All language subtitles for hoara hora

With Mother Love Bone,
you had some success,

and there was a tragedy there.

And what made you decide

not to continue with Mother Love Bone

and to form something
totally different?

Because it was old at that time,

and we wanted to do something new.

So this is what
we're doing now, new and fresh.

And then they saw me in a bra,
and that was it.

And they said,
''We've got to have him.''

That was before his front
tooth got knocked out.

And l have a weather report

for you people,
and it's not a good one.

KCMU. Seattle's rockin' report.

What is it that drives

thousands of young angelic-faced boys

in our calm, tree-lined suburbs

to spend their allowances
on Marshall Amplifiers?

Why is this happening?

Truth be told, there's always
been a great scene in Seattle.

lf you want some crisp, aggressive,

and emotional rock-and-roll,
then get on down to The Off Ramp

on Friday, July 5th.

Wowwee!

You haven't seen anything yet.

My name is Cameron Crowe,
and l was a rock journalist

when l first moved to Seattle
in the mid-'80s.

l became aware of a whole
scene of musicians

that really worked together to create

their own world of influences

and bands and community.

l immediately realized

how much this was different
from the places l grew up in

and the music l listened to
in Southern California.

This was music that came from guys

that stayed indoors a lot.

They had a lot of time to play
and a lot of time to listen.

And they listened to everything,

hard rock, hair metal, glam,
R&B, soul, disco, blues,

all of it cuisinarted together
into this majestic mix

of great, melodic, hard rock.

We'd go and see the shows
that got put on by The U-Men,

and we'd go see these guys,

and these guys would come see us.

Sometimes we would open
for these guys.

So it was like us, we play.

Two guys who l met early on

were Stone Gossard and Jeff Ament.

They'd been in a well-known
local band, Green River,

and had an obvious bond
that drew a lot of people to them.

On any given night in Seattle,

it wasn't hard to run into
Stone and Jeff

going out
to listen to some live music.

Let's do
a little more of an intimate thing.

Sit with me. Sit with me, my child.

Those people over there,

police officers. Wave at them.

How you doing?

This is not MTV, but it very well

could be at any time.

Sarcastic police officers. Excellent.

We're supposed to get in
to see The Cult tonight,

but so far, nobody's showed up.

We finally got into the show.

We were outside for a long time
and they wouldn't let us in

but we got these things,
backstage passes.

How come you didn't come out
and give me my pass earlier?

l was outside for so long.

We were outside for a long time,

and here is my witnesses right here.

Because you never believe me.

You never believe me, Stone.
You never fucking believe me.

l knew when l met Stone,

l couldn't imagine
hanging out with the guy.

Mark Arm introduced me to him,

and within five to 30 seconds,
l think he wanted to punch me.

l had recently been introduced

into the exciting world of sarcasm,

and so that, to me,
was the greatest joy

anyone could ever have.

Out here...

Rock people of all sorts,

Susan Silver, Chris Cornell,
Jeff Ament.

We had a bit of
a chip on our shoulder.

We always felt, l think,
like, if it came from New York

or Chicago or Minneapolis or Athens,

it was probably better,
but there also was

this attitude of
somehow we will persevere.

lt was very different

from Los Angeles'
or New York's band scenes.

There were tens of groups in Seattle,

but they all knew each other,
and everybody was talking about

Jeff and Stone's new band,
Mother Love Bone,

and their amazing
charismatic front man.

His name was Andy Wood.

l want the world to know
that Mother Love Bone is coming

to take over the world,
a plethora of delights,

a fruit salad compote of delights.

He was a fantastic entertainer.
People loved him.

l mean, people loved to see him
do his thing.

He was very funny.
He would do something

like go to The Central Tavern
when there was 25 people there.

He'd play it like it was a coliseum.

''To all you people in the back!''

And there's, like, two...
There's the guy at the door.

He was a rock star. He knew it.

And something about that...
l'll speak for everyone...

Made us believe that we were, too.

l want to get
on an arena tour with some band.

Who cares? Warrant, for that matter.

What the hell?
Go on tour with Warrant.

Just so we can play arenas.

That's the kind of crowd l like.

There's an easy crowd.

You can say anything.

You can say,
''Your mother smells bad, people!''

And they'll just go, ''Yeah! Yeah!''

There are certain people
you just know that you love,

and you'll do anything for them.

You just wanted him
to be a rock star.

You just saw it and were like,
''l'm on your team.

''l want to be anywhere near you.''

We're going down to L.A.
on Monday to record an album.

Do you think you're
the band of the '90s?

Do you think you're gonna be
one of the forerunners?

l think so. l hope so.

l mean,
l thought l always would be involved

in the band of the '90s.

So if we're not the band of the '90s,

l'm gonna fire my band
and get a new one,

and then they'll be
the band of the '90s.

'Cause you know what was weird?

Like, l was listening
to the bottom end of all the songs,

'cause l was kind of worried
about Stardog, you know,

and the bottom end of it...

The first guy that l called

to see if he wanted to be
my roommate was Stone Gossard.

He was living at home, l think,
and he answered the phone,

and he's like,

''Yeah, no, l'm good.
l don't really want to...

''l don't really want to change
my living situation right now.''

And he was at home, so l thought
that was a little weird.

But l thought,
''Whatever. That's great.''

And he said,
''But Andy just got out of rehab,

''and he might need a place.''

And l thought,
''Well, that would be cool.''

You know, l didn't really know him,

but l thought,
that would be interesting.

He seems like an interesting guy.
lt would be cool.

l called Andy up, and he's like,
''Sure. l'm coming over.''

Chris and Andy
had a very deep relationship.

l know that both of them had 4-tracks

set up in their bedrooms,

and they would each try
to record a song a day

and play it for the other guy.

He just had a freedom.

He didn't edit anything that he did,
anything that he wrote.

He didn't care. He just charged
through the creative process

without a care in the world,
and l was the opposite,

overanalyzing, and...

lt was just
a really exciting creative time.

Thank you so much.

As long as l've known the guy,

there's always been different times

where he wasn't comfortable
with himself,

and his using drugs
was a product of that, too.

lf you know any addicts,
you know that, you know,

just because they quit
for three months doesn't mean shit,

and he was someone who definitely had

a certain tragic flaw.

That's where his greatness came from.

We knew that
he was trying to be sober,

and we knew that he was really...

That he couldn't just sustain...

You know, you can't just...

You can't...

You can't really be a junkie

and be super-productive and, like...

l mean, maybe somebody can,

but he wasn't going to be able
to do it.

That morning, like, March 19th, 1990,

there was, like,
five messages from Xana,

Andy's girlfriend at the time,

saying... You know, just hysterical.

We all got in a taxi

and went up to Harborview,

and he was on life support
at that point,

and it was a fucking trip.

l mean, it was, like,
the worst, most horrible...

lt was confusing, you know.

lt was, like,
''Andy O.D.'ed and he's not dead,

''but he's not gonna live,
but he's not dead,

''and you've got to come now.''

Whenever people would start
to get into drugs after that,

l'd always... l always thought, like,

l wish l had a picture of Andy
when he was in the hospital,

because it was... lt was so horrible.

He was... They kept him alive
for a couple of days.

l think mostly just so
family and friends

could say good-bye
or whatever, but...

lt was... lt was horrible.

lt's difficult to articulate it,

but, it's...

You know, up to that point,

l think life was really good for us

as a...
Just a group of musicians in a scene,

making music.

lt just... You know,
the world was sort of our oyster,

and we had support,
we supported each other.

