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LIVE NIRVANA Concert Chronology 1991

This section is concerned with live performances given in public by Kurt Cobain/at least two other members of NIRVANA. For information on musical performances undertaken in private, such as rehearsals, recording sessions and radio shows, please see the Live Nirvana Sessions History .

1991 Show Statistics

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Ultimate Classic Rock

Nirvana, ‘Nevermind (30th Anniversary Edition)': Album Review

Critics often default to breathless hyperbole when discussing Nirvana 's  Nevermind . Can you blame them?

The band's 1991 sophomore album single-handedly revolutionized rock music at the dawn of a new decade, a zeitgeist shift whose scale has not been matched in the decades since. It distilled a generation's worth of suburban ennui and despair into a 42-minute punk-pop blitzkrieg, turning bandleader Kurt Cobain into first a prophet and later a martyr . It also marked a windfall for every department store with an excess stock of oversized flannel shirts.

Strip away the exhausting "legacy" discourse, though, and a more modest, fundamental truth remains:  Nevermind is a flawless display of economical songwriting and airtight hooks, executed with militaristic precision and blunt-force aggression. Its accolades were inevitable; its superlatives are facts.

Few albums are more deserving of a deluxe reissue than  Nevermind. Unfortunately, the 30th-anniversary "super deluxe" edition doesn't add much to the group's towering mythology. The hulking box set pairs the newly remastered album with previously unreleased footage from four concerts on the Nevermind tour: Nov. 25, 1991, in Amsterdam; Dec. 28, 1991, in Del Mar, Calif.; Feb. 1, 1992, in Melbourne, Australia; and Feb. 19, 1992, in Tokyo.

The live discs vary in sound quality, but they all show a band at the peak of its powers. Cobain shouts with feral intensity and wrings massive slabs of distortion from his Fender Jaguar (or Mustang), bolstered by Dave Grohl 's pulverizing drumming and Krist Novoselic 's nimble bass lines. The Amsterdam show is the best of the bunch, featuring an absolutely obliterative rendition of Bleach   cut "Floyd the Barber" and a wry snippet of Village People's "Macho Man" during "Love Buzz."

Ironically, Nirvana sound most energized on the  Bleach material, making the  Nevermind  songs — which still pack an incredible punch — sound almost perfunctory by comparison. With "Smells Like Teen Spirit" burning up the charts by the time of these shows, it's possible Nirvana were already disenchanted by the album's success. That might explain why Cobain sings "Come as You Are" in an exaggerated, tuneless shriek during the Amsterdam gig.

The problem with this previously unreleased live footage is that it doesn't reveal anything about Nirvana that even casual fans didn't already know. Sure, the band is on fire, but none of these virtually identical shows are going to displace the elegiac MTV Unplugged , the charmingly unpolished  From the Muddy Banks of the Wishkah  or the near-flawless  Live at Reading  as definitive Nirvana live documents. Listening to one of these concerts at a time is a treat; playing all four in one sitting is punishment.

As for the actual  Nevermind  remaster: It sounds, well, perfect, just like the original. Nirvana were smart enough to see the profitability in engineering rough-and-tumble punk songs for mass consumption, and Butch Vig's production remains one of the greatest technical achievements in hard rock. Grohl's snare drum pops like a firecracker; Cobain's larynx-shredding screams could peel the paint off walls; Novoselic's bass tone might just be the greatest of all time.

Still, without a single demo, B-side or outtake — of which there are already plenty on Nevermind 's 20th-anniversary deluxe edition — it's hard to recommend this reissue to anybody but hardcore completists. Are the archives really that bare?

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Nirvana’s ‘Nevermind’ at 30: The Inside Story of the Album’s ‘Overnight’ Success

By Jem Aswad

Executive Editor, Music

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Every person who worked on Nirvana ’s “Nevermind,” released 30 years ago today, says that the album basically broke itself, almost immediately taking on a life of its own in a way that could never have been planned — “Get out of the way and duck” was a phrase that record company executives said often at the time. But dozens of people were working at the top of their respective games to make sure that the band was heard and seen.

Nirvana — Kurt Cobain, Krist Novoselic and Dave Grohl — did not come out of nowhere, as many seemed to think at the time. Even outside of their Northwest base and their original label, Sub Pop, the American indie-alternative “underground” of the era — an ecosystem comprised of college radio, independent record stores, fanzines and local clubs — and the influential British music press had been championing Nirvana loudly from the release of their debut single, “Love Buzz,” in the spring of 1988.

But the multi-platinum, global success of “Nevermind” did come out of nowhere — and caught absolutely everyone by surprise, not least the band, their management (Gold Mountain) and their label, DGC, a subsidiary of Geffen Records, which at the time was arguably the dominant major label in the business, with powerhouse acts like Guns N’ Roses, Aerosmith, Cher and upstart multi-platinum hair merchants Nelson. But Geffen in 1991 was hardly known for breaking underground rock acts, so the support and precedent of Sonic Youth, the New York band who dominated the underground scene that spawned Nirvana and brought the group to both Gold Mountain and the label, was crucial.

Yet even with all that support, it’s hard to describe how everywhere “Nevermind” was at the time — you’d hear people playing it at work, then go to a concert and hear it playing over the P.A. between bands, then to a bar where they’d be blasting it, and finally get home to a breathless message on your answering machine from your teenaged cousin thanking you for sending her the CD because “Oooh my God.” You couldn’t escape it because nobody wanted to.

Even 30 years later, looking back at a pre-internet, pre-social media, pre-email era of CDs, magazines, FedEx, faxes, cable TV and snail mail, it’s hard to think of any stars before or since who rose so far, so fast. “Nevermind” was released on September 24, 1991 and reached No. 1 on the Billboard 200 albums chart in the issue dated January 11, 1992 — three and a half months. Michael Jackson’s 1982 blockbuster “Thriller,” the top-selling album of all time by most metrics, took three months.

The story of Nirvana has been told in depth in countless books, documentaries, articles and virtually every other form of human communication — so the challenge on this anniversary was to find voices that haven’t been heard quite as much. So Variety reached out to some boots-on-the-ground people who worked closely with the band and on the record’s promotion during those three and a half months and the weeks leading up to them. (We broke that different-voices rule for former co-manager Danny Goldberg, who even wrote a book “Serving the Servant” on his experience with Nirvana; other Gold Mountain execs who worked with the band declined Variety ‘s requests for an interview, as did several others we approached.)

Anyone seeking a more conventional history is directed toward Michael Azerrad’s 1993 book “Come as You Are.” But read on for a rare view from the front lines, from the perspectives of the people who did their live sound or took the band to interviews and in-stores and radio stations during that insane, unprecedented autumn when a scruffy rock band from Seattle became a global phenomenon in a matter of weeks.

