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Artist: R.E.M.



R.E.M. was an American rock band from Athens, Georgia, formed in 1980 by drummer Bill Berry, guitarist Peter Buck, bassist/backing vocalist Mike Mills, and lead vocalist Michael Stipe. One of the first alternative rock bands, R.E.M. was noted for Buck's ringing, arpeggiated guitar style, Stipe's distinctive vocal quality and obscure lyrics, Mills's melodic basslines and backing vocals, and Berry's tight, economical style of drumming. R.E.M. released its first single—"Radio Free Europe"—in 1981 on the independent record label Hib-Tone. The single was followed by the Chronic Town EP in 1982, the band's first release on I.R.S. Records. In 1983, the group released its critically acclaimed debut album, Murmur, and built its reputation over the next few years through subsequent releases, constant touring, and the support of college radio. Following years of underground success, R.E.M. achieved a mainstream hit in 1987 with the single "The One I Love". The group signed to Warner Bros. Records in 1988, and began to espouse political and environmental concerns while playing large arenas worldwide. By the early 1990s, when alternative rock began to enter the mainstream, R.E.M. was viewed by subsequent acts such as Nirvana and Pavement as a pioneer of the genre. The band released its two most commercially successful albums, Out of Time (1991) and Automatic for the People (1992), which veered from the band's established sound and catapulted it to international fame. R.E.M.'s 1994 release, Monster, was a return to a more rock-oriented sound, but still continued its run of success. The band began its first tour in six years to support the album; the tour was marred by medical emergencies suffered by three of the band members. In 1996, R.E.M. re-signed with Warner Bros. for a reported US$80 million, at the time the most expensive recording contract in history. Its 1996 release, New Adventures in Hi-Fi, though critically acclaimed, fared worse commercially than its predecessors. The following year, Bill Berry left the band, while Stipe, Buck, and Mills continued the group as a trio. Through some changes in musical style, the band continued its career into the next decade with mixed critical and commercial success, despite having sold more than 85 million records worldwide and becoming on
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Michael Stipe: He's Singing A New Tune Sunday Telegraph (Australia), Oct 2004

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EVEN MICHAEL STIPE'S eyes are smiling. The R.E.M. lead singer's face beams the delighted glow of an individual who has uncovered what feels like their true destiny.

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He crouches down behind a bank of portable TV lights and rolls up a ciggie. He licks the paper and gazes philosophically out on the green carpet of Central Park some 54 floors below.

The eloquent tunesmith, who has written some of the most compassionate and profound lyrics of the past two decades – think such epic odes as 'Everybody Hurts', 'The Great Beyond', 'Losing My Religion', 'Man On The Moon' and 'Nightswimming' – is clearly surfing through a huge day supporting the band's 15th album, Around The Sun.

It's mid-afternoon in Manhattan, a mere 12 hours since Stipe wrapped up the video shoot for the new album's lead-off single 'Leaving New York', on the concrete plains of JFK Airport. Following a few short hours of rest, he's back on the interview trail at midday, charming the world's music media.

Tonight there's a dinner with record company executives, then a flight to Athens, Georgia, where the band starts rehearsals for the Around The Sun tour. The tour will bring the outfit back to Australia for a series of shows in the major capitals in March/April.

Acknowledging compliments, Stipe responds: "A couple of years ago, maybe a couple of albums back, I realised that as a songwriter in my 20s, I had been trying to capture a sense of timelessness in the music I'd been creating.

"The idea that a song would have a sense of timelessness to it 15 or 20 years later was very important to me.

"But now," he laughs, "as a songwriter at the age of 44 and having done this for more than half my life, that's no longer important to me.

"The thing that's more important really is that our music is actually reflecting right now. I don't really give a wet willie about what anybody will think 10 years from now. It simply doesn't matter to me any more."

He pauses to glance out the window as a gust of rain batters against the steel and glass. "As a musician and as an artist, I feel that I need to comment more on the landscape that we're faced with in 2004. Not from a sociological or political point of view, but something that comes from an emotional place. That's more important to me now."

