New York’s finest indie masterpiece, according to Michael Stipe
New York City has a lot to brag about. It’s the epicentre for so much, including some of history’s most vibrant and historical art, film and music scenes. It’s a constantly bustling meeting place for some of the world’s brightest talents, all coming together in the city that never sleeps to create something special each and every decade. Amid all its medals, New York has the badge of honour of being arguably the birthplace of indie rock as its 1970s punk scene morphed into something new. However, according to R.E.M’s Michael Stipe, its origins came a lot earlier than people think.
When talking about the New York City indie scene, it’s likely the 2000s generation that comes to mind. Captured in the landmark biography Meet Me In The Bathroom by Lizzy Goodman, bands like The Strokes, Interpol, Yeah Yeah Yeahs, LCD Soundsystem and hoards more set the soundtrack to the city and beyond as their brand of indie explored into worldwide obsession.
Still, today, when people talk about the indie revival or the return of the indie sleaze era, they always track it back to the turn of the millennium. However, Stipe is demanding credit to be placed where credit is due, highlighting the impact of NYC’s original indie innovators way back in the mid-1970s when The B-52s brought their own brand of New Wave indie to the scene.
However, the dominating sound of the time was punk. CBGBs was in full swing, platforming acts like the Ramones, Television, Patti Smith, Blondie and more. Rock and roll had given way to something more riotous, and the city’s venues were pounding with loud and fast, thundering tracks. Sure, there was the Talking Heads, delivering something more neurotic and parred back, but their twisted and often sinister lyricism still fit the punk bill. Meanwhile, the B-52s, with their bright colours, nostalgic aesthetic, and general silliness, never quite fit in with the crowd.
“When all the punks in New York were still putting safety pins in their cheeks, the B-52s were like, ‘Well, that’s what you do, and this is what we do, and this is how we do it’,” Stipe said of the band, praising their originality and commitment to their own vision.
In a collection of his favourite albums of all time, he picked out the band’s 1979 self-titled debut album, featuring tracks like ‘Planet Claire’ and ‘Rock Lobster’. Upon its release, it shot the band to notoriety for its kooky lyrics and kitsch aesthetic, but according to Stipe, it has still never got its roses as a piece of deeply influential artistry that helped shape the indie genre.
“That first B-52’s album still hasn’t gotten the recognition that it deserves as one of the most groundbreaking and influential records of all time—most certainly on me and everyone around the Athens scene,” he said. The B-52s, just like R.E.M, were born out of the Athens, Georgia indie scene with Stipe following in their footsteps of later moving to New York. Seeing the band’s impact both on their home town and their adopted city, he sees The B-52s as a vital bridge between worlds.
“There were all these records that came out around then that were so profoundly important,” he said, recalling his early days in the band within his hometown scene. Back then, the B-52s were like messiahs, bringing back the gospel from the big city and boosting their musical education. He explained, “A lot of it had to do with the B-52’s travelling up to New York and coming back and saying, ‘You gotta hear this unbelievable record by this band called Joy Division’.” So, both as a teacher and artist, he demands more praise for New York’s original indie leaders.
