“We felt liberated by the idea of punk rock, by the idea of social movements that gave what you were doing a little bit more significance…. We had a general belief that art was important… and that there was a whole world to be discovered as you filter art through your unique perspective.”Stone Gossard
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Every now and again, pop culture reinvents itself. Our collective tastes are born, destroyed, and reborn again, swinging like a massive pendulum from one aesthetic extreme to the next. As a new cultural niche becomes more and more popularized, fierce artistic independence eventually devolves into reckless overindulgence, and creative novelty slowly bleeds away until all that is left is a formulaic husk used to manufacture tomorrow’s next fads. It is usually at this point, when a particular scene becomes so over-saturated that it can no longer support the weight of its own excess, that the entire scene dies an often-humiliating death, bloated and alone on an unflushed toilet.
In the 1980s the music scene in America was dominated by the glut and theatrics of “glam metal.” For nearly 10 years, most of popular music was defined by sex, drugs, and machismo-in-drag, and an entire generation of youth nearly lost themselves within a cloud of hairspray. There was a void in the cultural heart of the musical mainstream that was dying to be filled—an utter lack of artistic interiority, emotional depth, and authenticity. Untold millions were craving artistic substance, and were only offered artificial decadence.
Then along came grunge, taking the entire world by storm in the early 90′s. From the rain-soaked streets of Seattle emerged a new voice for American youth. In much the same way that punk music arrived just in time to offer salvation for our Disco-era sins, grunge music promised to completely cleanse our cultural palette, placing an aesthetic imperative upon more simplicity, more spontaneity, and more sincerity. And so bands like Nirvana, Soundgarden, Alice in Chains, The Smashing Pumpkins, and Pearl Jam crashed into the mainstream, forever changing the landscape of American music. From behind a tsunami of massively distorted guitars, hallowed vocals, and countless acres of flannel, appeared an unmistakable return to introspection and idealism — even while cloaked by themes of angst and despair, the natural result of our collective interiors being ignored for almost a decade.
Few bands of the era embody this move toward introspection and idealism as strongly as Pearl Jam. As the grunge scene continued to explode, it was becoming apparent that the inherent iconoclasm of the scene was ill-suited to handle the immense pressures of fame, and many artists found themselves circling the drain of inevitable self-destruction — for many, Kurt Cobain’s suicide was a morbid reminder of what can happen when artistic ideals are reduced to mere currency for the status-sphere. One by one the originators of grunge began to fall away, and an impossibly huge body of talent was forever lost to suicide and drug addiction.
Not many bands survived as the industry began churning out the newest grunge-inspired fads, marketed (ironically) as “alternative rock.” Pearl Jam was one of the few who did make it through this period of intense commodification. Unlike most others from the Seattle era, they were able to prevent themselves from being crushed by the enormous pressure that their celebrity brought to their personal and professional lives. While they did in a sense try to distance themselves from their own fame, they were also simultaneously using their celebrity as a platform for their idealism, soon finding themselves fighting “on all fronts” for initiating real change in the world. From their famed battle with the corruption of the Ticketmaster venue monopoly, to publicly berating the policies of George W. Bush, to expressing pro-choice sentiments in concert, to promoting awareness around Crohn’s disease — Pearl Jam was helping to return rock and roll to its roots, in terms of both the profoundly personal and the deeply political. And they continue to do it to this day, more than 30 years since the band first formed.
In this dialogue Stone Gossard leads us through the story of Pearl Jam’s iconic rise, as well as his own experiences in the early grunge scene, long before any of us had ever known what “Teen Spirit” actually smelled like. Stone and Ken also discuss the current state of the music industry, some of the key problems it needs to come to terms with, and the role of record labels in the future of music. Stone’s story is one that is truly aligned with the essence of Integral Art, which attempts to restore Beauty to it’s rightful place within the human condition — emphasizing creativity instead of deconstruction, idealism instead of apathy, depth instead of sensationalism, authenticity instead of irony — and always reflecting the fullest expressions of both artist and audience alike.
We hope you can join us in this fascinating exploration of artistic idealism and creative reverie.
Text, images, and maps by Corey deVos
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About Stone Gossard
Stone Gossard is the rhythm guitarist and, along with Jeff Ament and Mike McCready, a founding member of the American rock band Pearl Jam. Stone is well known for his work in grunge rock bands based in Seattle through the 1980s prior to Pearl Jam, and he has made significant contributions to the music industry as a producer and owner of a record label and a recording studio
About Ken Wilber
Ken Wilber is a preeminent scholar of the Integral stage of human development. He is an internationally acknowledged leader, founder of Integral Institute, and co-founder of Integral Life. Ken is the originator of arguably the first truly comprehensive or integrative world philosophy, aptly named “Integral Theory”.