Around The Sun clearly brings the band's collective emotions – and Stipe's particular vision – into focus. As always, his lyrics cling to the cutting edge: "Memory fuses and shatters like glass, mercurial future, forget the past..." from 'Leaving New York'.

"It was a song that just arrived," he explains, with a wave of his arm.

"It happened before I knew it. And every single person who's heard 'Leaving New York' has a different interpretation of what it means and what it's about.

"I love that."

Stipe explains that because of the additional time frame allowed through last year's release of the greatest hits album, In Time 1988-2003, Around The Sun benefited from having more new songs to choose from than any previous studio album.

Initially started as a non-political statement, Around The Sun ultimately emerged as being a pointedly political effort. "We wanted to capture the feeling of what it's like to live in America right now," guitarist Peter Buck says in a separate interview.

"To me, the overwhelming feeling is sadness. Sadness for the families that have lost loved ones. Sadness for my children who have to grow up in a country where much of what we consider essential freedoms are disappearing."

Like a flock of other US contemporary rockers, R.E.M. members are extremely critical of the Bush administration.

Tonight, in Ann Arbor, Michigan, a key swing area in the forthcoming US presidential elections, R.E.M. is performing with Bruce Springsteen on the Vote For Change artist tour.

It's the third of five shows they're performing together in an effort to unseat President George W Bush.

R.E.M bass player Mike Mills later notes: "This unprecedented coming together of musicians underscores the depth of the desire for change in our country's direction."

Summing up the band's outlook, Stipe observes: "I always believed that music and politics did not mix. There are people who write great political songs but I'm not one of them.

"So I tried for four months not to write political songs and then finally I gave in.

"Now I'm happy to announce that America is into a period of great activism. People hanging banners out of their windows, putting signs in their yards, wearing T-shirts that are provocative in order to feel like they have a voice.

"Now is a very important time in this country. And it just felt right to stand up and represent yourself."

The result is a heart-warming and passionate album.

R.E.M.: Automatic For The People Q, Nov 1992

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MILLIONS HAVE BEEN waiting on the new R.E.M. album, and almost none of them is barmy.

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It could have been reverence mortis time, but Automatic For The People turns out to be both aptly unfathomable and just the job. The contradictory elements of the band's rock'n'roll cravings and the singer's ruminative tendencies sit together like completely different things in a pod.

Other than on 'Ignoreland', a stonkalong satire of Reagan/Bush America, it's folk they start from. Acoustic guitars lead the way into 'Drive' (the first single), 'Monty Got A Raw Deal' and several others. Hard on their heels come Michael Stipe's vocals, high and sharp-edged with that severe absence of emoting long associated with a finger in the ear – though there are exceptions such as 'Try Not To Breathe' where Stipe goes into character as an old man wrestling with the imminence of death.

But the subliminal message throughout, seemingly, is that the singer is always in control; a distance is maintained. It's crucial to the R.E.M. effect because, at the same time, the band are eager to throw a cheery arm round the listener's shoulder – rock on in with cleverly pointed touches on guitar, organ or a subtly assembled backing vocal from Mike Mills. The strings are impressive too, whether melancholy ('Everybody Hurts') or jouncing ELOishly ('The Sidewinder Sleeps Tonight'). Astonishingly, several of the arrangements were by John Paul Jones, eking out his pension post-Mission production and Led Zeppelin.

So a lively form of bliss is readily available from the sounds of Automatic For The People. The words are the best and the worst of it: licensed to be bloody difficult, if not incomprehensible. All interpretations of 'Drive' or 'Man In The Moon' (elegiac?) or 'Star Me Kitten' (sexy?) should own up to being long shots. 'The Sidewinder Sleeps Tonight' is a brainteaser involving a phone and, uh, if the coiled cord is the snake... it still doesn't make obvious sense. At least half the album must be filed under skull-scratchers.

Nonetheless, its character does emerge eventually. In fact, it's about Life. Without embarrassment and via sundry dark metaphors, it enquires "What's it all about, if anything?". While 'Try Not To Breathe' dramatises a moment of personal torment, 'Find The River' goes for the huge-size screen, adroitly diverting classic images of river, sea and flowers to eco-philosophical purposes ("We're closer now than light years to go," Stipe pronounces, glumly). 'Sweetness Follows' piles on the misery by flaunting soured, unconvincing consolation for common grief, the loss of parents, brothers, sisters.