And he was kind of like
this beam of light

sort of above it all,

and to see him hooked up to machines,

that was the...
l think the death of the innocence

of the scene.

lt wasn't later
when people surmised that...

That Kurt blowing his head off
was the end of the innocence.

lt didn't... lt was that.

lt was walking into that room.

So at this point, l think everyone

really wants to take a break,
for one,

and just kind of let things happen
naturally to a certain extent

to see where we want to go with it,
you know.

We're not in any huge rush

to be rock stars at this point.

And Andy's attitudes and personality

were such an integral part
of Mother Love Bone

that, you know, there's just...

You wouldn't be able to replace him.

lt's just not,
in our minds at least, it just...

Fiddle with it.

What? You just lost all sound?

Check.

Hello. Hello. Hello.

ln some ways, l was just thinking

about this
in the last couple of days,

that l can relate to
the Clippers and the Nets

because... l've kind of...

l feel like my musical career
has kind of been that way,

in that every time that it seems
like it's starting to take off,

somebody goes down with an injury

or the coach gets fired
or something happens.

l remember Jeff saying,

''Maybe l'm not supposed to
be doing this.

''You know, that was my shot,
and it's gone.''

l think if my dad and l hadn't had

such a contentious relationship
at that point,

l probably would have left Seattle.

l never felt like giving up.

You know, l think l was writing
songs days later probably,

you know, playing my guitar
and still just going,

''l love playing my guitar.''

l ended up playing

with a really good friend of mine
in town named Mike McCready.

We got together,
and we started playing

in his parents' attic.

That's when l had the conversation,

''We've got to get Jeff Ament
in the band.''

Jeff was playing
with some other folks

and l think having a good time
doing that,

and my first instinct was like,
''l don't know.''

l remember him just saying,
''Fuck Jeff Ament,''

or something like that,
and l was kind of shocked.

Like, ''Dude, that's your guy.

''You've been with this guy forever.''

But Mike was like,
''No, you've got to.''

And l was like, ''Okay.''

And then Jeff was there,
and l was like, ''Yes.''

We went in and did a demo

pretty quickly after that
with Matt Cameron.

And l was like,
''What are you guys gonna do with it?''

And they were like, ''We're
just trying to get a singer.''

l was working a security job
in San Diego.

l was just, like, writing music
in my living room

for the longest time, you know.

This instrumental tape,
it migrated to me,

then it really started
bringing out some emotions

that l hadn't touched on in a while.

lt just...
this natural thing came out,

and all l did was record it.

l surfed in P.B.
one morning after work

and went and recorded it,
like, literally

with the sand still on my feet
and stuff

and just sent it up that day.

This is where Jeff Ament...
His apartment was.

This is the place where l came over
after he called me

and said, ''l got this demo from...
Back from Ed,

''back from Eddie,

''and you should come over
and check it out.

''lt's good.''

lt was a voice on a tape
that blew my mind.

lt was kind of,
''Who is this? ls this real?''

l really remember thinking that,

like, ''ls this a real guy?''

''Who is this guy?''

Here, in fact, is the Momma Son tape.

This is it, huh?

That is the tape.

Crazy.

l remember listening to music.

l remember thinking about his voice.

l heard a person in there,
like a real person.

l didn't hear a person trying
to sound like another person.

l heard a guy. l hadn't met him,

but he's in there.

And lookit. lt has...

There's my phone number on it.

l'll call the number later

and see if l can find a younger you.

Tell him to be careful.

Hold on. Hold on, my friend.

Hi. l'm Eddie Vedder.

ln Seattle, l feel like
l'm kind of the new kid, and...

l'll be a new kid for a while.

We flew Ed up,
and we hung out for about a week

and worked on these songs

in the basement of
Galleria Potatohead.

lt's just nice to walk in that room,

and you smell raw materials,
you smell paint.

There's this whole feeling of,
like, creativity.

You hear the pound of your footsteps

as you go down this basement,

and you just go in and light it up.

l remember right before he got
on the plane to come down,

he said, ''When l get there,
l want you to pick me up,

''and l want to go straight
to the practice studio

''and l don't want to fuck around.

''l just want to plug in
the instruments and get at it.''

The music that sprouted
right off the bat

was pretty heartfelt and deep,
and before we knew it,

we all spent five days rehearsing.

The sixth day,
we played a fucking show.

We thought it was just insane
that we were playing a show

after being together
for five or six days, yeah. Totally.

Let's talk about the show
at The Moore.

The hidden Eddie Vedder.
Where was he?

He was frightened. He was terrified.

lt was a bit hard for me
at the beginning,

coming up and being part

of a different place
and a different scene,

and it wasn't just a neutral zone.

lt was their zone.

He was really coming from
a different place

that l didn't...
l didn't fully understand.

And l felt like he's good,

and then once l met him
and saw how personable he was

and, like, excited and not fucked-up

and you know, just like a guy that

we sent him music,

and literally, like, two weeks later,
we had music back.

And that it wasn't Mother Love Bone.

That was big.

You know, we had gotten a few tapes,

and they were all, like,
Andy kind of tribute things,

and it was all like whoa...

l think it took me years
to understand Eddie.

My dad... He passed away

before l knew he was my dad, right?

So l grew up with this dad
l thought was my dad,

and then l found out later
that he wasn't

and that the guy who was my dad

had already passed, like,
a few years earlier, man.

There's only two chords to this song.

lt'll probably be really boring
on an acoustic.

You know, looking back,
l realize, like,

we all got together in that room
at that time,

and you know,
l was still thinking about stuff

with, like,
my dad and loss and all that,

and then
what they were thinking about,

having been through the situation
with Andy and everything, so...

ln ways we were strangers,

but we were coming from
a similar place.

And all that kind of came out
in the first batch of songs.

Release was kind of a drone jam

that we were messing around with
in the basement

the first week that Ed came up,

and it was one of those songs

that he just started singing
over the top of it,

and these words came out of him.

l remember the first time
that we played that song,

right at the end of it, l remember

he sort of ran away
and ran around the corner.

l was thinking about my dad,

and then afterwards,
it got me all tore up,

and l went in the little hallway,

and then Jeff came out
and said, you know, ''You okay?''

So this one here,

this is, l don't know
if you've ever seen this.

This is my dad.

l met him a few times,

but he was just, like, a friend
of the family or something.

Edward Louis Severson lll.

When l was born, that was my name.

So he kind of...
He's up there for me.

Like, he's up in the ether somewhere.

l feel him sometimes.

The camaraderie and
the healthy competition part

l found later was unusual,

and it was Johnny Ramone
that actually

pointed that out to me later,

talking about, l think,
you know, the friendship

you saw between Pearl Jam
and Soundgarden, for example,

and saying,
''l've never seen that before.

''New York wasn't like that.
We hate each other.

''We would screw each other up
at every turn.

''lf you could, you would
mess the other band up.''

The best thing about it is,
l think, that...

You learn from each other,
you know, and you...

You're inspired by each other.

For me,
Temple of the Dog grew out of that.

After Andy passed,
Chris just wrote these songs.

We were going to record it with,
you know,

the surviving members of
Mother Love Bone.

lt was a fun record
that no one had any expectations for,

so nobody worried about it,
and that made it

feel very fresh
from beginning to end.

For him to write songs

and then have the idea
of sharing those songs

with Jeff and l was just, like,
another generous gesture

that said, ''l'm not only gonna
help you guys with this record,

''but l'm gonna even ask
your new singer,

''who he just is kind of
a shy, quiet guy,

''because l haven't really
heard his voice yet.

