editor’s note: It’s a year and two days since Chris Cornell died, and I have received a number of requests on where to find the column I published shortly after it happened. Today I republish it just to make it easier for everybody to find. This is the original version. While slightly controversial, it is the form that I had originally intended.
Cornell’s death is still as shocking to me today as it was a year ago. I still wrestle with the demons discussed in here, as I’m sure many of you do as well. It’s been a tough year, but thankfully we’re all still here to mourn those we’ve lost. Everybody keep fighting the good fight. And Chris, we love you still. Rest in peace. You are dearly missed.
Chris Cornell died early Friday morning. He hanged himself in the bathroom of his hotel room in Detroit.
For two days, I’ve been working on a piece to pay tribute to him, and it’s been a struggle. Usually when I have a problem like this it’s because I’m staring at a blank screen trying to figure out what I want to say. That’s not the problem this time. The problem is I have way too much to say.
I’m not going to sit here and claim to have been a huge fan of Soundgarden. I didn’t dislike them, I just had to take them in small doses. I was a fan of Cornell. I love “Seasons,” the solo song he had on the soundtrack for Cameron Crowe’s movie, Singles. It’s a droning acoustic song about isolation and the meaningless passing of time. Your basic nihilistic statement written at what was probably the peak of rock’s most nihilistic period.
I was a fan of Cornell as a person. Of all the great musicians that were packed into Seattle in the late 80’s and early 90’s, from Mark Arm of Mudhoney to Jeff Ament of Mother Love Bone and Pearl Jam to the Great Tortured Genius himself, Kurt Cobain, Cornell seemed like he rose a little bit above the others. He was the unofficial communicator of the Seattle scene. Like a Sinatra of the Pacific Northwest, he had a charisma and a calm grace about him. He was thoughtful and charming, in interviews, unlike his compatriots who disdained fame and accolades (or at least pretended to). Cornell was the guy who seemed most like he could handle all the attention without turning it into an existential crisis.
Now he’s dead because, as it turns out, he had been dealing with an existential crisis most of his life. I was a fan, and I had a ton of respect for him. But it’s taken me a little while to understand why his death has affected me as strongly as it has.
At first I thought it might have something to do with the fact that I was mostly a bystander while the music of my generation was taking over. Just as Nirvana and Pearl Jam were making that gigantic breakthrough in 1992, my fiancé and I discovered we were pregnant. So instead of investigating mosh pits at the 7th Street Entry, or watching Soundgarden and Pearl Jam rule the stage at Lollapalooza (it was a traveling festival in those days), I was hastily throwing together a wedding and then changing diapers. My wife and I got an early jump on things, so we’ve always told ourselves that we’d make up for lost time in our forties and fifties.
Well here we are, and something like this just makes it feel like we’ve arrived too late. But while that’s a legitimate thing, I don’t really think that’s exactly what is bothering me.
Then I thought maybe it’s a generational thing. Grunge is the gift that Generation X gave to the world of music. We took all that slacker cynicism, mixed it up with our older siblings’ sneering punk attitude, Zeppelin’s low end and – if we’re being honest – a little heroin. The result was the musical version of Beckett’s Waiting for Godot. It was gorgeous art that was absolutely sure that nothing really matters, making it feel immediate and important. It was the sound of a generation telling everybody, including ourselves, to fuck off.
And while we were wallowing in our splendid alienation, our spokespeople, predictably, started dying. First it was Andrew Wood of Mother Love Bone. A lot of us didn’t know about him until Cornell, along with Wood’s erstwhile bandmates (who were about to form Pearl Jam) memorialized him with a one off tribute called Temple of the Dog. Somehow, Wood’s story made death part our music’s romantic foundation.
A couple years later, Cobain killed himself with a shotgun. He was 27. Our Bob Dylan, the voice of our generation, threw it all away because he was afraid he was becoming a cliché. At least, that’s what we told ourselves at the time.