Yet, if this all seems entirely too much, there's also 'Nightswimming' and 'Everybody Hurts'. Both do a slowdance with death, then pull off the aesthetic pirouette necessary to turn it all around. As the nightswimmer, Stipe sloughs off despond in unsocialworkerly fashion with scalp-prickling music and the mysterious clarity of lines like "September's coming soon/Pining for the moon/And what if there were two/Side by side in orbit around the Ferris sun".

In 'Everybody Hurts' he sings a counterpart to the Kate Bush role in Peter Gabriel's 'Don't Give Up' – "You feel like you're lost/No, no, you're not alone". Big emotions, big ideas, and you believe them too, without feeling a fool.

For properly beloved entertainers, R.E.M. can give a person quite a going over.

R.E.M.: Rock Reconstruction Getting There Creem, Sep 1985

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FABLES OF YEARS spent on the road. Decadent tales of groupies and drugs and arrogance and misspent lives near the top. You won't find any of that here, although a friend of the band's claims a magazine once approached him to write this type of expose on the members of R.E.M., a rock band so nearly perfect in integrity and beliefs that it's sometimes difficult for cynics to believe that anything this refreshing could possibly be "real."

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R.E.M.'s rise has been one of the more classic (and classier) rock stories of the 1980s. In the grand tradition of the '60s garage bands, R.E.M. formed five years ago in Athens, Georgia to just have fun, as well as an artistic outlet. "We weren't thinking about making records or even playing in a club," says singer Michael Stipe. "It just kind of happened. It's just really been an interesting series of mistakes."

Stipe met guitarist Peter Buck at a local record store where the latter was employed, and where the pair discovered they shared a mutual admiration for '70s punk (Patti Smith, Television, etc.), as well as musical predecessors like the New York Dolls and Velvet Underground. They eventually moved into an old converted church together, met ace rhythm team Mike Mills and Bill Berry at a party, and R.E.M. was born. Initially playing parties, they graduated to local clubs, turned into a "good band, kind of," according to Buck – and suddenly realized that "maybe we could do this full-time." With still no game plan in mind, they released an independent 45, got a solid reputation, went on the road – sometimes playing for as little as $40 a night (Buck has many classic "road" stories, including the night some bikers asked the band to play their club party, as a frightened Michael climbed, a fence to escape) – got signed by I.R.S., released an EP and two stunningly beautiful LPs to much critical acclaim, and won a fanatical following, both here and in England where the press has recently been crediting them with spearheading the American "grassroots" rock renaissance. With their third LP, Fables Of The Reconstruction, recently released, it appears that R.E.M. may be at the brink of what an I.R.S. spokesperson terms "mall credibility as opposed to just street credibility." Nonetheless, both Stipe and Buck say the exact same words – "I'm as famous and successful now as I ever want to be" – and both are somewhat bewildered by certain aspects of the fame that has suddenly been thrust upon them.

Prior to having their lives "profoundly affected" at the same time by LPs like Marquee Moon and Horses, Stipe's Midwestern high school crowd all listened to heavy metal ("I tried very hard to fit into that, but it didn't work too well...didn't really listen to much music until I found out about the New York CBGB's thing. It was like the first time you went into the ocean and got knocked down by a wave."), while Buck was busy, perhaps unconsciously, becoming a rock historian, absorbing everything from the Beach Boys, Raspberries and Wizzard to Gram Parsons, Astral Weeks and Fairport Convention. But aside from the punk thing, the pair shared another musical connection in that ‘Moon River’ (which they occasionally cover onstage) is the first song both remember liking as children. Stipe says he thought the song was "about Huckleberry Hound," but both recall that, even though they had no idea what the lyrics meant, it still affected them emotionally. "Even as a little boy, it made me kind of want to cry or be by myself for awhile," says Stipe. "I think it's a really special kind of song that can do that."