With thanks for their time, courtesy and memories, here they are now: PETER BARON : Head of video promotion, DGC/Geffen Records (now an independent consultant) JENNIE BODDY : Publicist, Sub Pop Records (now VP of publicity, Capitol Music Group) RAY FARRELL : Sales, DGC Records (now director of content acquisition, the Orchard) LISA GLADFELTER : Publicist, DGC/Geffen Records (now co-founder/CMO, L2O Entertainment Agency) DANNY GOLDBERG : Nirvana co-manager (now founder, Gold Village Entertainment) MARK KATES : Head of alternative promotion, DGC/Geffen Records (now artist manager, Fenway Recordings) CRAIG MONTGOMERY : Nirvana sound engineer, 1988-1993 (now a “semi-retired” sound engineer) JOHN ROSENFELDER : Director of alternative and metal promotion, DGC/Geffen Records (now manager of data visualization and analytics, Warner Music Group)

In 1990, Nirvana made four moves that set them up for “Nevermind”: They recorded a demo with producer Butch Vig that included several songs that would be re-recorded for “Nevermind”; Dave Grohl replaced Chad Channing as the band’s drummer; they signed with Gold Mountain for management; and after a heated bidding war, they signed with Geffen Records subsidiary DGC.

BODDY : I was at the show where Nirvana first played “Smells Like Teen Spirit” [on April 17, 1991], which they insisted on playing at the OK Hotel because it was all-ages. When they played the song there were all these shirtless guys, sweating so hard, moshing and smashing into me — for a song they had never heard before. My friend Susan started hyperventilating, she had to run outside for a minute: “Oh my God, this is so good!” I ran outside to get her and then we went back inside and got slimed some more.

GOLDBERG My management company, Gold Mountain, had had success with Bonnie Raitt and the Allman Brothers, but I knew there was this new generation of rock that I wasn’t fully tuned into. So John Silva joined in 1990, he had a couple of [alternative] bands like Redd Kross and House of Freaks, and together we signed Sonic Youth, who had just signed with Geffen and were about to put out “Goo” [which was basically their breakthrough album]. That’s how we found Nirvana. John saw them opening for Sonic Youth, and Thurston [Moore, Sonic singer-guitarist] said “I know you don’t really like new acts” — not that I didn’t like them, but it usually took a couple of years to make any money with them — “but in this case you really wanna make an exception.”

FARRELL  When I first came to the company in 1989, one of the first conversations I had was with David Geffen. He knew a lot about a lot of independent bands: He asked me about the Meat Puppets and Dinosaur Jr., he knew about my association with Sonic Youth, who had just signed with the label. I said, “I want to be here because I love Sonic Youth, but I don’t understand how they’re ever gonna be on mainstream radio.” And he said, “That doesn’t matter — they’re going to lead us to the next big band.” That was a genius move — he knew Sonic Youth represented the top of the heap and everyone respected them, and he knew there were a lot of bands in that realm. Sonic Youth were even part of the reason Beck came to Geffen [three years later]. David Geffen had more on the ball than most A&R people when it came to understanding the core of this music, and it was Sonic Youth’s trust in the label that helped bring Nirvana to Geffen.

“Nevermind” was recorded with Vig in May and June of 1991 at Sound City in Van Nuys, California (even the studio has been immortalized, by Grohl with his 2012 “Sound City” documentary). Later in June, the band set off on a West Coast tour opening for Dinosaur Jr.

GOLDBERG When I first heard the album, I knew they would become bigg- er — “Smells Like Teen Spirit” was an incredible song, “Come as You Are” had a chorus I could imagine regular rock fans liking, and the wind was blowing in the right direction generationally and culturally. But I had no idea that any artist from that subculture could have a global pop hit.

GLADFELTER I always asked artists, “What’s your dream?” Nirvana said, “To be on the cover of the Rocket,” Seattle’s alternative weekly newspaper.

GOLDBERG Kurt’s thing was, “I wanna be as big as the Pixies,” and that was our horizon. Sometimes, when no one else was around, in the back of my mind I’d think, “Maybe they could be as big as Jane’s Addiction!” ( laughter ), who were maybe twice as big as the Pixies. Kurt loved Black Flag and the subculture, and he also loved the Beatles, and he figured out a way to combine those two loves. I think he always had an intuitive sense of the mass audience, because he was part of that mass audience, even though he was also part of the punk subculture.

ROSENFELDER I first heard “Smells Like Teen Spirit” when Gary Gersh [Geffen A&R exec who signed the band] played it for me in his office. It was one of those times when you’re playing something as loud as it can go and it doesn’t even seem loud, you’re just like “Holy shit, that’s the best song I’ve ever heard, play it again!” I get chills just thinking about it.

FARRELL Gary gave me a cassette that led with “Smells Like Teen Spirit,” and he wanted me to play it for anybody and everybody. So I was bringing it around to parties, stores and a few shows in Florida. I asked the soundman to play the tape ten minutes before the band went on, and each time people would ask what it was.

GLADFELTER We all loved it, and when we started sending out advances, people just freaked out. I barely even got to pitch it because everybody already wanted to talk to them.

FARRELL They asked me in a meeting what I thought “Nevermind” was gonna sell and I didn’t feel like I was going out on a limb by saying 250-300,000 — based entirely on the enthusiasm I was getting from stores, who were saying, “We can’t even sell this album yet, but we’re still playing [the advance CD] all day long.” Stores didn’t usually play albums they couldn’t sell yet, but in this case they’d say “It doesn’t matter — people will come back when it’s out.”

ROSENFELDER Everywhere we brought it, people had the same reaction: Whooo! We took it to big college stations like KCMU and KXLU and commercial stations too, and everybody loved it.

FARRELL When they played in Tijuana opening for Dinosaur Jr. [in June], this kid had already figured out how to look like Kurt Cobain, with the flannel and the dyed hair. I talked to him and he was like, “Nirvana’s gonna be huge!” After the show [Dinosaur Jr. frontman] J. Mascis said to me, “If I could be the second guitarist in that band, I would break up Dinosaur Jr. tonight.” They were that incredible and exciting live.

In August, the band set off on a tour of Europe opening for Sonic Youth, including several festival dates.

MONTGOMERY The Sonic Youth tour was really fun, it was just before it all exploded. “Nevermind” was recorded but it hadn’t been released yet, Nirvana played in the middle of the day, there was no pressure and no expectations. It was almost like a big party.

ROSENFELDER They were great to work with — there were food fights in the car while we were driving around, they’d be throwing pizza at each other. But they were nice, funny, cheerful, enthusiastic, on time — Kurt was a little serious.

