10 March 2011

AAAA aaaaaah ahahaha!

So far, the music videos that Michael Stipe and his collaborators have filmed for songs from R.E.M.’s fifteenth album Collapse Into Now have been… should I say… underwhelming. Well, Pitchfork has just premiered one of the 12 videos that I actually sort of like… at least it’s very funny. It’s a for “Alligator Aviator Autopilot Antimatter”, one of my favourite songs from Collapse Into Now. The video was directed by Lance Bangs, and it features Michael Stipe and Peaches, sporting hilarious outfits and overacting with aplomb! At least the video perfectly suits the song, which is a silly romp with gibberish lyrics. thumbs up


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37 Responses to “AAAA aaaaaah ahahaha!”

  1. Ivana Says:

    Btw they’ve also released the video for “Walk It Back”, but it’s so dumb, I absolutely refuse to post it here.

  2. Elena Says:

    Ahahahahahahaha this is hilarious! rolling on the floor

  3. Ivana Says:

    It is! big grin laughing rolling on the floor

    Now, if you wanna get bored to death, go and see the hungry fly…

  4. Dol Says:

    A funny video indeed big grin

  5. Dol Says:

    How stupid, boring, lost of time and pointless is the Walk it back video? I can’t believe that I have lost 3 minutes of my life watching it!
    I’m tired of this “artsy” directors that put inside a boyfriend or a friend just to film them.
    Thank god Mike and Peter are not involved in this stupid project.

    OK. Now I come back to work happy

  6. Ivana Says:

    Yeah I can totally imagine Mike and Peter cringing at these videos – “It’s Michael’s project, we got nothing to do with it!” laughing

  7. Arek Says:

    Totally agree. I don’t like Alligator video too. It’s stupid. Where are Buck and Mills to use their veto and prevent Michael from doing these horrible clips!!!

  8. Kirsten Says:

    MUARRHARRHARR!!! rolling on the floor rolling on the floor

    This is so bad it’s good again!! rolling on the floor
    Unbelievable that the ever so shy Michael actually agreed to walk around in public in these costumes! ROTFLMAO!! rolling on the floor

    Ahaha, Ethan Kaplan said on Murmurs a few days ago:

    “But I absolutely can’t wait for the reaction to Alligator
    CAN NOT WAIT. ”

    Now I know why! rolling on the floor

  9. Kirsten Says:

    Ooooh, BTW, here’s a cool new video interview with our Mikey on Radio RXP 101.9 FM:

    http://www.1019rxp.com/Channels/NewonRXP/Story.aspx?ID=1377410

  10. Auctioneer Says:

    Michael Stipe answered two of my questions on the live DazedDigital chat earlier today!!! I’m so happy! big grin My question was the first one he answered, too! happy

    Sorry… fanboy overload. Still – yay! tongue

    Yours excitedly,
    Auctioneer

  11. Kirsten Says:

    Wooooow, CONGRATZZZ Auctioneer!! You lucky dog!!! surprise
    You have every right to be in fanboy overload mode! hypnotized big grin

  12. Auctioneer Says:

    Thanks Kirsten. I actually missed lunch and used a teacher’s login at school to bypass the filter the Internet filter that blocked Facebook for it – now that IS sad. But hey!

    The questions of mine he did answer were whether the band knew what sound they were going for, or if it just developed naturally (the answer being they had no idea how “Collapse” would sound when they began recording), and what Michaelstipe.com was about. Apparently it is, in his own words, “a record of a year of looking at my computer”. There were tons of others too – I’ll make a blog post about it soon! big grin

  13. Kirsten Says:

    Wow, great!! thumbs up
    Can’t wait for the blog entry!

    BTW, why is it sad to bypass your school’s filter, special occasions call for special measures! big grin

  14. Auctioneer Says:

    True, true. They can’t keep us away from R.E.M., not now, not EVER!!! rolling on the floor

  15. Auctioneer Says:

    Oh by the way, Michael will be on The One Show on the BBC in ten minutes. happy

  16. Kirsten Says:

    Ay caramba! Thanks for the info Auctioneer!! happy

    Oh BTW, you gave me an idea with your blog entry about the Collapse Into Now iTunes version… big grin
    I have just uploaded the live in studio version of “That Someone Is You” on Youtube for everyone to enjoy:

    http://www.youtube.com/watch?v=QF6kh_XMoUY

  17. Auctioneer Says:

    Woohoo! Now everyone can enjoy the ‘live in studio’ version! happy Thanks very much.

