Some rock icons live forever through their music. Others? Through a slightly awkward underwater baby photo that’s been splashed across millions of CD racks since 1991. Yep, we’re talking about Nirvana’s Nevermind — the album that redefined rock, sold 30 million copies, and turned a baby in a swimming pool into one of the most recognisable images in music history.
That baby, Spencer Elden, has spent the last few years locked in a never-ending legal pit fight with Nirvana, photographer Kirk Weddle, and the estate of Kurt Cobain. And guess what? The courts have just smacked down another one of his lawsuits.
💥 A Quick Recap: The Baby and the Dollar Bill
- In 1991, Elden’s parents were paid $200 for Kirk Weddle to photograph their 4-month-old son underwater.
- That photo became Nevermind’s iconic cover — a naked baby swimming toward a dollar bill on a hook.
- The album blew up, changed music forever, and cemented the image in rock history.
For decades, Elden seemed cool with it. He recreated the cover as a teen, a 20-something, and even for the 25th anniversary (wearing swim shorts this time — c’mon mun, he’s not daft). He signed autographs as “the Nirvana baby.” He even tattooed “Nevermind” across his chest.
But in 2021, Elden flipped the script and sued, claiming the cover amounted to sexual exploitation.
⚖️ The Legal Saga: Round After Round
Since then, the lawsuits have piled up faster than empties at a festival bar. Elden has tried multiple times to sue Nirvana’s surviving members (Dave Grohl and Krist Novoselic), Courtney Love (as executor of Cobain’s estate), Weddle, and Universal.
- 2021: First lawsuit filed. Dismissed for being outside the statute of limitations.
- 2022: Refiled. Dismissed again.
- 2023: Elden appeals. Court rejects it.
- 2025: Latest round. Judge rules AGAINST him, saying he waited way too long and benefited from the fame for decades.
Basically: the courts keep saying, Nevermind.
🎸 Nirvana’s Side of the Story
The band’s camp has always argued that:
- The cover is art, not exploitation.
- Elden has cashed in on the fame himself (literally signing “Nevermind baby” autographs for money).
- The lawsuits are opportunistic, especially given the time gap.
And the judges seem to agree.
👀 Fans React: Sympathy or Cash Grab?
Reactions are split across the fandom:
- Some argue Elden was too young to consent and has every right to feel exploited.
- Others think it’s a blatant money grab — pointing to his anniversary recreations and merch sales.
- Many fans just roll their eyes and say, “Here we go again, mun…”
One fan on Reddit summed it up: “He’s the only person on Earth who could make being on a Nirvana cover feel uncool.” Savage.
🏴 The Legacy of Nevermind
Lawsuits aside, the album remains untouchable:
- 30 million+ copies sold worldwide.
- Tracks like Smells Like Teen Spirit, Come As You Are, and Lithium still shake arenas.
- The cover is ranked among the greatest in history — right up there with The Dark Side of the Moon prism and Abbey Road’s zebra crossing.
It’s part of rock folklore. A cultural touchstone. And whether Spencer Elden likes it or not, he’ll always be that baby.
🎤 Final Riff
So, the court has ruled again, and Nirvana walk away victorious once more. Elden’s legal campaign looks to be running out of road — but if the past four years have shown us anything, he might just resurface for another round.
Until then? The cover stays. The riffs stay. And Nevermind keeps its crown as one of the most iconic rock albums of all time.
What do you reckon butt — fair fight or just flogging a dead horse? Drop us your thoughts 👇
Michael is the founder, editor, and chief riff wrangler behind The Riff Report, an independent Welsh rock and metal publication built by fans, for fans. With a lifelong passion for loud guitars, unforgettable live shows, and the incredible community that surrounds rock and metal, he created The Riff Report to celebrate everything that makes the scene special—from legendary headline acts and grassroots venues to rising bands that deserve to be heard.
A familiar face at festivals across the UK, Michael spends much of the year covering events including Download Festival, Bloodstock Open Air, Steelhouse Festival, Firevolt, Plumpton Revival, and many more. Whether he’s battling the Welsh weather on a mountainside, surviving a weekend in a muddy campsite, or squeezed against the front barrier with thousands of fellow fans, he’s always searching for the next great story to share.
As editor of The Riff Report, Michael writes festival guides, breaking news, album reviews, gig reviews, interviews, opinion pieces, nostalgia features, and behind-the-scenes stories from across the rock and metal world. His writing combines honest opinions, humour, and a genuine love for live music, bringing readers closer to the bands, festivals, venues, and people that keep the scene alive.
Michael is particularly passionate about supporting independent artists, local venues, charities, and the wider UK rock and metal community. He believes every band deserves a chance to be discovered and every festival has a story worth telling. Through The Riff Report, he aims to shine a spotlight on both the biggest names in rock and the future stars waiting to break through.
When he’s not writing or interviewing artists, you’ll probably find him exploring festival campsites, photographing live shows, chatting with fellow fans over a pint, or planning the next road trip in search of more riffs, bigger crowds, and unforgettable moments.
Above all, Michael believes rock and metal are about more than music—they’re about community, friendship, and creating memories that last a lifetime. That’s exactly what The Riff Report exists to celebrate.
Proudly Welsh. Proudly Loud. Always chasing the next great riff. 🤘
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