''l kind of saw you guys live,

''and you know, maybe he can sing.
l'm not sure.''

And then you hear it, and you go,

''Our guy sings
really fucking good, too.''

Eddie was very shy at the beginning.

He was very kind of self-conscious.

He's wasn't fully comfortable,
l think...

Until him and Cornell
went out one night.

He really embraced Eddie
when he first moved up here,

and sometimes l wonder
if that was a void that he felt

from Andy's passing,

having another
equally talented singer

that he could sort of
bounce ideas off of

or just basically relate to.

l know Eddie felt a real mentorship,

and l think that gave him
a lot of confidence.

lt was the first time

l ever heard myself on a real record.

So it could be one of
my favorite songs that...

That l've ever been on,
or the most meaningful.

Where's Stone Gossard
when we need him?

Where is Stone? My God.

We went up to Vancouver
to open for Alice in Chains.

Played at this place called
The Town Pump.

During the song Breath,

security was taking out
some kid, some drunk guy.

They were being overly aggressive.

They were really taking this guy out,

and Ed noticed that, was watching it.

And you could just see
this change come over him.

This guy that had been shy,
that people didn't really know,

he didn't know us, all of a sudden

his voice changes,
his attitude changes.

lt just got really intense.

You got a problem.

Here we are in the studio.

They're known as
Mookie Blaylock, but...

Not anymore.
We had some legal problems.

Yeah, the name was taken

by this guy named Mookie Blaylock.

Mookie Blaylock and Michael Jordan.

Look at that. They played yesterday.

The Bulls won, victorious.

So the new name is Pearl Jam.

We're not
gonna cultivate anything today.

Okay. So Pearl Jam, the new name.

And you guys have a lot
of other stuff going on,

almost as we speak.

Yeah. We're going in
the studio tomorrow

to make our first album.

l was selling merchandise
at that time,

and you know, you can only take
so much stuff into Canada.

Everything we brought,
you know, l brought

based on kind of what we'd been
selling up to that point.

That night, before the opening band
was even done playing,

l had sold out of everything,
stickers, T-shirts.

Anything that we brought across
was gone.

l had nothing to do
for the rest of the night.

So l grabbed my camera
and filmed the whole show.

They were breaking.
Things were taking off.

That's our CD.

See, l hate holding up a CD.

l want to hold up an album.

You can barely see this.

Our band is doing 10 times as well

as l ever thought we would.

We're getting to play shows
almost every day.

You know, we're happy.

So the band's chemistry
seems really good right now.

Yeah. Yeah. Very much a family.

What is, you know, being
on the road, being touring,

what is the strangest thing
that has happened to you?

Right here.

l'd like to thank D'arcy
from the Smashing Pumpkins

for letting me borrow her wardrobe.

l think she looks a little better

in it than you do, though.

We showed up in Zurich, Switzerland,

and the venue was almost like
a kind of an art house.

The stage is, like, about as big
as our drum riser.

We're like, ''What are we gonna do?''

We'd been playing enough
at that point

that we were kind of ready
to change something up.

And we asked the local guys,
''ls there a chance

''that you could get us
some acoustic instruments?

''Maybe we could just do
kind of an acoustic show.''

And we'd never done that before.

And then it was the next day,
somebody called

and asked about ''MTV Unplugged.''

So we said, ''Yeah, we could do that.''

Yeah. We just did it. Yeah.

Yeah.

lt's a true story,
something that l really felt

and l still feel
every time l sing it.

A lot of your songs
are sort of on the dark side.

ls there any reason for that,

or is that just mostly
what you see, or...

My emotions.

lt seems like l should be
even really happy right now.

You know, l get to, like, play shows.

lt's been amazing, but the fact is,

it's like my emotions are like
a quarter flipped in the air.

lt's just like black and white,
you know, good and bad,

constantly, and you know,
maybe by talking

about things that may be
a little darker

or more, you know, on the
negative side of our existence,

by dealing with them,

maybe that's where
l find my happiness.

The folks at MTV said

they thought that was
one of the best ''Unpluggeds.''

ls it nice
to get that kind of response,

especially when it's
a stripped-down...

l don't trust nobody,

especially when they say
something good.

lf l even see you having fun,

you will be promptly arrested

and led away.

Fuck security.

Yeah!

That was when Ten
was completely blowing up.

They played at 3:00 in the afternoon.

They were, like, the second group.

But the frenzy during their set
got more and more extreme

as the tour went on.

And it was all a whirlwind,

because we went from vans
to playing little clubs

to a little bit bigger clubs,

and then we get in ''Lollapalooza,''

and then you have everything blow up.

l remember not being able to sleep

for entire nights after the show

because you'd be so buzzed.

l finally figured out years later

that if l took a bath,
that sometimes put me to sleep.

ls it like you can...

Like you're just walking
down the street one day

and all of a sudden you feel like

you're getting a lot more exposure

by a lot more people
coming up to you?

Like, l'm just wondering, like,
when would you start noticing

that all of a sudden, you know,
your millions,

millions of people are, like...
Yeah, exactly.

That would be weird.
That would be weird.

We try not to think about that
as much as we can.

We try not to think about that
as much as we can.

Think about that sentence
for a while, America.

Think about it.

Back on the ''Headbangers Ball''

with Eddie and Mike
of the band Pearl Jam.

The album is called Ten.
Why is it called Ten?

Actually, that's back to
Mookie Blaylock.

That's his number.
lt's total dedication to Mookie.

Now, we're about to play
your video for Alive.

Did you like making the video, or...

That was the thing.
We didn't make a video.

We said we just wanted to play live.

There's no way,
with a song like that,

which talks about
living for the moment,

that we're going to, like,
lip-synch something

that we had recorded
a few months ago.

l wonder what they're going to
do for another video

if we ever have to do one,

because all we ever want to do
is live.

Really? You can't see yourself

ever making some sort of conceptual
video or anything like that?

Roll sound. Background.

l personally have no problem

with the theory of doing
a concept video at all.

To me, it's more of a question

of what you have more control over,

and we're going to give
some control up this time

and, you know, see how it works.

That song was part of the second wave

of songs that we wrote with Ed.

l still didn't really understand
songwriting at that point,

and pretty much
that whole song is in A.

There's not really, like, a real
major chord change in that song.

lt sort of goes
against the rules of, like,

how to write a pop song.

Ed had been reading a newspaper

when we were starting to
jam on the song

and basically wrote the entire lyrics

off of a newspaper article.

Visually making that video
with Mark Pellington,

he did such a great job
at making you see

kind of how heavy that lyric was.

You seem
kind of embarrassed about it.

This seems to me to be quite a valid

sort of artistic thing
to be doing up there.

lt was just... lt's a different...

You know,
it's a different kind of focus.

You know, and that's the key to it,

is just focusing, you know,

but kind of like, with a camera,

that's just... You know,
l'm just not into it really.

Yeah!

We've never played
for this many people before.

We never thought we'd ever play
for this many people.

So you ready for one more?
1, 2, 3, 4.

Yeah, lots of times,

especially when our singer
starts climbing up on the ceiling,

like, 50 feet above the stage,
and, like, is on a truss.

You know, it's like, ''Don't do that.''

Were you worried he'd fall down?

All the time.

l thought, ''This guy's gonna
fall and kill himself,

''and our career is over.''

l was worried every time he did it.

Over the gigs,
it got higher and higher.