    Well, that One Show was appalling. Rubbish presenting, no new questions asked, they totally fawned over the “Uberlin” video… just terrible. Worst moment was when they asked Michael whether washing in herbs got rid of blue make-up…
    doh

    Poor Michael. He probably didn’t even want to go on it – some PR guy would’ve forced him into it. sad

  18. Ivana Says:

    Hiya folks, I’m back, been stuck at work, so I missed the One Show. Duh, too bad it was so dull – last time he did it, it was great, the questions were fun, and they even invited my pals R.E.M. UK (the tribute band) to play “It’s the End of the Show As We Know It”! laughing

    Thanks for “That Someone Is You” Kirsten! As for the Atlanta radio show, I updated the previous news post with it. happy

  19. Linda Says:

    Excellent Auctioneer! Congratulationsbig grin

  20. Linda Says:

    Darn Kirsten…It won’t let me watch itcrying

  21. Linda Says:

    OKAY…Here comes Mom, weighing in……..

    Oh My Heart:

    Disappointed!!!!! Did Michael tell the director that this song was about and for New Orleans???? Rather than waste our time on “artsy” shots of whatever city was featured, why didn;t we have shots of the rebuilding of parts of that city, along with the massive devastation still visible. Would that not have made sense?Would that not have better served the people of New Orleans? This film was not a tribute to anything, just some filmaker, whose ego got in the way of a beautiful song. (IMHO)

    “Walk It Back:

    Ticked Off and MASSIVELY disappointed, pissed off, annoyed etc….How to ruin a beautiful and emotional song with a bunch of garbage! There are no wordssad……Michael…don’t ever ask this person to do a film for you again please. Horses peeing…My God!

  22. Linda Says:

    And I bet you all thought I would find something good to saywinking

  23. Linda Says:

    Well, here it comes:

    AAAA:
    LOVE it! Michael and Peaches doing their deadpan best and showing us their great senses of humour( Michael’s was already evident in MSLH)! I loved the wacky costumes, the Power Ranger moves and the entire tongue-in-cheek approach to a wacky songlaughing This one is a keeper, and very well donewinking

  24. Dol Says:

    To forget the “video project”.
    This is the best live version they did:

    http://vimeo.com/20614264

    Mike the guitarist rocks rock on. There was something in this song that made ​​me think that it was not a Peter’s idea… Love it love struck love struck love struck

  25. Dol Says:

    Oh, and Mike will be the keyborist of the baseball project tour (at least in Atlanta day dreaming ). I hope that he will want to follow them even in Europe! day dreaming

  26. Elena Says:

    Me too@ It’s one of my favourite songs from Collapese…, and now that I know who’s the force behind it makes it even dearer to oh my heart

  27. Dol Says:

    Yes, exactly as Walk it back. Maybe my favourite song in CIN.

  28. Auctioneer Says:

    Somehow, I seem to like “Every Day is Yours to Win” now that Mike plays it. happy

    Looking forward to “Marlon Brando” – one of my surprise favourites from CIN. No idea why though!

  29. Ivana Says:

    Folks I’m back from London, I met Michael Stipe yesterday! I’ll post everything as soon as I unpack!!!

  30. Auctioneer Says:

    Holy moly Ivana! You MET Michael Stipe!?! surprise

    Please, hurry back and tell us what happened! big grin

  31. Linda Says:

    Elena, Walk It Back is my favourite song as well……..that’s why I am so ticked about the video, despite what Michael feels. It’s a personal thing, I guess, so I wanted to see something as beautiful as the music, but then I am not a videographer, with an image in mind. I get the reference to walking, in the dance, and now with the explanation of tiptoe on horses piddling, but I am still a bit dense about the fly on the menu…..I guess the fly’s movements references the lyric in some way…I will have to watch again. Give it a fair chance, I guess. I think we should all grab video cameras and film our own videos and send them to Michaelbig grin

