Skip to main content

“It’s the End of the World as We Know It,” Michael Stipe Proclaims Again, and He Still Feels Fine

It has taken a viral pandemic, and a mountain of tragic folly and more to come, but the internet has finally delivered the quality content we deserve, at least when it comes to celebrities stuck at home. Nightly bedtime stories read by Dolly Parton? Intimate streamed performances from Neil Young, Ben Gibbard, and many, many others, including stars of Broadway and opera house stages? It can feel a little overwhelming, especially for people working, educating, and doing a hundred other things in quarantine. But if there’s someone I really want to hear from, it’s the guy who told us, thirty-some years ago, “It’s the End of the World As We Know It (And I Feel Fine).”

If you remember the Reagan years, you remember living under the threat of mass extinction by nuclear winter and radiation poisoning. The end of the world seemed imminent at the end of the Cold War. And Michael Stipe, in a manically danceable tune (depending on your level of stamina), proclaimed a need for solitude after issuing his many grievances.

It is still the end of the world, he says in a recent video address about coronavirus on his website (and a shorter version released on social media), and “I do feel fine. I feel okay. The important part of that lyric, that song title, is ‘As We Know It.’ We’re about to go through—we are going through something that none of us have ever encountered before….”

The moment is unique, of worldwide historical significance as was the belligerent arms race of the late eighties, the terrible A.I.D.S. epidemic, and other catastrophic events occurring when R.E.M.  released Document, the 1987 album that introduced millions of young fans to art-punk geniuses Wire—whose “Strange” Stipe and company cover; to bluesman Lightnin’ Hopkins and red-baiting senator Joseph McCarthy, who lent their names to two songs; and to Lenny Bruce, pioneering 60s comic, who, like Stipe in the album’s Side One closer, is “not afraid” of earthquakes, birds and snakes, aeroplanes, and other signs of the apocalypse. Things will change irrevocably, and life will probably go on. In the meantime, he says, “don’t mis-serve your own needs.”

You may not be surprised to learn the song re-entered the charts on March 13, 2020, as Polyphonic informs us in their video at the top. “It’s easy to see why.” These days nuclear holocaust seems low on the list of probable causes for the world’s end, what with potential economic collapse and more massive climate events following on COVID-19’s heels. Grim times indeed, as we know them, but they’re hardly the first we’ve faced in living memory. Behind Stipe’s “glib irony” in “It’s the End of the World as We Know It” lies a fierce critique of U.S. greed and violence and, as always, an alternative ethos, one whose call we might especially heed in our days of isolation.

We’re eager to reconnect in myriad ways, but time alone might not be such a bad idea. “Return, listen to yourself churn,” Stipe sings, “listen to your heart beat.” We can hear the final call for solitude as a dig at rugged individualism, or a call to healthy introspection. As the original video suggests, wading through the clutter might help us reclaim the stuff that makes us our best selves. Along with issuing his PSA, Stipe has also released a video, above, of a new demo track, “No Time for Love Like Now.” Here, he ditches the archness and anger of his fiery younger self for a plaintive statement about what the world needs. You guessed it…

Related Content:

R.E.M. Reveals the Secrets Behind Their Emotionally-Charged Songs: “Losing My Religion” and “Try Not to Breathe”

Why R.E.M.’s 1991 Out of Time May Be the “Most Politically Important Album” Ever

R.E.M.’s “Losing My Religion” Reworked from Minor to Major Scale

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

“It’s the End of the World as We Know It,” Michael Stipe Proclaims Again, and He Still Feels Fine is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.



from Open Culture https://ift.tt/2V79zjd
via Ilumina

Comments

Popular posts from this blog

Board Game Ideology — Pretty Much Pop: A Culture Podcast #108

https://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/secure/partiallyexaminedlife/PMP_108_10-7-21.mp3 As board games are becoming increasingly popular with adults, we ask: What’s the relationship between a board game’s mechanics and its narrative? Does the “message” of a board game matter? Your host Mark Linsenmayer is joined by game designer Tommy Maranges , educator Michelle Parrinello-Cason , and ex-philosopher Al Baker to talk about re-skinning games, designing player experiences, play styles, game complexity, and more. Some of the games we mention include Puerto Rico, Monopoly, Settlers of Catan, Sorry, Munchkin, Sushi Go, Welcome To…, Codenames, Pandemic, Occam Horror, Terra Mystica, chess, Ticket to Ride, Splendor, Photosynthesis, Spirit Island, Escape from the Dark Castle, and Wingspan. Some articles that fed our discussion included: “ The Board Games That Ask You to Reenact Colonialism ” by Luke Winkie “ Board Games Are Getting Really, Really Popular ” by Darron Cu

How Led Zeppelin Stole Their Way to Fame and Fortune

When Bob Dylan released his 2001 album  Love and Theft , he lifted the title from a  book of the same name by Eric Lott , who studied 19th century American popular music’s musical thefts and contemptuous impersonations. The ambivalence in the title was there, too: musicians of all colors routinely and lovingly stole from each other while developing the jazz and blues traditions that grew into rock and roll. When British invasion bands introduced their version of the blues, it only seemed natural that they would continue the tradition, picking up riffs, licks, and lyrics where they found them, and getting a little slippery about the origins of songs. This was, after all, the music’s history. In truth, most UK blues rockers who picked up other people’s songs changed them completely or credited their authors when it came time to make records. This may not have been tradition but it was ethical business practice. Fans of Led Zeppelin, on the other hand, now listen to their music wi

Moral Philosophy on TV? Pretty Much Pop #32 Judges The Good Place

http://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/partiallyexaminedlife/PMP_032_2-3-20.mp3 Mark Linsenmayer, Erica Spyres, and Brian Hirt discuss Michael Schur's NBC TV show . Is it good? (Yes, or we wouldn't be covering it?) Is it actually a sit-com? Does it effectively teach philosophy? What did having actual philosophers on the staff (after season one) contribute, and was that enough? We talk TV finales, the dramatic impact of the show's convoluted structure, the puzzle of heaven being death, and more. Here are a few articles to get you warmed up: "The Good Place’s Final Twist" by Karthryn VanArendonk "The Good Place Was a Metaphor All Along" by Sophie Gilbert "The Two Philosophers Who Cameoed in the Good Place Finale on What They Made of Its Ending" by Sam Adams "5 Moral Philosophy Concepts Featured on The Good Place" by Ellen Gutoskey If you like the show, you should also check out The Official Good Place Podca