Rare photographs from Nirvana's first concert in March 1987 have been unearthed and shared by an unlikely source: Maggie Poukkula, the 19-year-old daughter of Tony Poukkula, a member of Seattle band Laytem who grew up with Kurt Cobain and hosted the fledging outfit's first show in his basement. 
 
 Related PHOTOS: No Apologies: All 102 Nirvana Songs Ranked RS tackles the complete catalog of the band that defined the Nineties and made the world a lot noisier 
 
 Last week, Poukkula tweeted a photo strip featuring three snapshots from the 1987 gig in Raymond, Washington, along with the caption, "Pictures of my dad and Kurt Cobain playing together back in the day." At the time, Nirvana's lineup consisted of Cobain, bassist Krist Novoselic and drummer Aaron Burckhard, though that night, Poukkula reportedly joined the outfit on guitar for, at least, two Led Zeppelin covers. 
 
 "I had no idea that those were during Nirvana's first concert," Poukkula tells Rolling Stone. "My dad showed me them a while back, but he never mentioned that's what was going on in the photos. I found out because of all the articles. I didn't realize it was such a historical thing. I thought they were just cool pictures of my dad and Kurt jamming together." Poukkula said she found the photos tucked away inside her father's biographies of Cobain and Nirvana. 
 
 Pictures of my dad and Kurt Cobain playing together back in the day pic.twitter.com/y7lXh6acVn — Maggs❂ (@mjpoukkula) July 16, 2015 
 
 According to an incomplete set list from the show, Nirvana jammed on covers of Led Zeppelin's "Heartbreaker" and "How Many More Times," but also performed nascent versions of "Aero Zeppelin," "Mexican Seafood," "Pen Cap Chew," "Hairspray Queen," "Spank Thru" and "If You Must." A recording of the band's "Heartbreaker" jam appeared on the 2004 box set, With the Lights Out, while a bootleg version of "If You Must" is available on YouTube. 
 
 Poukkula's shots come on the heels of a deluge of rare Cobain and Nirvana artifacts, many of which were incorporated into Brett Morgen's acclaimed documentary, Montage of Heck. Morgen was given unprecedented access to Cobain's archives, comprising mountains of notebooks and hours of never-before-heard audio cassette tapes, which featured eerie Beatles covers and the noise collage that gave the film its title. 
 
 After a successful stretch on the festival circuit, limited theatrical run and HBO premiere, Montage of Heck is set to return to movie theaters starting August 7th. ||||| David LaChapelle 
 
 One summer a few years ago, Frances Bean Cobain worked as an intern in the New York offices of Rolling Stone. Frances – the daughter of Nirvana singer-guitarist Kurt Cobain and an executive producer of the new HBO documentary on his life, Kurt Cobain: Montage of Heck – was "a 15-year-old Goth kid, so stoked," she recalls with a laugh during a recent interview for the cover story in our new issue. She remembers providing research assistance on a cover about the Jonas Brothers – and working in a cubicle across from a wall with a giant painting of Kurt. "Yeah," Frances says with a grin and mock-exasperation, "looking at my dad every day." (Preview the cover story and listen to a previously unheard Cobain song here.) 
 
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 That is one of many stories and revelations that come out over almost three hours late one afternoon in early March, as Frances, now 22 and a visual artist, speaks publicly for the first time about her father; life after his death; her complex relationship with her mother, Courtney Love; and the new film, written, directed and produced by Brett Morgen. "Kurt got to the point where he eventually had to sacrifice every bit of who he was to his art, because the world demanded it of him," Frances says bluntly at one point. "I think that was one of the main triggers as to why he felt he didn't want to be here and everyone would be happier without him." 
 
 But "in reality, if he had lived," she goes on, "I would have had a dad. And that would have been an incredible experience." 
 
 What follows are additional excerpts from a remarkable – and moving – conversation. 
 
 Watch Mark Seliger share his memories of photographing Kurt in his "Corporate Magazines Still Suck" shirt and David Fricke talking about his first and last conversations with Cobain: 
 
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 How would you describe Montage of Heck? 
 
 It's emotional journalism. It's the closest thing to having Kurt tell his own story in his own words – by his own aesthetic, his own perception of the world. It paints a portrait of a man attempting to cope with being a human. When Brett and I first met, I was very specific about what I wanted to see, how I wanted Kurt to be represented. I told him, "I don't want the mythology of Kurt or the romanticism." Even though Kurt died in the most horrific way possible, there is this mythology and romanticism that surrounds him, because he's 27 forever. The shelf life of an artist or musician isn't particularly long. Kurt has gotten to icon status because he will never age. He will always be that relevant in that time and always be beautiful. 
 