You'd do one,
and then you'd notch it up,

because you survived
the last one, so...

We're gonna take this to some level

that people aren't gonna forget,

and if that means risking your life,

we're gonna do it.

You know, we'd get to the hotel
after the shows or whatever

and feel pretty good physically,

and then l'd take a shower
and realize that l had, like,

a thousand deep scratches on my back.

l didn't want him to hurt himself.

But at the same time, it's like
there was no talking to him.

He was going to do
what he was going to do.

He could have killed himself
a couple of times probably

for sure, which would have been...

More than l could have taken.

Tell me. You look quite mixed up.

Look at these pictures.
l'll show you these pictures.

l'll show you why
l feel the way l do.

lt's a little bit overwhelming

to see this many people.

l mean, l'm sure you've been
looking at this all day.

lt's a lot of people.

We're used to playing small clubs,
you know,

and we want to go back
to playing small clubs.

He wanted Pearl Jam to be a band

that goes out and tours in the van

and pays its dues and plays clubs

and makes albums and
has a slow, natural life.

He was not the guy
that wanted to come out

and have overnight success.

l think he was critical
about the mixes of Ten.

He felt like maybe they were
leaning too commercial.

He was really reluctant.

You are also not going to be

doing videos right away at least.

We just don't know.

You know,
our mind is on music right now,

which is probably a really
good thing for everybody.

l think l got that theory
to make that part work.

l come in one earlier
than l normally do.

So l still do four.
So it almost felt like it didn't...

lt almost kind of always felt like
l did

one too many or something,

but it didn't, like, play itself.

Let's just do it one more time.

A lot of my job
is taking what they bring

and turning it into something.

Okay, this is a chord change.
This is this. This is a melody.

Okay, but what does that mean?

Where am l?
lf l close my eyes, where am l?

What does this music mean?

Let's just figure out
where we want to go on that verse.

l was at this, like,
small, little coffee shop,

and someone came up and stopped me,

and the waitress, this older lady,

kind of witnessed it
and said, ''You're...''

l said, ''Yeah, yeah,'' you know.

She says, ''What? You don't like it?''

l said, ''lt's just...

''lt's no big deal, you know.
l'm just this guy.''

And she says,
''lf you don't like it, you know,

''you certainly picked
the wrong business to be in.''

And she had a really good point.

The fact is, when you sit
in your room playing guitar,

you don't have to worry
about being successful.

lt's not gonna happen.
lt's just not gonna happen.

The point of doing an encore

just doesn't make any sense to me.

When you're playing
in front of 30 people...

l had done the movie
''Say Anything...''

and was anxious to do
the next movie here in Seattle,

and it was going to have
that mix of music that l love.

The studio looked at the movie
and said,

''We don't know
how to sell this movie.

''We don't even want to put it out.''

But as Nirvana got bigger
and Pearl Jam got bigger,

they came to me and said,
''Well, you know, there is one way.''

When we looked at the schedule,

it was like there was one day off
that week,

and that was the day
that he wanted us to play,

and we're just going like, ''Shit.''

Any memories of
the ''Singles'' party in Los Angeles,

which we have
very vivid footage from.

God. Do you have
some footage of that?

We do.
The unaired, of course, footage.

Yeah. l won't watch that.

Fuck MTV! Fuck all TV!

lt was pretty bad.

We're all just warming up, you know.

lt's not like one of these
fucking movie things.

You've got to warm up, right?

lt was a disaster,

a total disaster.

Everybody loves us.

Everybody loves our town!

There were some long soundchecks
that day or something.

So l drank, like, one bottle of wine,

and then there was, like,
another that l opened

to give to friends,
and they weren't drinking.

And so we're downstairs,

and there's a bottle of tequila
sitting down there,

which we hardly ever drank
before the show,

but by that point, we were already,
like, fucking wasted.

l actually have more memories

than you'd think l would have.

The monitors
weren't working that well,

or my ears weren't working,
one or the other.

l kept looking over and
asking them to turn the monitors up.

l can't hear anything.
And it just wouldn't turn up.

At some point after a while,
l just got really upset,

and l went over.
They had this pipe and drape thing,

and l pulled it off
and threw it down or something.

l don't know. ls this documented?

l looked over,
and that wasn't our soundwoman.

lt was the lighting person.
l kept wondering, like,

''Why is it getting brighter in here?''

l began to see studio executives
and their families

starting to stream for the exits.

Some fights were breaking out.

Don't be violent!
Fuck you! Fuck you! Fuck you!

Because we had waited so long

for anyone to ask us to do something

that we were saying yes, yes, yes.

That was a moment where
it was really evident

that there was always gonna be

one more thing they were
gonna want you to do.

At some point, you had to say no.

That was the birth of no.

Let's keep things rolling here, Tab.

''Grunge rockers Pearl Jam.''

We don't have time
to explain the puzzle to you,

but we'll be back.

Shit got fucking crazy.

-Who are Pearl Jam?
-Right.

This is MTV's ''Smells Like Grunge''
countdown.

l was just screaming for anything.

l wanted something of Eddie's.

And they gave me the wine bottle.

What did you think of the show?

lt was fucking so awesome.

Could you do a Week in Rock
open for us?

What is that?

We're just about to launch
MTV in Latin America.

l don't know if you feel comfortable

doing a couple of l.D.'s for us...

-Sure.
-Sure.

ln Spanish. So if you
could just hang on. Josh.

Pearl Jam.

MTV.

What do you think grunge means?

l don't even say that word.

Really?

All your friends are
talking about is Pearl Jam.

Pearl Jam. Pearl Jam.
Pearl Jam. Pearl Jam.

l've always hated their band.

The first Pearl Jam
record came out two months

before the Nevermind record,
so it turned into

a Pearl Jam versus Nirvana thing.

Nirvana's Kurt Cobain made

some rather disparaging remarks
about Pearl Jam's music,

which he thought was too commercial

to be truly alternative.

l was so naive and fresh
when we first came out,

singing and opening up,
and then everyone

just looked at it
from a cynical point of view

or started copying it.

Eddie Vedder joins
Creed front man Scott Stapp.

Eddie Vedder is attempting

to rip out Scott Stapp's larynx
with his bare hands.

The group is called Pearl Jam.

l'm talking about Pearl Jam.

Pearl Jam. Pearl Jam. Pearl Jam.

Pearl Jam. Pearl Jam.
Pearl Jam. Pearl Jam.

Pearl Jam...

Hi. l'm Tabitha Soren
with ''MTV News.''

Pearl Jam will become the second
Seattle band within a month

to enter
the Billboard pop albums chart

at number one next week.

Since its release a week ago,

Vs. has sold 950,000 copies.

A million.
You know, what's a million?

l'm having a hard enough time
with one right now.

We played ''Saturday Night Live''
the second time,

and l remember
talking to Stone the next day,

and he said, ''What did you
think of Daughter?''

And l thought in my mind,
we played Daughter?

So l essentially blacked out on TV.

And that's how l dealt with
how big we got,

kind of checking out
and partying a lot.

l bought into the myth,

and it was killing me.

The last time l talked to Kurt,

we both agreed together
that we were not

going to participate in
the Time Magazine.

Neither band was going to participate

in the Time Magazine interview,
and we didn't,

and then they put me
on the fucking cover anyway.

l mean, sure, l could read it,

you know, and l read it.
l read it on the airplanes.

But l don't take it seriously.

lf l want to find out anything,

l'm not gonna read Time Magazine.