  32. Linda Says:

    Sorry Elena…I think you meant WIB was your fave, but maybe it is Every Day is Yours To Win……both beautiful, and please excuse my grammatical errors in the previous post. I need to relax with a glass of wine.big grin Tiredness and good writing do not go hand in handcrying

  33. danny lima Says:

    R.E.M. – A Personal Reflection
    October 9, 2011 by Andrew Watt
    Filed under Latest News.
    YEP,it is over for real….but here are WONDERFUL thoughts of what R.E.M. was, is and forever will be!!
    BY ANDREW WATT.
    When R.E.M. made the typically dignified announcement that they were disbanding after 31 years, my first reaction was almost a sense of relief that they had managed to complete their career without ever embarrassing themselves, and by extension, without embarrassing me and the other fans that had made the journey with them.

    Even allowing for one album that maybe didn’t reach the highest of standards that they had set themselves (Around The Sun, although it still has a couple of golden moments), they never really went through any extended slumps or released a series of albums that had me questioning the validity of my support. That’s a remarkable achievement in three decades of any creative pursuit.

    My second reaction was a kind of bemused comprehension that I had been a fan of this band for over 28 of those 31 years. That was kind of scary.

    Even as a card-carrying, rock music, fan-boy tragic, and someone for whom the “music industry” (or some version of it) has arguably provided a career for around twenty of the last thirty years, it came as a jolting realization that almost thirty years had passed since I had first become enthralled by the mysterious murmurings of Michael Stipe’s vocals and the irresistible chiming of Peter Buck’s guitar on those formative early records, Chronic Town (EP), Murmur and Reckoning. And it’s even more remarkable that my fascination is no the worse for wear.

    My introduction to R.E.M. came at Monash Records, the on-campus record shop at Monash University, Clayton, where I was studying Economics and Law. I spent way too much time in that record store and way too little time in the library, although the subsequent path my life took probably makes a lie of that statement. It was at Monash Records that I bought those first three releases (at the urging of the black haired dude, who wanted so much to look like Robert Smith) and by the time 1985 and Fables of the Reconstruction had ticked around I was taking my first tentative steps into music writing with the Monash student newspaper Lots Wife.

    In response to Fables of the Reconstruction, this is what I breathlessly came up with: “It is an album of magic and enchantment. Michael Stipe’s lyrics are spawned from the tales and fables of the mystical deep south and follow a thread that winds through America’s proudest and most honest history leading through times of betrayal and off into the unknown. Fables is overwhelming: from the disturbing melancholia of the haunting Rickenbacker guitars, from the intrinsic acknowledgement of the power inherent in the lyrics mythological roots.”

    I ‘ve got absolutely no idea what that last line means but it was clear that I had found what might have been the love of my musical life! In that year I named Fables as one of my five best albums of the year. To carbon date that time emphatically, you’ll be interested to know that Paul Kelly’s Post was another of that select group. I still find myself talking about Fables of the Reconstruction. I recently interviewed the albums producer Joe Boyd who is about to curate a couple of shows celebrating the music of Nick Drake in Australia, and I couldn’t help but devote part of that interview to his work on that album.

    The fact that I discovered R.E.M. when I was at university mirrored the experience of thousands of college kids all around the world. In America R.E.M. was the quintessential college band and in fact have been credited with stimulating the rise in significance of college radio, and with it, the rise of independent labels and the whole indie rock scene. “But for R.E.M. …”, has been the opening line of many an obituary and tribute in the last couple of weeks.

    Parallel to the emergence of the indie scene, both in America and here in Australia came whole cottage industries of street press, community radio and other self-starting mediums that realized that you didn’t have to wait for the permission of corporate giants in order to dare to exist. Sound familiar?

    There may not even have been InPress magazine if it weren’t for R.E.M. When I was writing for Lots Wife, I realized that I wanted to write about music on an on-going basis. I wasn’t going to let a pesky thing like such as a career as a lawyer stop me. My all-time favorite artist was Bruce Springsteen, but, by 1985, people like Dave Marsh and Griel Marcus and Robert Christgau had pretty much mined that territory, and really anything that came after them was simply piggy-backing on their words, and offering re-assessment. But R.E.M. came along and provided the perfect music for the nascent street press. They were the perfect soundtrack to the generational change that was sweeping across music and the media that rode that wave. This was music that was “mine” and I felt like it was my time to set the agenda and that my efforts as a tastemaker were grounded in a notion of how a new band stood up when compared to R.E.M. Starting InPress was my expression of my own little indie revolution and it’s no accident that the news pages of InPress eventually came to be titled “What’s The Frequency?”