MONTGOMERY They were total smartasses. I remember one festival in Belgium there was this really nice catering tent with a table for each act with name cards — the Ramones had a big group of people with them, like 18 people, and Black Francis from the Pixies was doing a solo tour so he had three, and they switched the name tags so the Ramones had a table for three. That day ended with a food fight — a lot of days ended with food fights! I was always trying to be the responsible one.

Late in August, “Smells Like Teen Spirit” was serviced to radio stations, around a month before the album’s release. On Friday, the 13th of September, a record-release party was held at Re-bar in Seattle.

GOLDBERG Two things happened the week after “Smells Like Teen Spirit” first went on the radio that made me think this might be something unusual. Mark Kates at Geffen, who is a very understated guy and had been around the underground scene a lot, was reading the responses from radio stations and record stores and he said, very uncharacteristically, “I’ve never seen anything like this in my life.” The other was when John got a call from someone who had been at a Guns N’ Roses show in New York, and when they played “Teen Spirit” over the P.A. in between bands, the crowd cheered. He was like, “How did they even know this song when it’s only been out a few days?” — and this was a Guns N’ Roses audience!

ROSENFELDER It became the number-one most-requested song on [L.A. alternative powerhouse] KROQ after they played it once. KNAC, the big metal station in L.A., played seven songs from the album. Even KMEL [in San Francisco], a “rhythmic” station, played it. Smith College [in Massachusetts] played “Smells Like Teen Spirit” seventy times in one week.

MONTGOMERY Those dates with Dinosaur Jr. and Sonic Youth, we were playing pretty sizable places and the buzz was growing and growing — they were almost co-headlining, because you could tell there were a lot of people there to see Nirvana. You could see how much they were connecting.

GLADFELTER The music just seemed to make people crazy. At the “Smells Like Teen Spirit” video shoot, when the extras came rushing down out of the bleachers, the directors had a hard time controlling them.

BODDY The band got kicked out of their own record-release party for sneaking a whiskey bottle into the photo booth — I think it was a no-hard-liquor party, for some reason — and a food fight involving stuffed grape leaves.

ROSENFELDER The release party at Re-bar ended up with Grohl covered with onion dip in the front seat of a Caddy, and me holding him up so he wouldn’t lean into me on turns and get dip all over me.

BODDY The party moved on, and a game ensued involving stacking Nelson CDs into a pyramid to slide into. The guys in Nirvana put on dresses and would take these running starts and slide into the pile. It was an homage, if you will.

On September 20, the “Nevermind” North American tour officially launched in Toronto; the album was released four days later.

KATES We shipped 35,000 units of “Nevermind.” We thought it might have the potential to go gold, which is 500,000 units. [It has sold an estimated 30 million copies worldwide.]

FARRELL Sometime in September, Lyle Hysen from Das Damen called me and said, “We played with the Beatles last night.” I said “What?” “We opened for Nirvana. I’ve seen them before but there’s nothing to express how great they are now. We might as well just give up.”

KATES In Boston there was so much demand for their show at [750-capacity] Axis that they added a second one. Seeing the reaction they were getting 3,000 miles from their home base was amazing, but I was concerned that their next big show, at the Marquee in New York, hadn’t sold out yet. [It did.]

ROSENFELDER They had a Crisco fight at the release party in Boston.

FARRELL Every show was different, nothing was ever repeated, the songs never sounded exactly the same. That had nothing to do with how good the record is, but seeing them live, it was obvious how great they were.

GLADFELTER On that tour the shows seemed to get more and more crazy.

GOLDBERG It was overnight! Within one week of the “Smells Like Teen Spirit” video going on MTV, everything changed forever.

BARON I ordinarily would fly out to New York to present a video to MTV, but they already had an ally and advocate there with [music and programming exec] Amy Finnerty — she was a friend of Kurt’s and the band and she loved them. We didn’t want to rush it, so she and I worked out a plan together, where it would start on [the Sunday night alternative specialty show] “120 Minutes” for a month. But it took off almost immediately and next thing you knew it was getting played all the time.

MONTGOMERY The tour had been booked before the album came out, and because nobody could have seen what was about to happen, they were playing a lot of the clubs they’d played before — which were nowhere near big enough [for the demand]. So every show was packed sold-out, and the music just whipped people into a frenzy like I’ve never seen. It was fun but they were difficult situations to be in, really crowded and stressful. And the band enjoyed it, but they were frustrated because lots of people couldn’t get in.

GLADFELTER After the show at the Marquee in New York, it was game on. The fans were so passionate that these weren’t just shows, they were events .

KATES  I went on my honeymoon in the middle of that [period], and when I came back we had sold 400,000 albums in 12 days.

MONTGOMERY It seemed like that tour went on forever — two months with all of us in one big van with a trailer.

GOLDBERG In terms of a sense of self and identity, the success didn’t change who they were to themselves or their friends — they stayed in the psychological lane they had created, and fame didn’t change that. But it did enormously change their career and widened enormously the options of what they could do. They were very conscious of their roots and original audience, but they liked the bigger audience and having hits — Kurt in particular. If he was watching MTV and didn’t see a Nirvana video within a certain period of time, he’d let me know it, and I assume other people as well.

KATES I remember at the Minneapolis show — where a couple of people I knew from L.A. had flown in because they said they knew it was the last time they’d get to see them in a small venue — Dave Pirner from Soul Asylum came in and Kurt was like, “Wow, it’s Dave from Soul Asylum!”

MONTGOMERY Suddenly everyone had to talk to Nirvana — really Kurt, it was all on him. He started getting obligations he didn’t want to do, he just didn’t want to do interviews all day.

GLADFELTER At first, they were really excited and would do almost anything we asked, lunches with journalists and all that. They didn’t really understand the business yet. Krist would be like, “I don’t understand why you gave tickets to Guns N’ Roses and Slash is here but our friends can’t get in.” I had to explain that Guns N’ Roses were the biggest act on the label and we couldn’t really tell them no.

MONTGOMERY Suddenly it was not fun — the business machine was amping up. Everyone who worked with Nirvana were all great people, but artists need a lot of freedom and Kurt had none. I could see that being a huge source of stress and he seemed like he was questioning what he wanted from all this.

GLADFELTER Then, they stopped doing so many interviews — especially with metal publications — because they were so appalled at the coverage they were getting. Kurt got more and more suspicious, he wanted to vet the magazines he was talking to, he didn’t like not having control.