Time Magazine was just, you know,

your parents' magazine

or the magazine
that's in a doctor's office,

and l just thought,

''We've been swallowed up
by the mainstream,

''and no one's gonna want to
listen to us.''

l'm not gonna read Newsweek.

l'm not gonna read
any of these magazines.

l mean, 'cause they've just got
too much to lose

by printing the truth.

You know that.

How were you going to survive
and not do something wrong,

not piss someone off?

You know, now you've sold
too many records,

but these people are so happy
to hear your music,

but these people hate you now.

And... And these people
love you so much

they want to kill you.

So how do you relate to
any of these people

from where you are?

Yeah, l think the one that
l wanted to get impersonal with

was No Code
because of stalker problems

and built a wall
in front of the house

because... Because why?

Because l had been open
and honest and intimate in lyrics,

that seemed really strange.

Now l'm having to build a wall
in front of the house.

l mean, that wall...
lt saved my life.

Not because of privacy
or anything, but literally,

because someone drove,
trying to drive into the house

at 50 miles an hour.

So, you wonder what happened

or how did it mutate into
this kind of situation?

You'll have to edit this part.

The young musician
who made grunge music popular

had become an overnight spokesman

for many disaffected young Americans,

as his fans tried to sort out
what it was

that caused him to take his life.

l was trying to, like, with my eyes

trying to tell them, ''Don't hurt me.''

And what's all this nonsense

about how terrible life is?

A young girl who stood outside
his home in Seattle

with tears
streaming down her face said,

''lt's hard to be
a young person nowadays.

''He helped open people's eyes
to our struggles.''

Please wipe the tears
from your eyes, dear.

You're breaking my heart.

l'd love to relieve
the pain you're going through

by switching my age for yours.

l was trying to call him

because l'd read something he said,

that he couldn't keep it real,

and l just wanted
to tell him, ''Listen,

''you don't have to do anything

''anybody fucking tells you to do.

''Just stop fucking playing,
cancel all your shit,

''and don't do anything.''

l had a whole thing
l was going to tell him,

but l never got a chance.

Sometimes people elevate you,
you know,

whether you like it or not.

lt's real easy to fall.

l don't think any of us would be
in this room here tonight

if it weren't for Kurt Cobain, so...

People think that we're whining
or crying about success

if we're just really trying
to tell you

that there's some intense pressures

and really some things
that could be helped.

He resonates in my life

in this... lt always comes up,
like, around a campfire

or playing music with a few guys
he had known in a garage

for no particular reason.

l always just think,
''He would have...

''He would have liked this.''

l really like him.

l think he's a nice,
really nice person.

l didn't like him a lot then,

when l was talking shit
about him all the time,

but now l can...
l can appreciate him, you know.

l mean, l've realized that, you know,

the same people that like
our band like their band,

so why create some kind
of feud over something?

He made us think about
everything that we did, you know.

His critique of us early on

sure kept us on good behavior.

ln terms of everything that we did,

we thought,
''Okay, why are we doing this?''

lf we're good now,

it's partly because of him.

lt's not like you're friends
or anything.

l mean, l can consider him

a person that l really like.

l mean, we've had a few
conversations on the phone,

and l really like him.

l think he's a nice,
really nice person.

Yeah, l remember
the sound of his voice,

but l don't remember
what we talked about.

Just normal stuff.
lt was just real...

Just real normal.

l haven't let myself change,

but the way people see you changes,

and that's not in my hands,
that's not in my control.

And maybe what is in my control

is not doing interviews,
or not being on the TV,

and not anything to kind of
glorify your face or position.

l was talking about this band
being a bit more faceless,

and it can be done, you know.

Pink Floyd and...

l mean, it can be done.

Ed couldn't be anonymous,
and it was affecting him.

So l think psychologically,

he needed to take control
of something.

So then he was like, ''Okay.
l can have control over music.''

l felt that anything that we put out
was highly representative of me,

because l was kind of becoming
the most recognizable guy.

Vitalogy was the first record

where it was like we were making
a record in a different way.

l was writing a few songs,

but all of a sudden
everybody was starting to write,

and he was writing more,
and l was like,

''Wait a minute, you know.
l'm the guy.

''You know, let me get in there
and do this thing.

''l know how to do this thing.''

And at the time l thought,
''This isn't our best record.''

The dynamics of the band
of how they have changed

to who was ''in power,''

Stone early on,

Ed now.

As much as l'm excited to play,

l'll cop to it, it's a surfing tour.

l plan on having a surfboard
with me at all times.

That was a big worldwide tour.

l think it was the first time
we went to Australia.

lt was a challenging time,
to kind of go,

''l don't know if we're
the same band right now,

''but we might be a different band
right now,

''and maybe
they'll like the new band.''

Jeff and l have always had
this adversarial relationship.

lt's all been muted now

because what we thought of
as our new band

that we might try to control together

immediately was taken over by Ed.

But we learned
the greatest lesson of all,

which is just as you're fighting
over the scraps of control,

you meet somebody
with so much artistic energy

that your argument becomes pointless.

We were always kind of
going towards something else.

l think we wanted to be
more like Zeppelin.

l think we wanted to be more
of a chameleon type of band.

We didn't want to be locked into,
like, a real specific style.

But the business aspect
of the record company,

it's all about
fucking making money now

and fucking wind this thing up,
and you know,

they could care less
if it's gone tomorrow

because they've got something
coming up the fucking backside

that's gonna replace it.

And we were just trying to figure out

how we were gonna be a band
down the road, you know.

Like, there wasn't anybody to
go to at that point, you know,

not until we met Neil.

The first time we got asked

to play The Bridge School
in San Francisco,

we just made a connection there.

He said,
''Hey, man, thanks for doing this.''

And a few months later,
he asked us to go to Europe with him.

Like, it all seems like...
All seems like a dream to me.

Doing a record with him,
we did Mirror Ball,

it was so educational, listening
to him talk about his career.

Playing in stadiums one minute,

and then the next time
he's playing in clubs,

and then he's playing
in medium-sized places,

but all along, he's doing
whatever he wants to do.

His point is to kind of
roll with the punches.

l'm happy to finally have
an adult in my life

that leads by example.

l've had some crazy adults
in my life.

So it's about time l got one
that inspires me.

l hope Neil's feeling feisty tonight,

and speaking of feisty,

some smart-ass
who arranged the tables

put our table right next to
Ticketmaster's table over here.

So l predict a food fight
by the end of the evening,

and l would recommend
to the classy people over there

to scoot away or join in.

Maybe we should all join in
while we got them right here.

ln the United States,
the hit rock band Pearl Jam

has taken battle against
what it claims

is the greed of
the entertainment industry.

lt's tackling the high cost of buying

from the country's biggest
ticket agency, Ticketmaster.

All the band wants, it says,
is a fair deal for the fans.

We don't want
to be doing a press conference.

We want to be playing.

The nation's top rock band
is accusing

the biggest ticket distributor
in the business

of unfair practices
and price-gouging.

lf they don't agree to Ticketmaster's
terms, they can't perform.

A spokesman insisted
Ticketmaster never told

any promoter not to book Pearl Jam.

He dismissed the band members as,

Last month, the band took
the extraordinary step

of filing a complaint here
at the justice department.

When you're on that big of a stage,
it's not in your control.

You're sort of playing a part
to some larger drama.

We had a very specific problem
with Ticketmaster,

and they asked us to come and testify

about our specific problem

in regards to a larger lawsuit
that was being brought,

but it's always been
perceived as, like,

we were trying to
break up Ticketmaster.