Shortly thereafter, Kristen Pfaff of Hole overdosed and died in a bathtub. And then Shannon Hoon of Blind Melon overdosed and died on a tour bus. It felt like people like D’arcy Wretzky of Smashing Pumpkins, Scott Weiland of Stone Temple Pilots, and, perhaps especially, Courtney Love – Pfaff’s bandmate and Cobain’s widow – were all headed in the same direction.
Alice in Chains’ Layne Staley died of a gruesome overdose. The fact that his body was not discovered for more than a week after felt somehow fitting. He was emblematic of a generation that just wanted to be left alone.
And just when it felt like our music, and maybe our entire generation, would never live to see 30, things turned around. Love and Weiland cleaned their acts up (at least for a while). Bands like Pearl Jam thrived long after the term “Heroin Chic” disappeared. Before we knew it, we were a decade into a new century and a lot of the Poets of Grunge were still standing. Some of them were even in the Rock and Roll Hall of Fame. It felt like our heroes were out of the woods.
When Weiland died of an overdose at the end of 2015, it felt like an echo, and not something rooted in the present. He had become the most notorious addict of them all over the years; in and out of rehab so many times we had all lost hope for him. His death was something that had been predicted so often for so long that it might as well have happened in 1997.
But Chris Cornell committed suicide on May 18, 2017, at the age of 52. He was a dad. He was a philanthropist. He was becoming an elder statesman of rock. He was a grown up. Cornell was aging gracefully, even doing that thing where some guys get better looking as they get older. He got Soundgarden back together, and they made a great new album a couple years ago. His voice still had all the power and strength it had displayed in his youth. Much like the rest of us, the world had kicked his ass a couple times, and he survived.
But now he’s gone, and goddammit, his is the death that bothers me the most. As I’ve been thinking about this, I’m realizing that it’s both a personal and a generational thing. Cornell had a long struggle with depression. As have I. As have many of you.
It’s possible that, along with Grunge, Generation X’s other great gift to society is depression. I mean, of course it was here long before the Baby Boomers started re-producing, but we talk about it more than those who came before us. We talk about it as a demon or a monster. It’s a dark shadow that shows itself at any point in time without warning. It surrounds us, isolates us, and quiets us. Depression likes to blame things. We feel like shit because of mistakes we have made in life or because of the state of the world or because we aren’t perfect. Maybe it really is just a chemical imbalance in our brains, but it’s impossible to know that without a lot of help and a lot of work. After twenty-plus years of trying to de-stigmatize depression, some of us still have a hard time recognizing it for what it is. And even then, it doesn’t always matter.
You might think grunge is about anger, but that’s not completely true. Yes, it can sound that way, but it’s really about depression and cynicism. Those two go hand-in-hand, along with their nasty little sister, anxiety. When the three of them get going, they just eat hope as quickly as it can be summoned. That leaves despair and despair is exhausting, not just for those who experience it, but for the people around it, as well. So we keep it to ourselves because we don’t want to be a burden. And then it gets to be too much. Doesn’t matter if you’re a student, a mom, an accountant or a rock star. It doesn’t matter if you’ve written about it your entire life as a means of keeping it at bay. It doesn’t matter if the music you made about it brought in fame, respect and millions of dollars. It doesn’t matter if your entire generation has suffered from it. Depression makes you feel totally alone. You hit the breaking point, and then, like Chris Cornell, you hang yourself in the bathroom.
This was a well-respected member of his community; a beloved musical hero who seemed to have it all together.
This could have been any of us. And brothers and sisters, if it’s you, don’t mess around with it. Please find some help.
Cornell is speaking to us all one last time. This isn’t something we left behind with our twenties. This isn’t something cured by age or financial security. This isn’t something you “outgrow.” If it’s allowed to fester, depression is stronger than wisdom. Depression is insidious and tenacious. Depression can get to anybody. It can make you feel like an old man at 27. It can make you feel lost as a child at 52.
Call it a senseless tragedy. Call it a second-act cautionary tale. Call it whatever you want. Just don’t blow it off as meaningless.
Rest in peace, Chris.