and you really get that idea of immersion in the music," the photographer advises.

All images © Charles Peterson/Minor Matters Books

Kurt Cobain, University of Washington, Seattle, Jan. 6, 1990

Kurt Cobain, University of Washington, Seattle, Jan. 6, 1990

Peterson Got Up Close & On Stage With Nirvana

Peterson had ready access to the band in their pre-Nevermind years. "It was great, in these early days, to be able to just crawl around on the stage, go do whatever I wanted to," he says. "It does bring an intimacy that you lose later on when you’re stuck in a position like the pit or off behind a PA or something."

In his early days of photographing Nirvana, Peterson had free range of movement and often stood behind the band or close at their side. The musicians had also become a lot more active on stage compared to when Peterson first saw them. 

Krist Novoselic, University of Washington, Seattle, Jan. 6, 1990

Krist Novoselic, University of Washington, Seattle, Jan. 6, 1990

"I don't know what it was, if it was having Chad [Channing] as their drummer or the addition of Jason Everman for a while [on guitar]; maybe that allowed Kurt to worry a little bit less about hitting the chords perfectly so that he could jump around and go face down on the stage and roll around and do all that," Peterson says. "Even so, he’s not holding the audience’s attention. They’re not looking at Kurt; they’re all looking at something over there, which must be somebody stage diving or something.

"It’s all those little details that you pick up on that are great; there’s a piece of crumpled paper in front, and another photographer up in the back," Peterson notes. "And again, in the Krist shot, he's looking at me yet everyone else is looking away. There’s all this other stuff going on that you don’t even have to pay attention to the band. There’s feet in the air here. A lot of Converse in the photos!"

Nirvana Crowd shot, Motor Sports International Garage, Seattle, Sept. 22, 1990

Crowd shot, Motor Sports International Garage, Seattle, Sept. 22, 1990

Nirvana's Audience Was Just As Important — And Interesting

Peterson always focused his lens on the audience as much as the bands. "I love this one because you’ve got a Nirvana shirt there. One person is looking at me; nobody else is. Bare chests. A lot of sweaty, sweaty hair," he says of the above photo, taken at a makeshift venue that was actually a parking garage.

"Seattle crowds, we’re some of the best. And it just didn’t seem right to isolate the power of the bands from the effect that they were having on the audiences," Peterson reflects. "I found that the photos had just that much more power if you could anchor the band in their time and space with the audience, and see what that reaction is between the two, versus it just being the beauty shot of the singer." 

Peterson says there was both a symbiotic and cathartic relationship between Nirvana and their fans. "People would be like, ‘Oh my God, look at those audiences in Seattle!’" The photos distill the essence of that relationship. "The bands are great, the personalities in the bands are great…that idea that it’s a complete scene, that the participation of the audience is just as important as the participation of the bands."

Peterson recalls standing next to the PA at stage right during this show.

"What I would do is, with one hand, lean out holding the camera upside down over the audience. And then I would have my flash in the other hand, so that the light gave a nice kind of mottling to it. Not looking through the viewfinder, just photographing. I do a lot of that," he says. "The camera takes the picture whether you’re looking through the viewfinder or not." 

Kurt Cobain, Commodore Ballroom, Vancouver, BC, Canada, March 8, 1991

Kurt Cobain, Commodore Ballroom, Vancouver, BC, Canada, March 8, 1991

Peterson Sensed This "Smells Like Teen Spirit" Shot Was Something Special  

Peterson knew immediately that something special had occurred when he took this picture. "I remember pushing the shutter on this shot and going, What just happened? But then the show moves on." 

A few days later, Peterson was in his darkroom developing the film and finally saw the impact of the moment he captured. He printed the image and a proof sheet, and gave them to Nirvana’s Seattle publicist Susie Tennant, who shared them with Cobain. The picture is on the back of Nirvana's "Smells Like Teen Spirit" single. 

The photo became one of Peterson’s most widely reproduced images. "I think what makes a photo iconic is that the photo reads easily and at the same time is larger than life and dramatic," he says. "And despite the fact that it reads easily to the eye, there’s a lot of other stuff, hidden stuff going on that you need to think about. 

"It’s also a photo that you can sort of transport to any time and place. It doesn’t necessarily have to be locked in with this particular show or anything. It really goes beyond that and then that ends up standing the test of time."

