"We're absolutely American and distinctly so, I think. That's part of what people respond to outside of this country, part of the reason that we're such a huge band outside of the U.S., where we're not so popular now as we were 10 or 12 years ago"
About this Quote
Stipe is doing two things at once: reclaiming an identity and softly diagnosing a career arc. The line starts with a kind of defensive pride - "absolutely American" and then, tellingly, "distinctly so", as if Americanness is both undeniable and a brand attribute you can lean into when the charts cool at home. Coming from R.E.M., a band that spent years being read as the tasteful, cryptic alternative to mainstream bombast, the insistence feels like a corrective: no, we weren't a niche import or an artsy coastal exception. We're the product.
The subtext is sharper: Americanness plays better at a distance. Outside the U.S., "American" can read as myth, texture, attitude - the jangly guitars, the road-worn melancholy, the promise of a vast country where weirdness can become culture. At home, that same identity gets crowded out by trend cycles, by younger scenes, by the way a nation can be bored by its own accent. Stipe frames the band’s waning domestic popularity not as failure but as a market reality: the U.S. has moved on; the rest of the world still wants the export.
There's also a quiet comment on cultural imperialism that Stipe never quite names. Being "huge" abroad while fading domestically is the paradox of American soft power: the image travels better than the lived experience. R.E.M. becomes less a current band than a reliable American artifact - and Stipe, ever the strategist, turns that into a story of authenticity rather than decline.
The subtext is sharper: Americanness plays better at a distance. Outside the U.S., "American" can read as myth, texture, attitude - the jangly guitars, the road-worn melancholy, the promise of a vast country where weirdness can become culture. At home, that same identity gets crowded out by trend cycles, by younger scenes, by the way a nation can be bored by its own accent. Stipe frames the band’s waning domestic popularity not as failure but as a market reality: the U.S. has moved on; the rest of the world still wants the export.
There's also a quiet comment on cultural imperialism that Stipe never quite names. Being "huge" abroad while fading domestically is the paradox of American soft power: the image travels better than the lived experience. R.E.M. becomes less a current band than a reliable American artifact - and Stipe, ever the strategist, turns that into a story of authenticity rather than decline.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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