FARRELL I don’t think Kurt started [getting second thoughts about fame] until later on. I think he was excited that so many kids were into it and his message was coming across and maybe they were really understanding the lyrics, but that wasn’t always the case. His ideal audience was probably younger people and, ideally, enlightened punk rock fans who understood the problems with sexism and racism, and understood that Nirvana supported that culture. I think it did get to him when it got super popular and people were misconstruing and some of the identity got lost.

BARON We were shooting the Guns N’ Roses video for “Don’t Cry” just before the “Nevermind” release and I brought a CD, a cassette and a hat to the set to give to Axl. He proceeded to use the hat in the video as a prop, as well as wearing it during some interviews.

GLADFELTER Axl actually left me a phone message, begging me to get them to play his birthday party. He loved them but there was no way it was gonna happen. They hated Guns N’ Roses.

The North American tour concluded with a homecoming show at the Paramount Theater in Seattle, which was filmed and later released as a video and album. Just five days later, Nirvana launched a European tour that was scheduled to last for six weeks.

MONTGOMERY The Paramount was a big, triumphant homecoming. They were always happy playing in the Northwest and Kurt loved having bands he liked touring with us — for that show it was Bikini Kill and Mudhoney. But even that place was too small — the Paramount holds 3,000 people.

FARRELL Susie [Tennant, Geffen’s Northwest regional radio promotion rep] was the real champion in Seattle because she was the local rep and she had a good relationship with Kurt — I think he was crashing on her sofa for a while. She was very sweet and very enthusiastic and I think her heart was really with them. Everything was changing because of them, and this was her band.

ROSENFELDER Susie really rallied Seattle for them. Nirvana were actually a lot more indie than most of the other Seattle bands [like Soundgarden and Pearl Jam] and people there could have been like, “Oh, major-label sellouts,” but they weren’t, and she had a lot to do with that.

MONTGOMERY That European tour started almost right after we finished the U.S. tour. It was hard. Everyone was sick and tired, and we had this English driver who did fine in England, but once we got to the continent we got lost a lot. It was grueling and tiring — it wasn’t a sleeper bus, it was more like a big van. And it was still the band and crew in one bus, playing theaters and large clubs. We ended up cancelling the last few dates in Scandinavia, everyone was so tired.

GOLDBERG Kurt didn’t love touring — he liked it up to a point, but he didn’t love it the way that some bands do.

The band finished the year with a series of arena dates with the Red Hot Chili Peppers and Pearl Jam, with Nirvana playing in the middle. At some point early in January, “Nevermind” achieved the astonishing-at-the-time feat of knocking Michael Jackson’s “Dangerous” from the No. 1 spot on the Billboard 200 top albums chart.

FARRELL Just before our two-week holiday break, the word went out that we were almost out of stock [of the album]. The alert went up, “Some of you are going to have to come in to work” to make sure that the CD manufacturers were pressing more copies. It was a good problem to have!

MONTGOMERY The Chili Peppers were big at the time and it was still early for Pearl Jam, but it was kind of strange — Nirvana were the new kids and they were opening for bands that never had a No. 1 record, so it was like “Why aren’t we headlining arenas?” There was supposed to be an arena tour in 1992 that ended up not happening, but even if it had, they wouldn’t have made it. Those tours are not fun: you’re not connected to fans, you never see anything, you just end up sleeping on the bus under the arenas. I stopped working with them just before “In Utero,” and when they did an arena tour behind that album [in 1993], everyone was telling me, “You’re not missing anything!”

KATES I remember we were at the Phoenix in San Francisco, this cheap hotel, on New Year’s Eve and hearing the Live 105 countdown of the year and “Teen Spirit” was number one, and we all had champagne, but there were no limos or anything. Even later, they might have acted a little rock star, but that wasn’t really who Kurt was.

GOLDBERG A lot of thought went into the strategy leading up to “Nevermind,” but once it [took off], the business part was easy — it was a manager’s dream. The hard part was trying to deal with the personal issues that would come up over the next few years, particularly with Kurt.

“Nevermind” officially reached number one in the issue of Billboard dated January 11, 1992 — and the group made its galvanizing first appearance on “Saturday Night Live” on the same day.

KATES All of us were learning a new perspective — “Nevermind” knocking Michael Jackson out of the No. 1 spot was a massive cultural moment. But a lot of the time, change can’t be appreciated until it’s passed.

GLADFELTER People think Geffen masterminded it, but it was organic. They were equipped to deal with it, but you can’t plan something like that.

MONTGOMERY It’s hard to be objective. Nirvana was a phenomenon and they’re part of the musical firmament. For my kids and their friends, it’s the Beatles and Michael Jackson and Nirvana, and it’s really weird because those guys were my friends and it was a big part of my life.

FARRELL It was a really fun time. It didn’t even feel like a job.

BODDY  Seattle was such a small town, everybody was rooting for them. It felt like we won.

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Hear Nirvana Grow Up Fast in New ‘Nevermind’ Box Set

By Kory Grow

It took roughly four months for Nirvana to become NIRVANA.

You already know the mythology: Two duders about 100 miles outside of Seattle (Kurt Cobain and bassist Krist Novoselic) recruited a Virginia-based drummer (Dave Grohl) and put out the band’s grungy second album, Nevermind , on Sept. 24, 1991. Then, in a Tasmanian Devil cyclone of flannel, cheerleaders, and ohwellwhatevernevermind, they redefined pop music for a couple of years as a crucible for angst. But in reality, as this new box set — which commemorates the record’s 30th anniversary by pairing the original album with four live recordings — demonstrates, the trio’s transformation into rock deities didn’t occur literally overnight. On the official concert bootlegs here, the trio chronicle their improbable ascent to superstardom. The concerts date between November 1991 and February 1992, showing how the band’s growth over just a few months was remarkable.

And while yet another super-deluxe Nevermind box set might seem on the surface like a pale cash-in for the unlikeliest of “corporate rock whores” (as one of their own T-shirts once chintzily described them), the collection tells a fresh, unique story. Where the 20th anniversary anthology showed their creative process leading up to Nevermind’ s release through demos, rehearsal tapes, rough mixes, and other detritus, this one shows what happened next.

When Nirvana played Amsterdam’s Paradiso on Nov. 25, 1991 — included here both as audio and video on a Blu-ray — they still seem frozen in the indie-rock ways of their debut album, 1989’s Bleach. In the concert film, footage from which previously appeared on their Live! Tonight! Sold Out!! home video, Cobain stands stock still for much of the set, as shirtless Dutch stage divers cavort around him and Novoselic; other than when the singer-guitarist topples Grohl’s drum kit at the end of the set, the only real drama occurs when he gently sets his microphone on the floor for “Breed,” crouching every time he yelps “She said.”

