Elvis Presley, The Grateful Dead, KISS: it seems almost every generation has a band with a religious-like following. The musical craze of the 1990s emerged in the form of Seattle grunge, or the Seattle sounds as it was also know. In opposition to the dramatic performances of flashy 80's hair bands, grunge groups such as Nirvana and Pearl Jam adopted huge cult followings devoted to simplicity and the rejection of commercialism. The grunge phenomenon further exemplifies Laderman's "persistent theme" that "there is more to music than what passes through the eardrums. The physical vibrations at the root of musical expression can penetrate and liberate bodies individually and collectively, creating personal and social experiences that are interpreted as religious, sacred, spiritual..." In the case of Seattle grunge, fans were inspired not by the music alone, but by the messages and convictions the bands embraced and promoted through their music. Through these shared beliefs (and a common enemy, the American system) grunge devotees found a sense of community. Through their universal obsession with this angsty music they could share their anger and feelings of alienation. The formation of this musical community then spurred further forms of ritual behavior.
The Seattle sound soon spurred an entire grunge era. Ratty clothing, notably thrift store flannels, became the fashion of the decade and were embraced by retailers across the country. The city of Seattle suddenly became a hotspot for culture and a popular filming location for movies. Pearl Jam's lead singer Eddie Vedder became a celebrity, his photo plastered on the cover of Time magazine and MTV. Ironically, this relegation to celebrity status and the commercialization of this inherently alternative music form upset Vedder and his fellow band members. Pearl Jam is known for their deliberate rebellion against the system such as their refusal to work with Ticketmaster.
As is the case with many religious musical examples, drugs were a huge part of the concert experience, leading to the premature death of many famous grunge musicians. As Laderman notes, we also see ritual thriving in the death of music and the medium's idolized figures. Andrew Wood, lead singer of multiple famous grunge bands died of a heroin overdose. The Temple of the Dog Project (a band complied of famous grunge singers including Vedder) was established in honor of his death and is a prime example of the grunge community bonding together. Kurt Cobain, perhaps one of the most recognizable names from the period, committed suicide after a long downward spiral due to drugs. The public's reaction to his death parallels Elvis Presley and Jerry Garcia. His legend lives on in his spirit and his music. Janice Joplin, Jim Morrison, Jimi Hendrix, the list goes on. So many of America's "music gods" die as a result of these tragic, but avoidable circumstances. This way of passing on to the afterlife is almost an expectation or ritual in itself. Similarly, Tupac and other famous rappers have died in gang disputes, the same themes discussed and popularized in their music.
This pattern leads me to question the content we are embracing as a culture. Yes, it is crucial for people to form deep, even spiritual connections with each other and if music can facilitate that bond then I fully support it. But why must the music that excites such fervor be so upsetting, tense, and wrought with adversity? Why is it so difficult for us, specifically the younger generation, to come together and discover a spiritual connection over more innocent music such as the soft melodious compositions of Mozart? Are these songs not similarly entrancing? What does it say about us that instead we seek such distressful themes?
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