The subcommittee will come to order.

We are honored
to have representatives

of both Pearl Jam and
Ticketmaster here with us today.

The key question is whether
recent contractual agreements

between Ticketmaster
and most major stadiums

and concert promoters have violated
federal antitrust laws.

Who would like to go first? Stone?

All the members of Pearl Jam
remember what it's like

to be young
and not have a lot of money.

Many Pearl Jam fans are teenagers

who do not have the money
to pay $30 or more

that is often charged
for tickets today.

We have made a conscious decision

that we do not want to put
the price of our concerts

out of the reach of our fans.

Mr. Chairman,
this is really about choices.

Fans can go from one music store
to another

to find the best deal on a CD,

but they can't go anywhere
but Ticketmaster

for concert tickets.

Do you think Ticketmaster
is entitled to a profit?

l don't think
that question matters, you know.

You do have a contract
with your record company,

and it is exclusive. ls that correct?

l think this line
of questioning is very strange,

because it seems like what does that
really have to do with anything?

The issue at hand here
is whether Ticketmaster

is a monopoly, not whether...

Or to have anything to do with
our business

or what our relationship is
with our manager.

Let's just get it on the record.

-Mr. Horn.
-Now l gather...

Do you want these guys
to play Long Beach or not?

What l want is a record.

What l want is a record here.

Let's just get it on the record.

A record here.

First of all, l want you to know
l think you're just darling guys.

This is so great.

When we got involved in this issue,

l did not know very much, and still
don't, about alternative music.

After some requests, l tried to learn
some Pearl Jam songs,

but l think it's a little beyond me.

Having been a fan
for many, many years,

l don't want to become

something that l despised
as a kid, you know.

When my staff told me
we were going to have this hearing,

l have to tell you,
l knew nothing about grunge,

but l know a lot about the importance
of fairness and equity,

and l think you've raised
some very important questions.

Who were the powers-that-be
that wanted to be perceived

as putting some pressure
on Ticketmaster?

lt's like, you know,
those are back-room,

David Lynch-ian guys in hotel rooms

who need oxygen tanks, darkened L.A.

That's who l always think of.

lt's like, he understands.

Almost a year after picking its fight
with Ticketmaster,

Pearl Jam remains alone
among major rock bands

who could have joined
the Seattle group in its boycott

but never did.

lt's just a few lonely voices

because not many
of the other groups joined up.

There's no deal
between us and Ticketmaster.

We're not playing
Ticketmaster shows this summer.

Shows where we're going
outside of cities

and building shows
from the ground up,

that was a really tough time.

We're trying to find how many
counterfeit tickets are out there.

We saw some people selling tickets.

So we bought them.
We were all psyched.

And then we got up to the door,
and they said they were counterfeit.

Right now,
we're trying to figure out

how to help these kids
get into the show.

Let me just leave you
with this observation.

When art is successful,

it unavoidably becomes a business.

The question then is

whether artists have
an inherent right

to control the limits
of their business

and how it relates to
the growth of their art.

The answer, l'm convinced,

is that artists do have
a right to that control.

l think we've always
just fallen into ways

of doing things the way
we felt they should be done,

and whether they were right
or whether they were wrong,

they were just our ways of doing it.

l've never heard of Pearl Jam,
l must admit.

That makes two of us.

And here we are in your fine place.

And what are the things
that you've kept

that remind you of the experience
the last 20 years with the band?

l'm sure l've kept the least amount
of things of anyone in the band.

How l've always justified that is,

one, l lose everything all the time.

So it comes naturally to me.

And two, Jeff Ament keeps so much,

and really, if all l have to do
is just maintain

my good relationship with Jeff Ament,

l can always go over to his house

and look through
all the stuff that he has,

and celebrate
his keeping of the things.

Pearl Jam in Mexico City

memorial... These are some
of the Mexico City coffee cups.

So that's a...
lt's a little faded now.

Because you use it.

This one clearly needs to go
back in the dishwasher.

Here's something.

Mike McCready just sent me this.

lt's the demos from
Temple of the Dog.

l've got a few...

This is a box full of Pearl Jam
''Touring Band'' DVDs.

And that's 2000.

l don't know why they're still there.

l haven't... l'm not sure...

And a few Pearl Jam CDs here,

the kind of stuff probably
l had someone bring by

because l was trying to remember
how to play some songs.

l don't know if there's anything else
in here.

Let's see here.
Yep, that might be it.

There might be something
in the basement.

Lookit. There's a Grammy.

l knew this was gonna come in handy.

You can tell how l feel
about the Grammys.

You know, at the Grammys,

l was having kind of a bad day.

l was getting thrown out
by security people

for trying to sneak a cigarette
in the backstage,

and you couldn't go out because
of all the photographers there.

So that was part of it.

Spin the Black Circle, Pearl Jam.

l hate to start off with a bang.

l'm gonna say something typically me

on behalf of all of us.
l don't know what this means.

l don't think it means anything.

That's just how l feel.

l remember arguing with
tons of my friends,

because my friends were like,

''Man, what the fuck
was your boy doing?

''Like, if he doesn't want
to be there,

''then he shouldn't be there,''
and kind of all this stuff.

And l was kind of like,
''Fuck you, man.''

Like, what does it mean, you know?

Like, are you fucking kidding me?

You get an award for art?
Like, that's just ridiculous.

Like, if l would have had the balls,
l would have said the same thing.

l should have started a fight
right there.

lt would have been
much more exciting.

What would all these young people
be doing

if they had real problems
like a depression or Vietnam?

Do they work at all?

Are they contributing anything

to the world
they're taking so much from?

lt was kind of around
the Ticketmaster tour.

The four of us, Jack, Stone,
Jeff, and l were traveling in a jet.

Eddie was traveling in a van,
doing a radio show,

and then driving all night
to the next show.

So there was
a huge physical disconnect,

but also an emotional one.

And nobody was
kind of really talking.

He was trying to maintain something

that was more a Fugazi or
do-it-yourself type mentality.

You know, and we loved them,
but we weren't that band.

We needed to sit down
with him and go, ''Look,

''are you embarrassed by us?

''Do you want to be
in the band anymore?''

We thought we were
going to break up essentially.

l thought... l thought
that was going to happen.

And we all agreed we needed to
take some time off and figure it out.

That's highway 200,
and we're like right...

We just passed Ovando.

We're headed towards Lincoln.

And then we just keep going
to the northeast.

That's the spot right there,
Big Sandy.

That's your hometown?

This is the middle of nowhere, man.

l was sort of pissed off
at my parents

for making me live in
this desolate...

l mean, l was hundreds of miles away

from anybody
that l could even relate to.

l was ready to leave at about 14.

A couple trips to California,

like, really fucked me up.

My mom's brother, my uncle Pat,

he had long hair,

and he had tapestries up in his room,

and he'd put the headphones on me,

and he'd play, like,
Abraxas by Santana,

and it would just blow my mind.

l remember just getting, like,
a huge buzz off of it, like,

and getting, like, kind of emotional.

And l would go out
and try to look for records.

lt was really hard to find. There was
no record store in our town.

So l started subscribing to
Circus and Cream magazine,

and my uncle got
Rolling Stone magazine.

And l mean, you'd study that stuff.

ln a lot of those punk-rock records,
you could really hear bass, you know.

You could fucking hear Dee Dee
on those Ramones records.

You know, he was on the right side,
and Johnny was on the left side.