Krist Novoselic and Kurt Cobain, Beehive Music & Video, Seattle, September 16, 1991

Krist Novoselic and Kurt Cobain, Beehive Music & Video, Seattle, September 16, 1991

By '91 Nirvana Inspired Mosh Pits Everywhere, Even In Stores

Peterson calls this in-store appearance, a week before Nevermind was released, as "a watershed moment." 

"This was the last time I saw them play on a floor, which to me makes for great photos because you’re right there at the same level as them. It really is in your face," he says. "What was totally surprising was the subsequent mosh pit in the store, with people being hoisted on shoulders." 

There were also signs of how things were about to change for the band, Peterson recalls. "Kurt was besieged by autograph seekers outside the store. It was the first time I think that really happened to him. He was definitely overwhelmed by it."

Peterson had some challenges in the darkroom when developing this film, which led to a "weird graininess" that differs from many of his other images. "At the time I was like, ‘Oh God!’ But I think it has a unique look that you just don't get with digital now, unless you really manipulate it."

Kurt Cobain, Reading Festival, Reading, UK, August 30, 1992

Kurt Cobain, Reading Festival, Reading, UK, August 30, 1992

Kurt Cobain Cared About His Peers

By the time of this show, Nirvana were a bonafide international sensation. The band were plagued by stories of drug use and rumors about an impending break-up, while Courtney Love had just given birth to her and Cobain's daughter. All of which attracted huge media interest in this performance. 

"I was a little shocked when I went into the press tent; I had never been to a festival like this before and there were 96 photographers listed on the dry board!" Peterson reflects. "Photographers that were shooting from the pit in the front of the stage, they would bring them out and give them five minutes each."

That was not going to work for Peterson. 

"And all of a sudden, Nick Cave finished and there was this huge rush to the stage. And [Nirvana’s UK publicist] Anton Brookes grabs me by the wrist and he’s like, ‘Dude, come with me!’ And we all start running up onto the stage, up the ramp. I was taking a few snaps and then everybody settled into their place. There was Eric Erlandson [from Hole] next to me, and to the right was Mark Arm [from Mudhoney] and some members of L7," Peterson says. "I didn’t have an official stage pass or anything like that, but as long as I was with those guys, it was all cool. That was my spot, so I didn’t dare move from it.

"This photo was a really, really special moment. Kurt, in between songs, he just looked over at us, and mouthed something like, ‘How are you guys doing?’ And we’re like, ‘We’re fine.’ And then we started waving like back at him, like, ‘Go play, dude! Don’t worry about us,’" Peterson remembers. 

"It was like he wanted to check in with his peeps on the side of the stage. It’s one of my favorite photos."

A potential volume two of Nirvana photos is being considered, as is a retrospective of Peterson’s work, which includes photos of Soundgarden, Screaming Trees, TAD, Mother Love Bone, Beat Happening, and a multitude of others. But Nirvana invariably tops the list. 

"You can talk and write reams about the dramas and the ins and outs. But it’s the power of the music that keeps people coming back," he says of the band. "And the fact that it’s not rooted in a time and place; you can make the music be whatever you want it to be. I mean, half the time you don’t know what Kurt’s singing about or even what the words are, but you can shout your own words along to it if you want. It’s the music that really is that lasting, lasting legacy."

11 Reasons Why 1993 Was Nirvana's Big Year

10 Must-See Moments From The 2024 GRAMMYs: Taylor Swift Makes History, Billy Joel & Tracy Chapman Return, Boygenius Manifest Childhood Dreams
(L-R) boygenius, Taylor Swift and Jack Antonoff at the 2024 GRAMMYs.

Photo: Kevin Mazur/Getty Images for The Recording Academy

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10 Must-See Moments From The 2024 GRAMMYs: Taylor Swift Makes History, Billy Joel & Tracy Chapman Return, Boygenius Manifest Childhood Dreams

The 66th Annual GRAMMY Awards wrote another monumental chapter in music history with returns from legends like Celine Dion and wins by a promising new generation of artists like Victoria Monét.

GRAMMYs/Feb 5, 2024 - 08:35 pm

Just like that, another GRAMMYs has come and gone — but the 2024 telecast brought many moments that will be immortalized in pop culture history.