 There is, with any great artist, a little manic-ness and insanity. Tropic of Cancer is one of my favorite books. And [author] Henry Miller had this work ethic, where he would get out of bed every day and force himself to write five pages. It taught me that if you do the work, you progress. So many people are content to settle. My dad was exceptionally ambitious. But he had a lot thrown on him, exceeding his ambition. He wanted his band to be successful. But he didn't want to be the fucking voice of a generation. 
 
 Do you remember the first time you heard a Nirvana record – and knowing that was your father? I've talked to Sean Lennon about this. He had a few more years with his dad that you did. But for him, the records were a road into understanding his father after he was gone. 
 
 I don't really like Nirvana that much [grins]. Sorry, promotional people, Universal. I'm more into Mercury Rev, Oasis, Brian Jonestown Massacre [laughs]. The grunge scene is not what I'm interested in. But "Territorial Pissings" [on Nevermind] is a fucking great song. And "Dumb" [on In Utero] – I cry every time I hear that song. It's a stripped-down version of Kurt's perception of himself – of himself on drugs, off drugs, feeling inadequate to be titled the voice of a generation. 
 
 The irony is that he wrote it before Nirvana made Nevermind. 
 
 I know. It was projection, to something. There's no way anyone can wrap their minds around that. 
 
 Did you feel awkward as a teenager, not being that interested in the music Kurt made? 
 
 No. I would have felt more awkward if I'd been a fan. I was around 15 when I realized he was inescapable. Even if I was in a car and had the radio on, there's my dad. He's larger than life and our culture is obsessed with dead musicians. We love to put them on a pedestal. If Kurt had just been another guy who abandoned his family in the most awful way possible . . . But he wasn't. He inspired people to put him on a pedestal, to become St. Kurt. He became even bigger after he died than he was when he was alive. You don't think it could have gotten any bigger. But it did. 
 
 After the first screening I attended, there was a guy who said Montage of Heck was a very interesting film about people he didn't like. 
 
 [Laughs] That's a pretty good description. 
 
 I found it interesting that the way Morgen told Kurt's story didn't evoke any sympathy for that viewer – that Kurt's art did not resonate with him. All he saw was a personality he didn't like. 
 
 That is an interesting perspective. For me, the film provided a lot more factual information about my father – not just tall tales that were misconstrued, misremembered, rehashed, retold 10 different ways. It was factual evidence of who my father was as a child, as a teenager, as a man, as a husband, as an artist. It explored every single aspect of who he was as a human being. 
 
 What was it like hearing his voice? 
 
 I've been hearing his voice forever, through his music. 
 
 He wanted his band to be successful. But he didn't want to be the fucking voice of a generation. 
 
 I was thinking more of his speaking voice. 
 
 His speaking voice is sort of similar to mine. It's sort of a monotone. The depth to it is similar to the way I speak. I don't know what the fuck that is. I wasn't even talking when he was around. 
 
 Don't mistake the power of genes. 
 
 It's very weird how genes are. Dave [Grohl], Krist [Novoselic] and Pat [Smear] came over to a house where I was living. It was the first time [the ex-Nirvana members] had been together in a long time. And they had what I call the "K. C. Jeebies," which is when they see me, they see Kurt. They look at me, and you can see they're looking at a ghost. They were all getting the K. C. Jeebies hardcore. Dave said, "She is so much like Kurt." They were all talking amongst themselves, rehashing old stories I'd heard a million times. I was sitting in a chair, chain-smoking, looking down like this [affects total boredom]. And they went, "You are doing exactly what your father would have done." 
 
 But I was glad they came over [smiles[. It was a cool experience, like having a Nirvana reunion minus one. Except for his spawn. 
 
 What do you want to do next, now that this film is coming out? In being one of the executive producers, you're stepping into the public at almost the same age your father was when he made Nirvana's first album. The timing is . . .I like to think of it as poetic. 
 
 Coincidental, yeah. Oddly enough, being 22, it's the first year a fire has been lit under my ass – not because of the documentary, just personally. I have this motivation and ambition that I didn't have before: "I want to go paint this painting." The hardest part of doing anything creatively is just getting up and doing. Once I get out of bed and get into my art room, I start painting. I'm there. And I'm doing it. ||||| Kurt Cobain has been studied and dissected obsessively in the years since his death in April 1994. Could there be anything left to learn about one of the greatest musicians of our time? The answer is yes, and it's in the new issue of Rolling Stone (on sale Friday), where Frances Bean Cobain speaks out for the first time about her father's legacy, life after his death, her stormy relationship with Courtney Love and the HBO documentary Kurt Cobain: Montage of Heck that brought them all back together again. Above, in an exclusive clip from the film — which airs May 4th on HBO and in select theaters on April 24th — the Nirvana leader strums and sings along to a beautiful, haunting melody that the film's director Brett Morgen tells us is a previously unheard Cobain original song that he discovered in Kurt's storage facility in 2013. 
 