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Despite a thin-sounding mix that undersells the band’s bottom end (the concert was recorded for Dutch public television), Cobain’s voice sounds raw and magnificent throughout, and Novoselic and Grohl match his precision even in awkward moments, like the noise-rock breakdown in “Drain You” (which sounds even more like the Velvet Underground’s “Black Angel’s Death Song” live). The only rough patch comes when Cobain torpedoes “Come as You Are” by caterwauling the lyrics as disgustingly as possible after a quasi–hissy fit over his inability to tune his guitar correctly.

Novoselic, clad in a K Records T-shirt, is the most animated member, bouncing up and down and wiggling, while Grohl, then age 22 (wearing a Hole shirt), simply looks happy to be there. When one stage diver dances a jig during “Love Buzz,” Grohl goofily sings the Village People’s “Macho Man” in time to the riff. They were still living the anti-rock-star ethos they preached (the bumper sticker on Cobain’s guitar reads: “Vandalism: Beautiful as a rock in a cop’s face”) and, mostly, they played brilliantly. It’s a shame this is the only concert video included here because they sound progressively better in each of the concerts that follow; you have to imagine how they ratcheted up their performances leading up to In Utero (or just cue up their Live at Reading film).

A month after the Dutch gig, the band played an abridged version of the same set list for an opening gig between Pearl Jam and the Red Hot Chili Peppers in Del Mar, California. The mix sounds fuller, with more Novoselic up front (two tracks appeared as B sides on the “In Bloom” single, and Nevermind mixing engineer Andy Wallace mixed the entire concert), and every time Cobain opens his mouth you can practically hear the vocal nodules growing as he shreds his cords. “Smells Like Teen Spirit” sounds gloriously sloppy and animated, and the band’s collective power drives “Lithium” any time Cobain howls “Yeaah” in the chorus — it’s a welcome reminder that only three musicians could sound like a runaway dump truck whenever they wanted to.

But the real magic in the box set manifests during the band’s Melbourne, Australia, gig on Feb. 1, 1992. Cobain urges the crowd to sing along with him on “Lithium” — a track that hadn’t even come out as a single yet — and the audience nearly drowns him out, gleefully belting his lyrics about feeling simultaneously happy and ugly and not caring who knows it. Cobain sounds so into it, he forgot to kick on his distortion pedal for the song’s primal “yeah” chorus. When the band plays “Polly” later in the set, Cobain doesn’t even need to ask the audience to sing along — it knows what to do. When the group finishes, after a jam that features Grohl reciting Spinal Tap’s “Stonehenge” monologue, the audience chants, “We want more,” over and over.

The concert is surprising, since the audiences in the first two live recordings come off relatively reserved (other than stage diving), so the singalongs mark a noticeable turning point when the crowd becomes an equal player in the Nirvana story; it’s the moment when the band graduates from indie sensations to pop stars — and, contrary to the Cobain mythology that followed, you can hear the band enjoy becoming mainstream.

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By Nirvana’s Tokyo gig three weeks later, their metamorphosis into Gen-X Beatles is complete. They come off confident and self-assured on this collection’s final live recording; they even play “Smells Like Teen Spirit” last, instead of jamming it into the middle of the set, as was their usual habit. Their performances of “Lithium,” “About a Girl,” and “Teen Spirit” at this gig are the best of the live renditions; Cobain even plays a distortion-filled feedback solo on the latter hit, confirming his qualifications both as both guitar hero and guitar antihero (witness also his country-twang playing on “Breed”). The smoothness of Grohl’s backing vocals play beautifully off Cobain’s acidic howling on “On a Plain” and “Polly,” and Grohl even explains he’s feeling healthy that night, after a bout of flu, thanks to a serum a doctor had given him that contains “Chinese herbs, and it has cow sperm in it, and it’s got like lizard penis scrapings.” (On “School,” Cobain sings and screams “Drinking cow sperm again” instead of “You’re in high school again.”) It’s a fun, silly set showing how the band gamely transitioned into fame and even enjoyed it for a bit before the world crashed down on it two years later.

The Tokyo concert is also the best-sounding boot of the bunch, not that any of them sound particularly bad. Although the concerts here will likely offer nothing new to die-hard Nirvaniacs — each has circulated on the bootleg market for years — none of them have ever sounded this good. Part of that might be because Bleach producer Jack Endino, who in recent years has freshened up great reissues for Soundgarden and Green River, had a hand in preparing each of them, though it could also be that the folks who recorded the concerts originally might have realized they were documenting history. (Aside: These concerts also make a good case that the band should have figured out a way to get the underrated “Teen Spirit” B side “Aneurysm” on the track list for Nevermind .)

As for Nevermind itself, the album sounds as aggressive, poppy, stupid, and contagious as when it came out. Though in the context of today, it’s unlikely an album with so many lyrics about guns (literally, the LP’s first words are “Load up on guns”) or first-person accounts of sexual assault (“Polly,” and whatever the hell Cobain meant by “I’m so horny, that’s OK, my will is good” on “Lithium”) would appeal to today’s teenagers, who cope with tragedy through sincerity more than the irony of Generation X. But then again, Cobain described his generation at the time as still making sense of Reagan-era corruption a few years earlier, and that’s not too different from the post-Trump era. In that regard, the times change but the angst remains the same.

What matters now is the way Cobain impressionistically strung words, seemingly haphazardly, into lyrics, and how those words still made sense as a mood; it remains one of the greatest feats of pop art this side of Warhol. “Smells Like Teen Spirit” has no narrative to it; it’s simply a feeling that affected millions. At the time, critics pegged Nirvana as being like the Replacements but less witty, but there’s a reason Nevermind entered the pop stratosphere and Tim didn’t: It’s the way Cobain paired those words, sung in a primal scream, with blunt, guileless riffs that sounded a bit like the Sex Pistols attempting an Aerosmith cover. The effect is very direct. In that regard, Nevermind isn’t really punk or nihilistic; it’s the sound of accepting disillusionment.

The curious thing now is how Cobain’s disenchantment got him everything he craved — recognition, critical plaudits, fame, validation — and how he sounds happy here, as his fans sing along with all of his pretty songs even if they don’t know what they mean. The experience was likely inspiring, because within a year he started taking agency over his legacy. He forced Novoselic and Grohl to sign a legal document to retroactively grant him the rights to most of the songs (the credits in this reissue do not say “Music by Nirvana,” as the original album did, for a reason), and he almost split up the band in the process, but for once he might have felt pride in his convictions and his talent. Tragically, that feeling was fleeting. This box set is important because it captures Nirvana approaching their most manic high; it’s a snapshot from the top of the roller coaster waiting for the plunge.