Which is a fairly apt description of R.E.M.'s own music. More often that not, it's impossible to understand what Stipe's lyrics mean on a literal level, but the various images merged with the band's instrumental interplay have an uncanny knack of producing strong feelings in the listener – ranging from bittersweet melancholy to excitement to, yes, even dread at times. In line with the ‘Moon River’ connection, it seems that R.E.M. often pick up on childhood images, cliches and reference points, merging them into a dreamy stream-of-consciousness format with music that's evocative of the past, yet manages to descend into a reference point of its own. Perfect examples of this device are ‘Radio Free Europe’, which is based on the old '60s TV commercial that featured the Drifters' ‘On Broadway’, and ‘7 Chinese Brothers’, based on a familiar fairy tale that featured, among other things, a character who could swallow an entire sea.

"At one point when the band started, Michael and I were discussing what we wanted to do with the lyrics," says Buck. "We decided that we ought to take all these cliches and mutate them. Take fairy tales, old blues phrasings, cliches like "easy come, easy go" – and just twist them so they were evocative but skewed and more resonant. '7 Chinese Brothers' was a result of that, and there's a similar thing on the new album. 'Green Grow The Rushes' is an Irish folk song lyric. Well, some of it is. Most of it's Michael, but then the chorus is this old Irish song he heard some drunk guy singing on a Sunday in New York or something like that."

Because their fans take them so seriously, R.E.M. is often perceived as this serious, mystical "art" band. Nothing is further from the truth, as should be evident to anyone who's seen their live shows – during which encores sometimes evolve into musical zaniness, and cover tunes might include anything from ‘Rave On’ and ‘California Dreamin'’ to ‘Smokin' In The Boys Room’ or a marathon version of Donovan's ‘Atlantis’.

"To us, the lyrical obscurities and stuff have a whole lot more to do with 'Louie Louie' than they do with any book of French poetry or anything like that," says Buck. "We're a rock 'n' roll band. It's just that ideally we'd remake rock 'n' roll in our own image, and that's the idea. Rock 'n' roll is supposed to be fun. You're supposed to be moved, it's supposed to change your life, but you're also supposed to laugh. I don't want to be one of those people who go 'No, I'm an artist.' It is silly, you know? You gotta revel in that part of it as well, and not take yourself too seriously."

Some of this "fun" side will eventually be heard on ‘Burn In Hell’, the band's heavy metal anthem (featuring the soon-to-be-classic lines: "Women got skirts/ Men got pants/If you've got the picnic/I've got the ants"), which didn't make it onto the album but will probably be the "B" side of a forthcoming single. Other potential "B" sides include ‘Band Wagon’ (which may be about the meaninglesss rock 'n' roll political flagwaving and sloganeering Buck so passionately hates), ‘When I Was Young’, ‘Hyena’ and a cover of Pylon's ‘Crazy’.

One claim made by many long disenchanted with the music scene is that R.E.M. have managed to bring a certain degree of "magic" back to rock 'n' roll. Peter Buck recently contributed some guitar parts to a forthcoming Fleshtones LP, recorded live in Paris. He's now backstage at a New York club where Fleshtones guitarist Keith Streng is introducing him to members of Kristi Rose & The Midnight Walkers, a new "country punk" band that includes ex-Television bassist Fred Smith. (Prior to this, Streng and Buck sat in a hotel room discussing rock 'n' roll as "blood & guts," "a way of life" and other terms that would seem almost comical today if their enthusiasm wasn't so obviously heartfelt.) Kristi Rose's drummer asks Buck to autograph a flyer for his brother who's "one of those fanatic rock 'n' roll collectors. He's totally into the '50s and '60s, stuff like Elvis, Jerry Lee and Dylan – but he thinks the only people today who match up are Bruce Springsteen and REM."

Not bad for a rock band that counts Andy Williams (or was it Jerry Butler?) as one of its musical influences.

