R.E.M. Quotes
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I stopped taking drugs [in 1983]. There were a lot of things that led up to it. One thing was that a lover died. An ex of mine died in a car wreck and I was really trashed when I found out about it and I couldn't cry. I woke up the next morning and I said, "That's it," so I quit then. It was horrible.
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For every great thing we did, there is a very public moment of falling on our faces. But everything that came through us as a band was a distinct vision of R.E.M.
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We don't get groupies.We get teenagers who want to read us their poetry.
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In fact, a lot of critics seemed to consider R.E.M. the first American music since the '60s to break out on its own and develop a stand-alone sound.
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The whole point of the punk-rock thing was that "We're not special. We just have a voice."
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I loved my 17 years with R.E.M., but I'm ready to reflect, assess and move on to a different phase of my life. The four of us will continue our close friendship, and I look forward to hearing their future efforts as the world's biggest R.E.M. fan.
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The only thing to fear is fearlessness.
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When I write, I tend toward melancholy, and the few times that I've tried pure joy in music, it doesn't really work that well. The joy can be through catharsis. I think that's what I do well, and observation.
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I started lip-synching with "Losing My Religion." There were a few horrendous mistakes we made, but I own those mistakes. I'm embarrassed by them. I always say when I look back at anything I've ever done, it's with equal dollops of humiliation and triumphant glory.
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By the time [of modern] generation was coming of age sexually, there was already this idea of safe sex. But that didn't exist for me. I came out of the free-swinging '60s and '70s. It was free love, baby. That was it. We had very liberal sex-ed classes in 1973, a yearlong environmental science class, and then Women's Lib and Gay Liberation. So it's insane to go from that to Reagan and AIDS. It was like, "What happened? Where's my future?"
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Almost all the fans I meet are pretty cool people. They're intelligent and tend to think about things a bit more than your average rock'n'roll fans: sensible people I wouldn't mind having a drink with.
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A wise man once said, 'The skill in attending a party is knowing when it's time to leave.'
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I don't take sports seriously although I like that Scottish thing where they throw the poles. I'm down with that.
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Once I reached my 40s, I thought to myself that if I'm going to play live now, I need to really mean this. I can't go out and be a little bit, for one moment slovenly in my choices as a performer. I mean, these people have paid a lot of money to be here, they've been through the nightmare of getting here, starving themselves waiting for us to get on stage, so I'm going to give them what they came here for.
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We're the acceptable edge of the unacceptable stuff.
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The artwork for the record is kind of an homage to that. It's a collage, which rhymes with homage, I just realized. It's an homage to this kind of almost like a teenager's idea of what the future might look like, if he were using a Xerox machine and cut-and-pasting it together. Which is exactly what we did to come up with the artwork.
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Most people look better with their clothes ON, and those ten people who don't look better than you, so why bother.
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Physically my brain is in great shape. My motor functions are fine, but I think going through the whole ordeal... coming pretty close to death, may have affected my priorities.
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I've been playing the drums since age nine.
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AIDS had landed and I was terrified. I was very scared, just as everyone was in the '80s. It was really hard to be sexually active and to sleep with men and with women and not feel you had a responsibility in terms of having safe sex.
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I don't think about this stuff on that level. I approach this whole thing as a guy who plays guitar and feels a particular way.
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I've been to nudist beaches, like twice. But honestly, I just don't want to see these people naked. Most people look better with their clothes on, and the few that don't, look better than you, so why bother?
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To me it was just incomprehensible... I have never been in trouble before... I will go miles away to avoid confrontation. I really don't like it,
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I knew [Kurt Cobain] and his daughter. And Courtney [Love] came and stayed at my house. R.E.M. worked on two records in Seattle and Peter Buck lived next door to Kurt and Courtney. So we all knew each other. I reached out to him with that project as an attempt to prevent what was going to happen.