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Nirvana Nevermind US Tour 1991

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nevermind tour 1991


nevermind tour 1991


nevermind tour 1991


September 24th, 1991, Nirvana released their second album, Nevermind, on DGC Records. Kurt Cobain, Krist Novoselic and Chad Channing arrived in Madison, Wisconsin, on April 1st, 1990, to begin work on the follow-up to their debut album Bleach. At the suggestion of Sub Pop’s Bruce Pavitt, the band chose to work with Butch Vig at his studio, located on that aptly named East Washington Avenue in Madison. 

Butch Vig and Steve Marker set up Smart Studios in 1983, producing groundbreaking alternative rock albums for bands like Killdozer, The Smashing Pumpkins, Tad and L7. Vig’s work with Killdozer sealed the deal for Nirvana and convinced them he was the right man for the job. Recording began on April 2nd, 1990. 

Nirvana was a famously well-rehearsed unit; as the band began recording, most of the arrangements were in place for the songs they chose to record. Kurt was still working on lyrics and would rewrite sections moments before he sang. Ultimately, they recorded eight songs with Vig at Smart Studios, “Imodium” (later renamed “Breed”), “Dive” (later released as the B-side to “Sliver”), “In Bloom”, “Pay to Play” (later renamed “Stay Away”), “Sappy”, “Lithium”, “Here She Comes Now” (released on Heaven & Hell: A Tribute to the Velvet Underground), and “Polly.” 

The sessions ended on April 6th, with Nirvana’s Sub Pop labelmates TAD arriving in town for a double-bill appearance at Club Underground in Madison that night. “The band played a great set, very loose,” according to Butch Vig. By all accounts, they’d gotten pretty drunk after finishing up recording at Smart that afternoon. The stage at Underground had a low ceiling, which interfered with the usual stage histrionics of the six-feet-seven Krist Novoselic, who “kept hitting it with his head and bass, eventually poking a hole in it, which he stuffed with a sock during the show.” 

On April 8th, Nirvana and Tad travelled to Milwaukee, which began an extensive midwest and east coast tour of twenty-four shows in thirty-nine days. After the final show of that run, Chad Channing left Nirvana. Cobain and Novoselic had become disenchanted with Channing’s drumming during the Smart Studio sessions, and tensions were high. For his part, Channing expressed frustration at not being actively involved in songwriting. These creative and artistic differences culminated in his departure after the band returned to Seattle in late May 1990. 

Mudhoney’s Dan Peters joined the band for a short spell before Dave Grohl, a heavy hitter from the Washington DC hardcore scene, permanently filled the drumming position. Kurt said of Grohl’s addition, “Krist and I have been playing together for about four-and-a-half years now, with a few different drummers. This is the first time we’ve felt like a definite unit; the band is finally complete.”

At this time, Sub Pop Records believed the Smart Sessions they had recorded with Butch Vig would be the new Nirvana record, but the band had different ideas. Unknown to Sub Pop’s owners Jonathan Poneman and Bruce Pavitt, Nirvana used the Smart Studios recordings to help find a new record contract. With Sub Pop’s never-ending financial problems and rumours of them being bought by a major, the band decided to cut out the middleman and look for a major label contract themselves. 

Several labels courted them on the strength of the Smart recordings; they eventually signed with Geffen Records imprint DGC Records based on recommendations from Kim Gordon of Sonic Youth and their management company Gold Mountain, who would also become Nirvana’s management. In the time between the Smart Studio sessions and the recording of Nevermind   in LA in May and June of 1991, the band further refined the songs and their performances. 

DGC suggested several producers to help the band record Nevermind, including Scott Litt (REM, The Replacements), David Briggs (Neil Young, Royal Trux), Don Dixon (REM, The Smithereens), and Bob Mould (frontman of the legendary Husker Du). Novoselic said the band had been nervous about recording under a major label, so they chose to hold out for Butch Vig, whom they trusted and had a rapport with. 

Vig recalled, “Krist called me. They decided they didn’t want to sound like REM or the Smithereens, and Dave Briggs was a burnt-out hippie, so they wanted me to do the record in LA at Sound City. Four days later, a rehearsal tape turned up. It began with Kurt introducing Dave Grohl, and then they kicked into Teen Spirit. It was a boombox recording, and I heard this scratchy guitar, Dave’s drum fills, and then sheer distortion. The recording was horrible, but I could tell the songs were tight and hooky.” 

With a budget of $65,000, Nirvana booked Sound City Studios in Van Nuys, California, for May and June 1991. To earn gas money to get to Los Angeles, they played a show at the OK Hotel in Seattle on April 17th, 1991, where they performed “Smells Like Teen Spirit” for the first time. 

Once Vig got to LA and met up with the band, he was immediately floored by the sheer power of their sound. “The band was tight as hell,” he recalls. “Contrary to popular belief, they were not slackers. They wanted to make a kickass record. Dave Grohl told me they practised every day for six months before they went into record Nevermind. We pretty much got every take on that record in one or two or maybe three takes.”

The birth of any great art is rarely effortless, and the recording of Nevermind proved far from easy despite how prepared the band and producer were. Kurt’s perfectionist approach to the sessions could be tedious, “I’d be balancing the drums and the guitar, and Kurt would come and say ‘Turn all the treble off. I want it to sound more like Black Sabbath.’ It was kind of a pain in the ass.” recalled Vig. “Kurt was charming and witty but would go through these mood swings. He would be totally engaged, then suddenly, a light switch would go off, and he’d sit in the corner and completely disappear into himself. I didn’t know how to deal with that.”

Much has been written, discussed and theorised about the impact of Nevermind and its first single, “Smells Like Teen Spirit.” Decades later, one’s words can’t help but come across as hyperbolic and overly exaggerated when trying to express the earth-shattering effect that song and its accompanying album had, not only on rock music but popular culture in general. The magnitude of Nirvana’s impact can still be felt today, over three decades later. 

Nevermind was released on September 24th, 1991, with the first single, “Smells Like Teen Spirit”, preceding it by two weeks. Initially, interest in both the single and album was slow. However, campus and modern rock radio stations placed “Smells Like Teen Spirit” on heavy rotation. The band’s manager, Danny Goldberg, said: “None of us heard it as a crossover song, but the public heard it, and it was instantaneous. They heard it on alternative radio, then rushed out like lemmings to buy it.”

The video received its world premiere on MTV’s late-night alternative rock program 120 Minutes on September 29th, ’91. It proved so popular that the channel began to air it during its regular daytime rotation. MTV added the video to its “Buzz Bin” selection in October, where it stayed until mid-December. By the end of the year, the song, music video, and the Nevermind album had become hits.