It was the evening of legends, as Billy Joel and Tracy Chapman returned to the stage for the first time in decades and Joni Mitchell made her debut with a performance of her 1966 classic, "Both Sides, Now." Stevie Wonder and Celine Dion honored greats, both those we've lost and those who are dominating today. And Meryl Streep had two memorable moments at the show, making a fashionably late entrance and getting a hilarious GRAMMY lesson from Mark Ronson.

But it was the younger generation of artists who ultimately dominated the show. Boygenius — the supergroup of Phoebe Bridgers, Lucy Dacus, and Julien Baker — won numerous awards in the Rock, Metal & Alternative Music Field. Billie Eilish and SZA scooped up a couple more golden gramophones, respectively, and Best New Artist winner Victoria Monét celebrated three wins in total, also winning Best R&B Album and Best Engineered Album, Non-Classical.

Taylor Swift built on the momentum of her colossal year with more GRAMMY records and an unexpected announcement of her next studio album.

Check out the full list of winners here, and take a look at our top 10 highlights from another show-stopping installment of the GRAMMYs below.

Boygenius Run To Accept Their First GRAMMY Award

Boygenius won the first trophy of their careers during the Premiere Ceremony, and they were so ecstatic they sprinted through the crowds to get to the stage.

"Oh my God, I want to throw up," Lucy Dacus said as the group accepted their Best Rock Performance trophy for "Not Strong Enough."

Even though the trio was over the moon, they weren't entirely shocked by their win: "We were delusional enough as kids to think this would happen to us one day," she continued. Phoebe Bridgers would sing at a local Guitar Center "in hopes of getting discovered," while Julien Baker dreamed of performing in stadiums as she played in multiple bands, and Dacus has been perfecting her acceptance speech for years.

Their hard work was manifested three times over, as the trio also won Best Rock Song for "Not Strong Enough" and Best Alternative Music Album for the record.

Killer Mike Makes A Clean Sweep

Killer Mike had the largest GRAMMY night of his career, winning all three of the Rap Categories for which he was nominated: Best Rap Performance and Best Rap Song for "SCIENTISTS & ENGINEERS," and Best Rap Album for MICHAEL.

"I'm from the Southeast, like DJ Paul, and I'm a Black man in America. As a kid, I had a dream to become a part of music, and that 9-year-old is very excited right now," he cheered. "I want to thank everyone who dares to believe art can change the world."

Minutes after his sweep, the LAPD detained the Run the Jewels rapper. However, he was released and still able to celebrate his achievements, Killer Mike's lawyer told Variety.

Miley Cyrus Finally Receives Her "Flowers"

Miley Cyrus entered the GRAMMYs with six nominations for her eighth studio album, Endless Summer Vacation. After she won Best Pop Solo Performance for "Flowers," she delivered a jubilant performance in celebration. "Started to cry, but then remembered, I just won my first GRAMMY!" she exclaimed at the song's bridge, throwing her hands in the air and joyfully jumping around the stage.

Cyrus' excitement brought a tangible energy to the performance, making for one of the night's most dynamic — and apparently one of Oprah Winfrey's favorites, as the camera caught the mogul dancing and singing along.

"Flowers" earned Cyrus a second GRAMMY later in the night, when the No. 1 hit was awarded Record Of The Year. 

Tracy Chapman Makes A Rare Appearance

Luke Combs breathed a second life into Tracy Chapman's "Fast Car" when he released a cover of the track in April 2023. He quickly climbed to the top of the Billboard charts and received a nomination for Best Country Solo Performance at this year's show. Of course, it called for a special celebration — one that was meaningful for both Combs and GRAMMYs viewers.

Chapman joined the country star on stage for her first televised performance since 2015, trading off verses with Combs as he adoringly mouthed the words. The duet also marked Chapman's first appearance on the GRAMMY stage in 20 years, as she last performed "Give Me One Reason" at the 2004 GRAMMYs. (It also marked her second time singing "Fast Car" on the GRAMMYs stage; she performed it in 1989, the same year the song won Best Pop Vocal Performance, Female and Chapman took home three awards total, including Best New Artist.)

Naturally, Chapman's return earned a standing ovation from the crowd. As Combs fittingly put it in an Instagram post thanking the Recording Academy for the opportunity, it was a "truly remarkable moment."