    R.E.M. also managed to soundtrack elements of my personal life as well. I vividly remember being on the wrong end of a painful (well, as a 20 something year old, it felt painful) relationship break-up and responding by changing my answering machine message to the chorus of The One I Love – to the extent that the song actually had a chorus. I felt like I was the only one in the world who realized that the first R.E.M. song to actually use the word “love” was in fact a bitter, anti-love song – and that they key line in the lyric was the brutally dismissive “another prop has occupied my time”. Of course I wasn’t the only one who realized that and all across the globe there were inner city romances disintegrating to the sound of Stipe anguished “Fire” refrain. I’m not sure whether the object of my angst ever realized that she had been smote with such a cruel sword. In all probability she never even called and even heard the message, let alone divined its hidden meaning! It wouldn’t have been near as effective by SMS!

    But that ushered in a period where my romantic world was divided into two distinct camps – girls who liked R.E.M. and those who didn’t. For a period of time, only the former would have any hope of achieving a relationship of substance with this little black duck. I’ve seen other writers reflect on similar positions since the news of the bands break-up broke, and I have to wonder if the band themselves realised that they were responsible for drawing the emotional battlelines for a generation of young men trying to find a roadmap through the rocky paths of their indie-rock eighties relationships. It sounds like the kind of thing that Craig Finn, of The Hold Steady would write a song about – if he hasn’t already!

    When R.E.M. signed that monstrous deal with Warner, that made them at least notionally the “biggest band in the world” there was a pervading sense of validation amongst the ‘street press’ generation – their heroes had come in from the cold, they had won and they had done it on their terms with their precious and hard-earned credibility intact. When R.E.M. won, we all had won. See, there was a way to beat the system by working within it. I don’t think its any accident that the bands last album Collapse Into Now was the final album of that deal. By choosing to disband after delivering that album, albeit to a much smaller buying public than that which had voraciously consumed Automatic For The People, Green or Out of Time, the band have again showed their sense of honor. They signed on, they delivered what they agreed to and they duly completed what was expected of them. I’m sure with the seismic shifts that have occurred within the industry in the last decade it would have been easy to try and remove themselves from a system that they could have declared to be broken and ‘go underground’ like Radiohead did, but it seems there was a morality about seeing that deal to its conclusion that informed their process.

    R.E.M. have become synonymous with doing things correctly, tastefully and respectfully. In a business littered with glorious flame-outs they have become a beacon for longevity and respectability – not terribly rock n’ roll to be sure, but many young bands and their managers could still do worse than asking themselves “What would R.E.M. do?” when faced with difficult career decisions.

    I met Peter Buck a couple of times. The first time was when the band toured Australia for the second time. In Melbourne they played at the Myer Music Bowl. I had interviewed Peter on the phone prior to the tour for InPress and in the course of that conversation he had expressed his love of Brisbane band the Go-Betweens and his interest in acquiring their early singles on vinyl. I had befriended Peter Leak,the manager of R.E.M.’s touring support band Grant Lee Buffalo, and I’d given him my copies of the Go Between’s releases to pass onto Peter. Backstage with Peter after the show I was introduced to the R.E.M. guitarist, who politely thanked me for my gift and we chatted about music for a few minutes. Buck would always be comfortable chatting about music. Many years later I met him again as he leaned on the bar at the Central Club in Richmond waiting to play with Robyn Hitchcock, one of the many artists that he consistently plays with. He still had the Go-Betweens singles (amongst his collection of 10000). Nice bloke. Music Fan.