Geffen hoped that Nevermind would sell around 250,000 copies, matching sales of Sonic Youth’s Geffen debut, Goo. The most optimistic estimate was that Nevermind could be certified gold (500,000 copies sold) by September 1992. As the band set out for their European tour at the start of November 1991, Nevermind entered the Billboard Top 40 for the first time at number 35. On January 11th, 1992, to the astonishment of all involved, Nevermind toppled Michael Jackson’s album Dangerous at the top of the Billboard Charts. 

In his memoir, Sing Backwards and Weep, Screaming Trees frontman Mark Lanegan summed up Nirvana and Nevermind’s effect on the local Seattle music scene, “In late September of 1991, Nirvana released Nevermind. The record blasted them from the basement of the music world to the penthouse suite with the force of an atomic bomb, replete with toxic, billowing mushroom cloud. That explosion carried Seattle’s music scene with them to the worldwide stage…”

Not only did Nevermind drag the Seattle scene into sharp focus, it also opened the door for Nirvana’s contemporaries in the underground rock music scene outside of the Pacific Northwest. The sea change in the public’s acceptance of alternative rock was so sudden and impactful that it rendered the previous decades’ penchant for glam rock redundant in one fell swoop. 

Nevermind was no one-hit-wonder; the album is packed with vital, anthemic songs. Its overall tone, while sometimes nihilistic and bleak, is always a life-affirming experience. Songs like “In Bloom,” “Breed,” “Stay Away,” and “Lithium,” recorded a year before in Madison with Butch Vig, had been tightly honed and given more weight and power. 

The only recording to carry over from the Smart Studio sessions and not re-recorded at Sound City was “Polly,” a beautiful droning acoustic track featuring Chad Channing’s effective punctuated percussion. DGC had touted the second single, “Come As You Are”, as the most likely crossover “hit,” with “Smells Like Teen Spirit” considered a strong “soft” introduction to the band. 

Needless to say, DGC’s projections were a little off when it came to “Smells Like Teen Spirit’s” impact. But “Come As You Are” proved a massive hit in its own right, as expected. The song’s watery arpeggiated riff resembles Killing Joke’s 1984 single “Eighties,” which in turn resembles The Damned’s 1982 song “Life Goes On”, but Nirvana’s interpretation is their own. Its galvanising chorus and bridge lift the song to new heights. “Come As You Are” reached number three on the Billboard Mainstream and Modern Rock Charts and entered the top ten in the UK. 

The raging punk thrash of “Territorial Pissings” gives way to the widescreen ambition of “Drain You.” There are no deep cuts on Nevermind; songs like “Lounge Act,” Stay Away,” and “On A Plain” could easily have been singles in their own right. Even the dower, two-note, droning beauty of album closer “Something In The Way” became a hit three decades after Nevermind’s release due to its appearance in the trailer for the 2022 movie The Batman. 

Nevermind has stood the test of time and will continue to do so for generations. Its staggering power has not been diminished by time or passing trends. It was a perfect album released at the perfect time. “We were kids,” said Dave Grohl of Nevermind’s enormous, unplanned success, “I was 22, and Kurt might have been 23 or 24. It’s one of the greatest accomplishments of my entire life; it was a happy time for the band,” he added. “We had no idea what was to come next, but at that time, we were kids, so I have fond memories”.


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  • October 10, 1991 Setlist

Nirvana Setlist at Empire Concert Club, Cleveland, OH, USA

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  • Another One Bites the Dust ( Queen  cover) ( Jam session ) Play Video
  • Jesus Wants Me for a Sunbeam ( The Vaselines  cover) Play Video
  • Aneurysm Play Video
  • Drain You Play Video
  • School Play Video
  • Floyd the Barber Play Video
  • Smells Like Teen Spirit Play Video
  • About a Girl Play Video
  • Breed Play Video
  • Polly Play Video
  • Sliver Play Video
  • Love Buzz ( Shocking Blue  cover) Play Video
  • Come as You Are Play Video
  • Pennyroyal Tea Play Video
  • Negative Creep Play Video
  • Been a Son Play Video
  • Blew Play Video
  • Rape Me Play Video
  • Lithium Play Video
  • Territorial Pissings Play Video

Edits and Comments

17 activities (last edit by event_monkey , 24 Apr 2022, 15:48 Etc/UTC )

Songs on Albums

  • Come as You Are
  • Smells Like Teen Spirit
  • Territorial Pissings
  • About a Girl
  • Floyd the Barber
  • Negative Creep
  • Another One Bites the Dust by Queen
  • Jesus Wants Me for a Sunbeam by The Vaselines
  • Love Buzz by Shocking Blue
  • Pennyroyal Tea

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Empire concert club, cleveland, oh, united states, oct 10, 1991.

  • Nirvana Empire Concert Club, Cleveland, OH - Oct 10, 1991 Oct 10 1991
  • Urge Overkill Empire Concert Club, Cleveland, OH - Oct 10, 1991 Oct 10 1991

Nirvana Gig Timeline

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  • Nirvana New Daisy Theatre, Memphis, TN - Oct 7, 1991 Oct 07 1991
  • Nirvana Stache's, Columbus, OH - Oct 9, 1991 Oct 09 1991

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  • Nirvana Saint Andrew's Hall, Detroit, MI - Oct 11, 1991 Oct 11 1991
  • Nirvana Metro, Chicago, IL - Oct 12, 1991 Oct 12 1991

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Nick Dunlap becomes 1st amateur winner on PGA Tour since 1991 with victory at The American Express

Nick Dunlap reacts after making his putt on the 18th hole of the Pete Dye Stadium Course during the final round to win the American Express golf tournament, Sunday, Jan. 21, 2024, in La Quinta, Calif. (AP Photo/Ryan Sun)

Nick Dunlap embraces his mother, Charlene Dunlap, left, and father Jim Dunlap, after winning the American Express golf tournament, Sunday, Jan. 21, 2024, in La Quinta, Calif. (AP Photo/Ryan Sun)

Nick Dunlap reacts after winning the American Express golf tournament, Sunday, Jan. 21, 2024, in La Quinta, Calif. (AP Photo/Ryan Sun)

Nick Dunlap reacts after finishing on the 18th hole of the Pete Dye Stadium Course during the final round to win the American Express golf tournament, Sunday, Jan. 21, 2024, in La Quinta, Calif. (AP Photo/Ryan Sun)

Nick Dunlap reacciona después de terminar en el hoyo 18 en la última ronda del torneo de golf The American Express, el domingo 21 de enero de 2024, en La Quinta, California. (AP Foto/Ryan Sun)

Nick Dunlap holds the trophy after winning the American Express golf tournament, Sunday, Jan. 21, 2024, in La Quinta, Calif. (AP Photo/Ryan Sun)