So if you were trying
to learn the songs,

you could just turn the dial over
to the right side

and learn all of Dee Dee's parts.

l moved to Seattle in 1983,

and l think all l wanted to do
up to that point

was to live in a bigger city

where there was
more like-minded people

and more culture
and a punk-rock show,

if l wanted to go see a cool movie.

There were all these...
You know, ''Eraserhead.''

l was hearing about all these movies

that l never got a chance to see.

l don't know if it was
the first contact, it must have been,

was from Jeff,

and l do remember there being a...

A real connection made on the phone,

and talking about artwork,
how he was into artwork,

and your responsibilities
as a band member

or working with people that get
that it's not a slacker job,

or it's not a rock star thing,
or it's not...

lt's about music. lt's about art.

lt's about...
We had all these things in common,

which is probably why
we ended up roommates

when we first started touring.

l think that we just connected
and became really close.

lt's amazing now to look back.

l remember when
Ed first came to town.

lt seemed like it was something

that he had been kind of
waiting for his whole life,

and it was obvious
within the first few minutes

that it was something that
l'd been waiting for also.

l think it would be a very easy band

in some ways for us not to be a band,

and nobody can really kind of
put a finger on what it is

that, you know, kind of keeps us
coming back together,

but it's a strange marriage.

l met Mike McCready
when l was in seventh grade.

He was good.
You know, he played solos

and had a whammy bar and, like,
could do the...

And all this stuff.

l had lived in Los Angeles,

trying to make it in my band
Shadow in 1986 for a year,

and l paid to play,
paid to play at The Roxy,

$700 on a Sunday night in December.
And there was five people there.

So l struggled and went through that,

and l gave up
playing music for a little while,

moved back to Seattle and said,
''l can't. l'm done.''

And then, lo and behold, l get
a call out of the blue from Stone.

l got to see him play at a party
one night

when he was just sitting around

and playing lead guitar with somebody

and was just, in the way
that he does, unconsciously,

giving you these jolts.

He's channeling stuff
that sounds like

it's coming from the fucking heavens,

but l think it's coming from inside.

There's something spiritual
about the way he plays.

And that's when he's in tune
with the good stuff, you know.

As you know, the song Reach Down,
which was the second song l wrote

for the Temple of the Dog record,

l wanted it to be sort of like
a Neil Young,

''Fuck you to the world of people

''who don't want to hear
a guitar solo.

''l'm gonna make an 1 1 or 1 2-minute
song that's mostly guitar solo,

''and that's gonna be
the first song on the album,

''and you can fuck off.''

When l heard Cready play guitar,

l was like,
''We're gonna pull it off for real.

''This isn't gonna be a joke.
He can actually fucking play.''

Because l couldn't.

He went out of his mind.

this guy's a...
he's a fucking rock star.

Like, he's got problems,

and we just thought
he was a nice little kid.

And he's got something in there,
like, he's infected,

and that's gonna come out
again somewhere. Good luck, guys.

He knows me. That's...

l would say that's 100 accurate.

Eddie said,
''Ask Mike about the drummers.''

Ask me about the drummers?

Yeah. He says, ''Mike will
give you the drummers rap.''

Here we go.

We started out with Dave Krusen.
lt didn't work out.

Matt Chamberlain,
he didn't want to go on the road.

He knew of a drummer
named Dave Abbruzzese.

lt's very Spinal Tap of us
to have this many drummers.

Jack lrons.

-Good drummer.
-Great look. Good drummer.

Jack was the guy that gave the tape
that he got from Stone to Ed.

Ed wanted to repay that favor

and say, ''Hey,
you want to come and try out?''

And we toured with him
after we did Yield,

and he played on that whole record.

That's when it was starting to
get too much for Jack.

He called up
and said that he couldn't tour.

We already had a tour booked.

Who can we call that can do that?
Matt Cameron.

Soundgarden had broken up,
so Ed called him.

Eddie, what's going on?

And he's like, ''Hey,
what are you doing this summer?''

Nothing.

We need to leave in three weeks.

-ln 10 days, he learned 80 songs.
-They had a list of, like, 60 or 70.

Something crazy like that.

l would just sort of, like,
close my eyes,

and l'd go like that,
and it was like,

''Okay, do l know that song?''
lt's like, ''No!''

Matt Cameron made us
a better band than we've ever been.

When we'd... We'd have to switch,

let's say, a drummer or something,

you do it out of survival mode.

lt's just like removing an organ.

And when you remove,
like, the drummer,

you're removing, like, the heart.

So it's like
you had a heart transplant.

Binaural is a dark time for me
for sure,

because l had my Crohn's.
l have Crohn's disease.

l was struggling with that,

struggling with addiction.

l was taking pills
to take care of that,

and then that got out of hand.

For me, it was a struggle, for sure.

ln the early years,
we had those transcendent shows

where it was just like
everybody was drunk,

and it was just
the ''lose your mind'' shows.

Everybody lose your mind
at once, you know.

lt was harder to lose your mind
at that point

because everyone was more like,
''l'm 32.

''You know,
we've got some records out.

''l've got this relationship,
or you know...''

We just became more self-conscious

and more aware as you do
as you're an adult,

but it's more difficult
to kind of go, ''Okay.

''We got to just go out
and get crazy.''

And around this time,
l think we were...

You know, we were less popular.

l don't think
we were doing any press.

We'd have meetings
about those things.

lt's like, ''How far are we
gonna do press on this tour?

''Are we gonna do this?
Are we gonna do that?

''Or are we not going to
do any of it?''

And when you don't do any of it
and the changing times,

you know, you fluctuate,
people get over you, you know.

That's probably around that time
Binaural is.

Maybe people were like, ''Okay.
We're kind of over these guys.

''What's next?'' you know.

But some people stayed with us

because we stayed true
to whatever our vision was.

How important
is commercial success to you?

Does grunge still exist today?

How did the second 10 years happen?

You did survive.

And what are the turning points
to you?

Change your position. Moving back.

We still have a problem here.

lt's one of Europe's
worst concert tragedies.

The band had stopped playing
just before the incident.

Deadly trouble in the shape of
a crowd 40,000 to 50,000 strong.

There has been a lot
of pushing and pressure up here,

and 10 to 15 people
have been badly hurt.

We don't know how bad yet.

Tragedy occurred in the rain and mud

late Friday night at the annual
''Roskilde Rock Festival''

outside the Danish capital,
Copenhagen,

when rock fans surged forward
during a performance

by the American group Pearl Jam.

Fans at the outdoor rock concert

packed closer and closer
to the stage,

ending in a crush that killed
nine people and injured three more.

l just wanted to get out of there.

l just didn't want it to be true.

lt was happening
right in front of us,

but l just didn't want it to be true.

And something as horrific
and as shocking

as people being pulled
over the barricade

that aren't alive anymore,

what the impact of that was on us

is, you know,
it will never really go away.

From that point on,
we rethought everything.

l didn't know what l was feeling,
you know.

l think l had such an onslaught
of confusion that...

l mean,
the last time that l felt like that

was when Andy Wood died, and...

l didn't know if l wanted
to play music anymore.

You know, l think we kind of quantify
everything that's happened to us

as pre ''Roskilde''
and after ''Roskilde,'' and...

You know, if early on there was
the birth or the beginning of ''No,''

for us Roskilde was
the beginning of ''What?''

What are we doing?

What do we do to assist the families?

And what have we become?

And what do we...
What do we do to survive?

l think even since Roskilde in 2000,

l think that made everybody get
into a real unique perspective

on where we were at
and how fragile life is,

and l think ever since then,
every once in a while,

we'll just say to one another,
like, ''Can you believe it?