 Related Frances Bean Cobain on Life After Kurt's Death: Exclusive Kurt Cobain's daughter speaks publicly for the first time about her father, her complex relationship with Courtney Love and 'Montage of Heck' 
 
 "What really surprised me was watching my parents' love story," Frances, now 22 years old, says of the film, which started to come together in 2007 at Love's request. "Because they were so close to my age now. It was like friends falling in love — I did not expect that." 
 
 Frances welcomed Rolling Stone's David Fricke into her Los Angeles home, where she spoke for three hours about growing up in the shadow of a father she can't even remember. People are often stunned when they meet her and see the striking resemblance, an effect she calls the "K.C. jeebies." "They look at me," she explains, "and you can see they're looking at a fucking ghost." 
 
 Throughout Fricke's cover story, Frances speaks candidly about her father, who she refers to as "Kurt," and Morgen explains how she ultimately shaped the entire Montage project. "She said, 'For 20 years, my dad has been like Santa Claus, this mythical figure. People come up to me and say, "Your dad's so cool." And I don't know him. I want to present Kurt the man.'" (Read David Fricke's exclusive Q&A with Frances in full here.) 
 
 Related PHOTOS: No Apologies: All 102 Nirvana Songs Ranked RS tackles the complete catalog of the band that defined the Nineties and made the world a lot noisier 
 
 Frances and her mother, Courtney Love, have had a volatile relationship over the years, though recently they've become close again. In our story, Fricke describes how before the film's premiere at the Sundance Film Festival, they watched Montage of Heck at a private screening room in Burbank, California. It was Love's first time seeing the documentary, and Frances sat in her lap to help her through the film. In a particularly devastating scene in Montage, a clearly intoxicated Cobain struggles to sit upright as his infant daughter sits in his lap getting a haircut. 
 
 "My mother held me, cried on me and just said, 'I'm so sorry, I'm so sorry, I'm so sorry," Frances tells us, recalling watching that scene with her mother. "Just kept saying it over and over. But then she said, 'Do you realize how much your father loved you?' And I said, 'Yeah, I do.'" Morgen remembers that Frances revealed more to him about that moment: "Frances said it was the first time her mom and apologized for anything relating to her youth." 
 
 Watch Fricke and photographer Mark Seliger talk about defining moments with Kurt — photographing the famous "Corporate Magazines Still Suck" cover shot and Fricke's first and last conversations with Cobain — in our full Frances Q&A, and find out more about Love's reactions to the film and Frances' own artwork in the issue. Plus, listen to our 102-song Nirvana playlist — all the band's songs, ranked — here. 
 
 Also in this issue: Guy Lawson on a band of Florida teenagers that built on OxyContin smuggling ring, an in-depth Q&A with Pete Townshend about why this may or may not be the Who's last major tour and interviews with Mick Jagger and Keith Richards about the Rolling Stones' big summer plans. 
 
 Look for the issue on stands or download it on Friday, April 10th.
– Most teens don't find music history in their dad's stuff, but Maggie Poukkula's dad is Seattle musician Tony Poukkula, who was a friend of Kurt Cobain. Her find? Photos of Nirvana's first concert, performed by then 20-year-old Cobain and his new band in March 1987 in Tony Poukkula's basement. "My dad showed me them awhile back, but he never mentioned that's what was going on in the photos," Maggie Poukkula, 19, tells Rolling Stone. "I found out because of all the articles. I didn't realize it was such a historical thing. I thought they were just cool pictures of my dad and Kurt jamming together." She tweeted the photos last week, and the post quickly went viral. That first concert featured the early Nirvana lineup of Cobain, bassist Krist Novoselic, and drummer Aaron Burckhard playing original songs and Led Zeppelin covers. Similar early-days footage of Cobain and Co. featured in the recent documentary Montage of Heck has renewed interest in the grunge band. The Emmy-nominated project includes home movies, never-before-heard music, and intimate interviews with Cobain's family and friends, notes SPIN. After being critically acclaimed at festivals across the country, the film will return to theaters on Aug. 7, adds Rolling Stone. (Want a little more Cobain history? Here's the mix tape he made at 21.)