    I’ve never met Michael Stipe or Mike Mills. Particularly in the case of the former I feel like I’ve known him for a long time from his songs….and not known him at the same time. Such was the intrigue of their music that there was always another nuance to be found, even on songs you’d listened to a hundred times. One frequently overlooked element was the humor of Stipe’s lyrics. Some of his asides and references were incredibly funny to me and the fact that he was able to come up with these gems and on the same album tear your heart out with a song of alienation or activate you with a statement of social or political discontent was a huge part of their appeal. Their evolution from the awkward but endearing guitar-pop shimmer of Murmur to a band capable of songs as subtle and majestic as Everybody Hurts, All The Way To Reno, Imitation of Life or Walk It Back is extraordinary.

    There was always something completely genuine in the way the band and their support organization conducted themselves. From the mature way they dealt with the loss of original drummer Bill Berry, to their continued activism in their own local community and on selected global concerns, to Peter Buck’s frequent musical contributions to other favored artists (which showed he was still a record collector and a fan at heart) to Michael Stipe’s championing of independent filmmakers and his passion for the work of his multi-generational peers such as Patti Smith and Kurt Cobain, R.E.M. seemed to grow older with grace, aplomb and without a hint of desperation. They became adults in a youth oriented world but they did so without becoming parodies of themselves. Even when audience numbers dropped away, as was inevitable they would, there didn’t appear to be a need to panic. It was what is was and they would simply get on with it. The civilized way that they dealt with questions about Stipe’s sexuality was a example of their enlightened ways that should be a precedent for those who followed.

    R.E.M. simply never let us down, and there’s not many band’s that can claim that over an extended period. And thankfully it didn’t take somebody dying to make us realize the significance of their body or work and the spirit in which it was made. That’s why their break up leaves me with only slightly mixed feelings. Their final album, Collapse Into Now was one of their best and it showed that they had plenty left in the tank; it wasn’t the album of a band staggering towards the finish line like a marathon runner with the jelly leg wobbles. The album left me wanting more, but isn’t that the most legitimate and best founded showbiz tradition? It was a clever album too- when I first heard it I thought it sounded like a self-tribute – there were songs on it that seemed to draw inspiration from just about every previous album in their catalogue. Whether this was intentional or not, it now works supremely well as a parting gesture. On All The Best, Stipe sings, “Let’s sing and rhyme/Let’s give it one more time/Let’s show the kids how to do it/ Fine, fine, fine/Fine. When the final song, Blue, draws to a close the guitar motif from the album’s opening track Discoverer returns closing the full circle on the album, in the way that the album perhaps closes the full circle on their career. A Perfect Circle indeed.

    So now there is a full stop on this long, rambling, beautifully constructed and always meaningful sentence. They’ve chosen to stop at a time when stopping made perfect sense. There’s a Greatest Hits package due to arrive in November, and I’d imagine that for the record collector in Peter Buck there will be a temptation to mark the anniversary of certain albums with re-releases and the uncovering of lost recordings, demos and alternative versions. There’s some wonderful live recordings available as audio and visual releases and I’m sure all three active members will remain active in other configurations. And if they don’t, that’s OK too.

    I still want to name a racehorse Cuyuhoga, because I like the sound of the word and I still want It’s the End of The World As We Know It (And I Feel Fine) played at my funeral, whenever that might be. Those friends that show up to hear it will look kinda silly bouncing around on their walking frames. But that’ll be their problem.
    Ps: i am a fan of the band for 25 years and Mike Mills is just a perfect and wonderful artist,thank you Ivana for your” great work ”on this tribute !!!!happy
    danny lima.

  34. Linda Says:

    What a wonderful tribute, Danny! We will all miss them so much, but their music will live on…..when others will fall by the wayside.

  35. danny lima Says:

    so we all hope,and this is the how it should be!Hey Linda,this website is my favorite place to be on the net,i love it!!!!!!!!!!i really hope for a solo recd. by our great Mike Mills!!!: )

  36. Linda Says:

    I agree Danny. I love what Ivana has done with this website, and hope for a M.M. solo album. I wonder what everyone thinks it will be like….a country flair( as in Rockville), beautiful piano and strings (Nightswimming),extraordinary bass and vocals( Texarkana) OR ALL OF THE ABOVE!!!!!

  37. danny lima Says:

    … ALL OF THE ABOVE!!! but i will be super happy just to know that he will take his time and have great people to play along with him.are you going to see him in London??? i will be there for sure! Talk to you soon Linda ,great year for all of us!!

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