I was minding my own happy business, when I stumbled across an article that crushed my heart and soul before I even got past the title... It was called "10 Genres Better than Grunge Rock" I'm not sure who took a dump in the author's cornflakes, but I'm sorry, there's just a million things wrong with that phrase.

First of all, each genre is unique and often influenced by many others. Why compare so harshly? Genres work together to provide us with an amazing and endless library of jams going back to the first time a caveman banged a rock against the wall and discovered some ancient form of beatboxing, probably. Point being, it's not a competition. Not even to mention that all forms of art are subjective, appealing to different people in varying ways.

The second and even more important point I'd like to make is that grunge rock is extremely impressive and extraordinary- in the most ordinary way. It was influenced a good bit by seventies rock and is similar to punk, but a little slower with a bit more substance. It was less careless and more carefully crafted.

It all goes back to Seattle, Washington circa 1985. The quiet city was a remote and rainy little place known for its booming timber industry. Exciting, right? This was where the happiest of accidents was quietly brewing while the majority of the general population was hooked on new wave and alt rock like R.E.M., Blondie, or New Order (happy accident being grunge, if you didn't catch that).

Mark Arm of Mudhoney and Green River credits "isolation and inbreeding". It was a kind of secluded, sleepy city. The post-nine-to-five go-to pastime was drinking and jamming in the garage. Being as small as it was, everyone knew each other. This fostered lots of networking and connections- mi rolodex es tu rolodex. It also encouraged some creative stealing, people borrowing one another's ideas and contributing to a sort of uniform overall sound: dirty, raw, abrasive music with heavy distortion and feedback. It was heavy and slow, the sluggish tempo pioneered by the Melvins and adopted by the majority of their counterparts.

Before the rest of the world realized what was going on in the sleepy corner of Seattle, the genre was slowly gaining a bit of ground through college radio, fanzines, indie distributors, and local clubs and bar playlists/performances. Nineteen eighty-six saw the first release of grunge music, courtesy of C/Z records. "Deep Six" was a compilation album featuring the OG's of Seattle sound: the Melvins, Green River, Soundgarden, Malfunkshun, the U-men, and Skin Yard.

Don't be fooled- while C/Z can claim the first release, Sub Pop record label played a more vital role: documenting grunge and nurturing artists like rockstar eggs in a comfy little northwestern incubator. Jon Poneman & Bruce Pavitt formed Sub Pop after the realization that history was being made in in their backyard, and the rest of the world was bound to realize it eventually. This label was so well known and trusted locally, that their support of a band was all it took for said band to have the head start of high expectations. Of course, they all delivered.

Sub pop rarely had actual contracts with musicians. A record label prioritizing artists' work over profit like this further proves what a healthy environment Seattle was for the growth of this genre. It also speaks to the fact that this music was a casual creation; it was the handiwork of greasy haired youngsters tearing up instruments in dingy garages. Some people say those musty garages created a certain noise that added to the music, similar to how Sound City's infamously unideal setup was actually beneficial, known for a giving music recorded there a bit of a unique sound.

The kids in these original bands that crafted the Seattle sound were big on member-swapping and collaborating, and this really unified the genre and contributed to its success. Green River, arguably the first grunge band, split into Mudhoney and Mother Love Bone after conflict over desire for fame versus being content underground. MLB snagged Malfunkshun's lead singer, who croaked early courtesy of drug abuse, leading to Temple of the Dog forming. The band then split into Pearl Jam and Audioslave.

By the time grunge traded its local cocoon for global butterfly wings, the four bands known for being at the head of the genre were essentially all supergroups. Nirvana, Soundgarden, Stone Temple Pilots, and Alice in Chains became somewhat of frequent flyers on Billboard's alternative charts (Pearl Jam being the silent fourth and a half, you could say).

Although whatever anonymous pessimist was the first to say "all good things must come to an end" was probably wrong, sadly, the phrase does apply to grunge rock. There is some comfort in the fact that the end didn't begin with the artists selling out- it couldn't. They weren't in it for the fame. Eddie Vedder described experiencing their sudden and unexpected attention as being strapped to a rocket ship when you aren't built for speed. The term grunge eventually became a blanket label for northwest bands of the 80's and 90's because the general public can't behave and use proper terms.

In addition to grunge rock's story, it's an insanely great genre because of the distinctive sound it possesses, as well as the reasons for that sound coming to be. The artists had an awareness of the cultural, ideological, and social modern western world that fostered and shaped their music. They weren't restrained by preconceived ideas of what sounds a certain genre should contain or what subject matter it should deal with.

This consciousness and lack of restraint fueled the creation of honest and raw music dealing with weighty and meaningful subject matter. These artists were liberal, ironic, feminist, cynical, apathetic, and politically conscious. It was quietly existential; what sounds simple at first is really a serious feast for thought. When it came to grunge, women weren't sexualized and no one cared to write lines about wealth and fame. Musicians wore unwashed flannels and frayed ski hats; they were fashion indifferent because they just weren't concerned with superficial endeavors and flashy material things.

While members of these rock bands were about as far from stereotypical hippies as spam is from a valid example of edible meat, they did maintain some of the trademark flowerchild values: counterculture and nonconformity. They expressed these values in a completely different way, sticking it to the man more so through actions and songwriting than straightforward words. They weren't protesting in the streets or aggressively condemning any wrongdoers.

These artists were angry at the world, with valid reason. It was and is a place riddled with corruption, struggles, and sadness. They observed life through anti-authoritarian lenses with a cynical tint, earning them a reputation among the seriously misinformed of being self-absorbed pessimists. In actuality, they were realists. Seattle rock conveyed the intelligence, awareness, and wit of its creators, who shared a love of loud music with heart, soul, and brain.

All this noise was made not for the purpose of the music itself, but as an outlet to handle the less-than-great aspects of life on earth. It was a quiet protest, for the sole purpose of objection. They didn't expect change to occur, they knew better. These musicians were just existing, the music stemming from this existence a beautiful byproduct of lives being lived, struggles documented in a way that made the hardships worthwhile.