Read More: 2024 GRAMMY Nominations: See The Full Winners & Nominees List

Joni Mitchell Takes The GRAMMY Stage For The First Time At 80

In one of the most emotional parts of the night, Joni Mitchell performed on the GRAMMYs stage for the first time in her nearly 60-year career.

Accompanied by Brandi Carlile — who referred to Mitchell as "the matriarch of imagination" before the performance — Lucius, SistaStrings, Allison Russell, Blake Mills, and Jacob Collier, Mitchell sang a touching rendition of "Both Sides Now."

"Joni is one of the most influential and emotionally generous creators in human history," Carlile  added in her introduction. "Joni just turned 80, my friends, but we all know she's timeless!"

Mitchell also won her 10th golden gramophone at the 2024 GRAMMYs, as her live album Joni Mitchell at Newport was awarded Best Folk Album at the Premiere Ceremony.

Stevie Wonder Salutes The Late Tony Bennett, Duetted By His Hologram

Another heartfelt moment came during this year's In Memoriam segment, when Stevie Wonder memorialized his friend, Tony Bennett, who passed away from Alzheimer's disease in 2023.

"Tony, I'm going to miss you forever. I love you always, and God bless that He allowed us to have you in this time and space in our lives," Wonder proclaimed. Thanks to a hologram of Bennett, the two singers could duet "For Once in My Life" one last time.

This year's tribute also saw Annie Lennox covering Sinéad O'Connor's "Nothing Compares 2 U," Jon Batiste's medley of Bill Withers' hits, and Fantasia's reimagining of Tina Turner's "Proud Mary."

Meryl Streep Gets Educated On Album Vs. Record And Single

Meryl Streep joined Mark Ronson — who happens to be her son-in-law — to announce the Record Of The Year winner, which sparked a funny interaction between the two when Streep thought she was announcing Album Of The Year.

"A record is an album!" Streep confidently declared, only for Ronson to give a quick 101 on the difference between Record, Song, and Album Of The Year.

"It's a really important award, and it's an award that recognizes everything that goes into making a great record — the producers, the recording engineer, and the artist, and all their contributions," Ronson explained of Record Of The Year.

"It's the Everything Award! It's the best," Streep smiled.

Celine Dion Surprises The World With A Special Cameo

Before the GRAMMYs commenced, producer Ben Winston told viewers they would be in for a treat because of a surprise presenter for the final award of the night, Album Of The Year. "They are an absolute global icon. I think jaws will drop to the floor. People will be on their feet," he shared.

It was none other than Celine Dion, who has largely been out of the limelight after her stiff person syndrome diagnosis.

"When I say that I'm happy to be here, I really mean it with my heart," Dion said. "It gives me great joy to present a GRAMMY award that two legends, Diana Ross and Sting, presented to me 27 years ago."

Dion is referring to her Album Of The Year win at the 39th GRAMMY Awards in 1997, when her smash LP Falling Into You won the honor. 

Taylor Swift Breaks The Record For Most AOTY Wins

It was a historic night for Taylor Swift in more ways than one.

She began the evening by winning her 13th GRAMMY for Best Pop Vocal Album for Midnights. To commemorate the milestone (13 is her lucky number), Swift announced her 11th studio album, The Tortured Poets Department, arriving on April 19.

She ended the evening with a coveted fourth Album Of The Year win, which made Swift the artist with the most AOTY nods in GRAMMY history.

"I would love to tell you this is the best moment of my life, but I feel this happy when I finish a song or crack the code to a bridge that I love or when I'm shot listing a music video or when I'm rehearsing with my dancers or my band or getting ready to go to Tokyo to play a show," she said. "The award is the work. All I want to do is keep being able to do this."

Billy Joel Serves Double GRAMMY Duty

After Swift's momentous win, Billy Joel ended the ceremony with a feel-good performance of his 1980 single, "You May Be Right." Along with being a rousing show closer, it was also his second performance of the night; Joel performed his newest offering, "Turn the Lights Back On," before Album Of The Year was announced.

Joel's performances included three firsts: It was the debut live rendition of "Turn the Lights Back On," his first release since 2007, and the performances marked his first time playing on the GRAMMYs stage in more than two decades. It was a fitting finale for a history-making show, one that beautifully celebrated icons of the past, present and future.

A Timeline Of Taylor Swift's GRAMMYs History, From Skipping Senior Prom To Setting A Record With 'Midnights'