Michael Stipe Quotes

Never eat broccoli when there are cameras around.

I was vulnerable every day. Every night that I stepped on stage I was laying myself open.

So, we just kind of created our own thing and that's part of the beauty of Athens: is that it's so off the map and there's no way you could ever be the East Village or an L.A. scene or a San Francisco scene, that it just became its own thing.

When I get really hammered I take my clothes off. That's a sure sign. It's been a long time since the last time I did that. Probably a year.

By the time I was 18, I had absorbed punk rock from America, Britain, and the West Coast. All of it was so dark and weird and different and cool and hot and sexy and rebellious. It was a fist-in-the-air kind of rebellion that I wasn't getting from the '70s mainstream.

So, when you divide the world into music lovers, music fans and then those people who are just very casual about their music, it's wallpaper to them, it's elevator music, it's just the thing that's playing in the background that helps them through their day.

Punk-rock records came out and you bought whatever you could find. But Devo didn't happen for another three years. Sex Pistols didn't tour the States until '78. At that time, for me, it was really about CBGB, Patti Smith, Talking Heads, the Ramones, and Television.

But I think the one thing that I can say about us is that we're very consistent about certain things and part of that is our desire to do the very best work that we can and not rest on our laurels, or not allow formula to come into what we do.

The song "Sing for the Submarine" presents my dream world, which is way different from my waking world. It's set in the future and it's post-apocalyptic.

I went through this difficult time [in the 1984] when we were making our third record where I kind of lost my mind. That's when the bulimia kicked in. And that's when I got really freaky.

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.

I'm kind of quoting Thurston [Moore] and Kim [Gordon] in saying that about not being great with addicts, because they are the ones who said it to me.

Frankly I'm not great with heroin addicts. I tried heroin, but it was by accident. I'm not great with that level of substance abuse.

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.

I went through a period where I was really tired of seeing and reading about myself.

When you meet a stranger, look at his shoes. Keep your money in your shoes.

[Columbia House] magazines were how I found out about the punk world going on in New York. Because of what I read, at the age of 15, I hounded the local record store to order a copy of Horses [1975] for me by Patti Smith.

Because the casual music listeners are the ones who turn on the radio and they don't really care what's playing, they just know that they kinda like it or it's easy to drive to or it's easy to sing along to or whatever.

I was a teenager, we were pretty much fully indoctrinated, thanks to sexual scare tactics. I remember so many public-health commercials with a B-actor in a fake alley background warning us to use protection or telling us the only real safe choice was abstinence. We were highly frightened of sex from day one. There was no free-swinging '90s.

At the [teenage] time, I did have an inkling of my sexuality. And I had an inkling that I was different from other people in ways beyond my sexuality. But I didn't get into music because I thought, Oh, these people will understand me.

When we signed with Warner Bros., they knew what they were getting. They knew they weren't going to get some easily manipulated prepackaged pop group. That was not going to happen. What they wanted, I think, was the integrity that we had to offer. What they wanted was the kind of street cred or cache that R.E.M. could bring to them and the chance that we would give them a hit or two. What happened was we gave them a bunch of hits. And we became huge.

Anybody that walks can sing.

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.

Our generation was supposed to be about trying to deal with nuclear concerns and environmental disasters.

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.

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.

I was vegetarian, trying to eat from fast-food restaurants without meat. I didn't know how to eat properly and I was starving. I was adrenalized to the eyeballs from performing. I was afraid that I was sick with AIDS. We were playing five shows a week. I even went through a period of abstinence where I didn't drink and stopped having sex. Which is crazy. Maybe I'm answering too many questions at once here, but this is where my mind was at the age of 25.

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.

The only thing to fear is fearlessness.

If you disagree with me, fine! Because that's the great thing about America, we can disagree!

So, we went from being an Athens band to being a Georgia band to being a Southern band to being an American band from the East Coast to being an American band and now we're kind of an international phenomenon.

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The whole punk ethic was do-it-yourself, and I've always been very literal, especially as a kid. When they said that anybody can do this, I was like, 'OK, that's me.'

Sometimes I'm confused by what I think is really obvious. But what I think is really obvious obviously isn't obvious.

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.

I simply constructed a project to try to snap Kurt [Cobain] out of a frame of mind. I sent him a plane ticket and a driver, and he tacked the plane ticket to the wall in the bedroom and the driver sat outside the house for 10 hours. Kurt wouldn't come out and wouldn't answer the phone.

Peter was sick of being a pop star, the guitar god, and so he decided to teach himself other instruments. Among the instruments that he picked up was the mandolin.

My feeling is that labels are for canned food... I am what I am - and I know what I am.

For me, as a music fan, visuals kind of steal away the purity of the song. My instinct is not to provide a visual to go with a piece of music. But here's MTV. It's really powerful.

There was a point in the '80s when I looked out at my audience and I saw people that - were I not on the stage - they'd sooner slug me as they walked by me on the sidewalk. And I realized that I was way beyond the choir.

I really wanted to be on Six Feet Under as a corpse. That would be hysterical.

I was doing that [a collaboration with Kurt Cobain] to try to save his life. The collaboration was me calling up as an excuse to reach out to this guy. He was in a really bad place.

I'm afraid of everything. I'm not a naturally courageous person.

I distinctly remember a conversation with my band in the van where I was having a complete meltdown. It was 1984, I think, and I was huddled in the back corner of our van and saying, "I can't do this. I can't do this. I can't do this." I didn't want to play any more shows. I just wanted to stop.

They always want me to play myself and that's a big snooze.

I'm just not that fascinating a person to have had all those lives that I've written about.

We made part of the record in Miami, and I would go down to the beach, and not 20 feet from the water I see a fish that is at least seven feet long swimming close to the shore. I did not go back in the ocean the entire month.

I've never written a song that's hopeless. I'm not a hopeless person. I'm crazily optimistic. I crazily see the good in people. I crazily see the way out of a terrible situation. I crazily try to be the diplomat. If there are two warring factions in my life, I want them to agree to disagree at the very least.