Nick Dunlap kisses the trophy after winning the American Express golf tournament, Sunday, Jan. 21, 2024, in La Quinta, Calif. (AP Photo/Ryan Sun)

Nick Dunlap reacts to the crowd after making his putt on the 17th hole of the Pete Dye Stadium Course during the final round of the American Express golf tournament, Sunday, Jan. 21, 2024, in La Quinta, Calif. (AP Photo/Ryan Sun)

Nick Dunlap watches his tee shot on the fourth hole of the Pete Dye Stadium Course during the final round of the American Express golf tournament, Sunday, Jan. 21, 2024, in La Quinta, Calif. (AP Photo/Ryan Sun)

Sam Burns watches his second shot on the second hole of the Pete Dye Stadium Course during the final round of the American Express golf tournament, Sunday, Jan. 21, 2024, in La Quinta, Calif. (AP Photo/Ryan Sun)

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LA QUINTA, Calif. (AP) — Nick Dunlap doesn’t possess a false confidence, and he doesn’t project a supernatural calm. The University of Alabama sophomore fully understood just how crazy it was to be fending off a field of professionals Sunday while he tried to become the PGA Tour’s first amateur winner in 33 years.

“Most nervous I’ve ever been, by far,” Dunlap said. “Just tried to breathe, but also look up and enjoy it a little bit.”

The 20-year-old simply played through it all — through his mistakes, the rising pressure and the overall improbability of his week at The American Express.

Dunlap came out of it with a victory that could herald the arrival of a major golf talent — and one who might not even need to finish the homework he brought with him to the West Coast.

Lydia Ko holds the trophy after winning the Hilton Grand Vacations Tournament of Champions LPGA golf tournament in Orlando, Fla., Sunday, Jan. 21, 2024. (AP Photo/Kevin Kolczynski)

Dunlap swallowed his nerves one last time to make a 6-foot par putt on the final hole, holding on for a one-shot victory over Christiaan Bezuidenhout.

“Everybody’s got doubts,” Dunlap said. “I probably had a thousand different scenarios in my head of how today was going to go, and it went nothing like I expected. I think that was the cool part about it. That’s golf.”

The reigning U.S. Amateur champion is the tour’s first amateur winner since Phil Mickelson at the Tucson Open in 1991. Playing in his fourth tour event, Dunlap became the seventh amateur winner since 1945 — and the third since 1957.

The only amateur in the 156-player field in the tournament long known as the Bob Hope Desert Classic, Dunlap surged into a three-shot lead with a sizzling 12-under 60 in the third round. He lost that lead Sunday on the front nine on the Stadium Course at PGA West, but he played with the resilience of a seasoned veteran down the stretch, capped by his recovery from two errant shots on the 18th for the winning par.

“Nothing like I’ve ever felt,” Dunlap said. “It was so cool to be out here and experience this as an amateur. Whether I had made that or missed that (last putt), if you would have told me (on) Wednesday night I would have a putt to win this golf tournament, I wouldn’t believe you.”

After a day of back-and-forth competition, Dunlap and Sam Burns were tied for the lead when Burns put his tee shot in the water and double-bogeyed the 17th. Dunlap thought he had a two-stroke lead when he stepped up to the 18th, because and his caddie didn’t check the leaderboard or see Bezuidenhout’s birdie moments earlier.

Dunlap’s tee shot then landed high in the rough, and his second shot might have hit a spectator before it took a fortunate roll from the rough into a grassy drainage area off the green.

Dunlap got inside 6 feet with his third shot, and he celebrated the par putt for the title with hugs from his parents, his girlfriend and his college coach, Jay Seawell, who all flew cross-country over the weekend to watch in person.

He ended up with a 70 — his worst round of the week by far — to finish at 29-under 259 and break the tournament scoring record as a 72-hole event. He’s also the youngest winner in the event’s history, and he became the youngest amateur to win on the tour since 1910.

Dunlap and Tiger Woods are the only players to win both the U.S. Amateur and the U.S. Junior Amateur. While Dunlap got the celebration Sunday for one of the most impressive performances in recent golf history, he doesn’t get the $1.5 million first-place prize, which goes to Bezuidenhout after the South African’s final-round 65.

Dunlap also doesn’t get the 500 FedEx Cup points — but his rewards are still ample. If he stays at Alabama he gets in the Masters, U.S. Open and British Open as the U.S. Amateur champion. If he turns pro and joins the PGA Tour, he still gets in the Masters and U.S. Open, along with the remaining seven $20 million signature events on tour.

“It’s amazing,” Bezuidenhout said about Dunlap’s achievement. “Actually, I heard his name last year when he won the U.S. Amateur. He’s obviously a hell of a player, and congrats to him. Hopefully, he can be out on the PGA Tour soon, and we all can get to play with him.”

Dunlap and his parents both said they hadn’t immediately decided what he’ll do next — but his meteoric career hit yet another height in the Coachella Valley.

“I have no idea, I really don’t,” Dunlap said about his future. “It’s really cool to have that opportunity in the first place. Starting the week, if you would have said, ‘Hey, in five days you’re going to have a PGA Tour card, or an opportunity for two years,’ I would have looked at you sideways. But that’s something that it doesn’t just affect me. It affects a lot of people — Coach back there, and my teammates — and it’s a conversation I need to have with a lot of people before I make that decision.”

Dunlap was already planning to play at Torrey Pines next week on a sponsor exemption, but he acknowledged he also brought homework to California.

“Probably won’t do it, though,” he said with a grin.

Dunlap needed toughness to overcome his nerves in his final round. His three-shot lead vanished all at once on the seventh when he put his tee shot into the water and double-bogeyed while Burns birdied it.

Dunlap quickly reclaimed the lead, lost it again and battled Burns down the stretch, pulling even with a birdie on the 16th.

And then Burns was the one who flinched, completely missing the famed island green on the 17th and hitting the water.

“I didn’t want to win by him hitting in the water,” Dunlap said. “I wanted to win by making four birdies the last four holes. But unfortunately, that’s golf. I’ve done it numerous times.”

Justin Thomas, Xander Schauffele and Kevin Yu tied for third at 27 under. Burns led the event after two rounds with a career-low 61, and he was tied with two holes to play Sunday before hitting into the water on each of his final two holes and carding back-to-back double bogeys, finishing in a tie for sixth.

___ AP golf: https://apnews.com/golf

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    With a budget of $65,000, Nirvana booked Sound City Studios in Van Nuys, California, for May and June 1991. To earn gas money to get to Los Angeles, they played a show at the OK Hotel in Seattle on April 17th, 1991, where they performed "Smells Like Teen Spirit" for the first time.

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