''Can you believe
we're still doing this?''

When l interviewed the band in 1993

for Rolling Stone magazine,
l asked Eddie Vedder

if there was an Andy Wood song

he would ever
be interested in singing.

He said there was one
and one day he would sing it.

On the band's 10th anniversary
show in Las Vegas,

he announced to the group that
he wanted to sing Crown of Thorns,

one of Mother Love Bone's
greatest songs.

And in that moment,
the two bands united.

We wouldn't...

We wouldn't mind attempting something

that's even older than 10 years.

For Ed to kind of
acknowledge the past and sort of say,

''Yeah, this is part of
where we came from,''

and that he would be generous to Jeff
and l and say, ''Yeah, of course.''

That was another huge, huge gift.

l used to think of Andy all the time,

especially when the band got bigger,

because l used to think,

''He would have loved
to play this place.

''He would have loved
to play this place.

''He'd love to play The Garden.''

He would have tore this shit up.

And l wrote down on this paper
''Andy and Ed,''

just because l think about Andy
all the time,

and in the creative process,
l always think about

how lucky l am to still be able
to, like, you know,

go in my basement or, like, pick up
a guitar and, like, write a song

and then manifest it if l want,

figure out how to, like,
record it or whatever, and that...

That's kind of all he ever hoped for,

is just somebody
that would just record him

and, like, some group of guys
that would just, you know,

play these songs for him
or whatever, and l...

l wish that we could go back in time
and be the band for him.

He was playing in those places
in his head...

...for a long time.

So the thing is,
is he got to play them.

Andy.

We played a show in Nassau.

l would say three-quarters
of the crowd fucking booed us.

lt actually really bummed
some of the band out.

They were just, like, ''l never
want to play that song again.''

l actually fucking dug it.
lt was art.

l remember there was
a fireman in the front row,

and he was, like,
showing me his badge.

Fuck you, asshole!

lt was just a bad time
in American history in my mind,

and we were trying to say
what we thought.

When you know the crowd has turned

and there are that many people,

it just feels like you might not
make it out of there alive.

That was Ed
really trusting his instincts

about a very specific thing
that he needed to say,

and he wanted to do it in a way
that was antagonistic.

l think if you have the opportunity,

you have to... You have to
take on that responsibility.

You didn't like that one.

lt's great to be in a band

where, you know,
we're not afraid to do that,

not afraid to speak our minds

and get booed once in a while.
lt's all right.

lt was an uncertain time
for Pearl Jam,

a period when many bands
quietly break up and move on.

But from the beginning,
Stone and Jeff

had always wanted a band
that would last,

one that would keep writing
and recording music,

and that's what Pearl Jam did.

Show by show, they became

one of the most dependably
unpredictable bands in rock.

Ed has a feeling pretty
much everywhere that we play,

and it's such a great gauge of,
you know,

how the crowd's feeling,
and that's, a lot of times,

why the set list
doesn't get done until...

l mean, oftentimes, it's done
10 minutes before we play.

As difficult as it was
at different times,

where you're like, ''We can
go out and kill this crowd.

''We can go out
and kill them right now.

''Let's just start out
with these five songs.''

And you know...
''Yeah. No. We're gonna go on,

''we're gonna play this one
to start out with.''

''We haven't played
this one together, but let's...

''We'll work it out backstage.
lt'll be fine.''

And inevitably, you're so nervous

that you go out there and fumble it,

and then you're like,
''God! Let me just...

''Let's play a hit, you know.''

You know, it would be a lot easier
to play a similar set every night.

lt would just be so much easier,

and yet we can't find it
in ourselves to do that.

That's why you see Pearl Jam.

lt's fucking different every night.

Every night it's different.

lt's funny, but lots
of those decisions we made,

it took 10 years to see
why they were good.

ln that regard, you know,

mixing our set list up every night,

it's the greatest blessing
we could have ever done.

The door is so open for us
to be who we are every night

that we just trust it.

You know, l think that all of us

have been totally influenced
by the seventies.

We're all, like, products of it,
but yet we're not, like, stuck in it.

Our classic guitar heroes,
you know, like Hendrix for Mike

and, like, Jimmy Page for me,

and, like, for Eddie, it's like
he totally loved The Who.

The Who was
the greatest rock band ever.

lt's like all these bands,
so in a sense,

it's a total tribute
to the seventies.

Roger Daltrey wrote me a letter
saying would l like to come play,

and l told him no way,
because that's it.

That's the ultimate.
That's the pinnacle for me,

is that band, you know,

that arrow on the mod sign, you know.

We have to decide whether or not
we're going to remain a circus act.

ln other words, doing what everybody

knows we can do and what
we know we can do. Right?

Until the band eventually
turns into a cabaret act,

-which is inevitable.
-No, that's ridiculous!

Here's me and Johnny Ramone.
l'm wearing a Bob Dole mask.

Uncle Neil.

This is me and Joe Strummer.

And that's the night l met
Jack lrons.

This was hanging in a dressing room.

lt was actually the first night
l had met Pete.

l was terrified.

And the first thing he said was,

''l've waited so long to meet you.''

Now we're just grateful
for our band and who we are

and what we've become,

and grateful that we finally
figured out how to do it.

l think that there was a huge element

of our fans
that just kind of carried us

through a period of time where
we were not there all the way.

You see their belief,
and even when you don't have it,

you go,
''Okay. l've got to figure this out.''

Joining the band,
l was super impressed

with how in-house everything is.

Like, there's no outside
influence going on, you know.

lt's like it all comes from the band.

They saved me in a certain way.

You know, we've been doing it
for 10 records or 20 years,

and l can't think of a show
where l ever felt

like l was just phoning it in.

lt's always pure stoke,
you know, like...

l think that there really is, like,

a collective understanding
of how lucky and how fortunate we are

to still be playing music
with the same group of people.

l mean, everybody, you can feel it,

and it makes being in a band a joy.

There's a... This communal exchange.

And there's obviously a line drawn

between who's on stage
and who's in the crowd,

but not really.

l fucking loved it.
We were two rows from the front.

lt was fucking incredible.

-This was my fifth show.
-24.

-61 .
-54.

153.

Pearl Jam are a band for the fans.

''lf you love us, stick with us,''

and we've stuck with them
all the way,

because what we get out of them
is overwhelming.

These guys flew
from Bucharest this morning.

Budapest.

We came from Denver.

-Townsville, Australia.
-London, England.

Took two weeks off from my job,

and traveled to nine shows in a row
last tour.

There's not another band like them.

Everybody rode the whole
crest of a wave with Ten,

and it was just the thing to be into,

but after that, they've
come out a lot stronger,

because they didn't play the game.

They took on Ticketmaster.
They were pissed off

that people were getting ripped off,

and they took on the man,

and they could have lost,
but they didn't.

l think this band
is really only beginning.

There was a rumor

that it was sort of gonna be
like The Kids Are Alright.

That would be a misconception,
because The Kids Are Alright

is really super genius,

and what we're gonna put out
is gonna be really super us.

Hey, Josh. How's it going?

Fuck you, Kevin.

They stay true to fans as well,

about them releasing
the bootlegs of their albums

so that other people can't bootleg
them and make a sly penny off it,

and that's clever shit.

We're not filming this conversation,
are we?

Yes, we are.

Now you're back.
Why do you keep doing it?

l don't know whether they realize

exactly how much they have given
to us, the fans.