"I moved to Athens from Illinois where I went to high school. It was a very outgoing, flamboyant, loud school, and I hated everything about it. I was very, kind of, afraid of a lot of things. When I moved to Athens, I just wanted to be alone, so I spent about a year by myself. I didn't have any friends, and I didn't talk to anyone. I just sat around reading or listening to music. I guess Peter was really the first person I met and got to know, and from there, the band came. That year alone, I think I really matured about five years in that time. It's a long time to go without talking to people, and it really put a lot of things into perspective for me. I became much more of a quiet person after that. Much less bombastic, which is good."

Michael Stipe is definitely a bit strange, but the shyness and eccentricity both come across as endearing traits. In his Salvation Army apparel and new short haircut (with a bald spot shaven on top), he's reminiscent of the trendy art student roaming any college town – the major difference here being a genuine artistic sensibility on display. Not arrogance, but a gentle spirit that often seems almost childlike (i.e., he's constantly asking what certain words mean) in its innocence.

He says photography is his first love. He recently had a photo taken of himself recreating the famous Diane Arbus shot of a child holding a toy hand grenade in Central Park. He designed all three R.E.M. album covers (and is still fuming about the shoddy reproduction on Reckoning). He loves nature and is extremely romantic about America's past. He would eventually like to be a carpenter and raise snapping turtles back in Georgia (he points out a hidden turtle on the new LP cover, though I'll be damned if I can locate it now). He says he recently had a bizarre dream in which his forearm became a universe. He admires Laurie Anderson, Tom Waits and Henry Mancini (naturally). He's recently been listening to Charlie Parker, Charles Mingus and Ornette Coleman (though he hasn't "the vaguest understanding of that kind of music"), and sometimes listens to more than one tape at the same time. He says that "making connection" with other people through R.E.M.'s music is very important to him. He likes carrot juice. He thinks that a cappella music will make a big comeback, and is currently working on an a cappella record with friends in Athens. And he says that "I just play the song out of my mouth as I hear it. If I were trying to enunciate or slur it more, it would probably be false. I just sing it the way I think it should be sung.

"As far as the band is concerned, and especially this record, it seems to have this very cyclical sort of sound to it. There's a lot of motion, it's kind of endless, and it just swirls around and around. There's been that on the other records as well, and I think that's something we've sort of nurtured from the beginning. But this one seems even more cyclical than the others.

"There's this whole process you have to go through in the studio, using it as a tool, and it's combined with this really deep, heartfelt, emotional desire to get across what it is you've created. I use that term 'creative' in its most base form. I'm not making any kind of claim to greatness or anything like that. I mean, you could create mudpies and that would be great, too. But I think we really took quite a few chances on this record, some of the more obvious things being a string section and horns. I went into the studio knowing I wanted to have at least 16 different voices on the record, and there's one song in particular that's got at least four different ones on it.

"My ideal music is the kind where I can be reading a book or washing the dishes, and have this music playing in the background like wallpaper. And the best thing is that you can suddenly tune out what you're doing, listen to part of the music, and it'll come out at you and be very clear. With R.E.M., it's kind of like you can focus on one part or you can focus on another, and you can get all these different ideas or interpretations of what's going on in the song. I like that. I kind of like the idea that people have to involve themselves in our music, even if it's on a wallpaper level."

Peter Buck is R.E.M.'s rock 'n' roller, meaning he loves the concept as opposed to adhering to any type of cliched lifestyle. From his "Future Farmers of America" jacket, dangling earring, Lou Reed button, green toy monkey (someone threw it onstage) hanging from his belt, and excessive energy which mainly reveals itself through constantly twitching knees, a stranger could probably surmise he doesn't work for IBM. He's extremely positive, courteous, and an all-round nice person. He goes out of his way to meet fans. He could probably write a book on the best record stores and junk or regional food emporiums in all 50 states. He thinks that most of the music he recently heard in England "sounds just like Air Supply." He says that Elliot Mazer and Van Dyke Parks, among others, were considered to produce the new LP; Joe Boyd (Richard Thompson, Nick Drake, Barrett's Pink Floyd) was basically picked out of a hat, though he wanted someone familiar with guitars and liked the way the producer described his work in an interview. He gave his demo copy of the new LP to his mom. He's learning to play the banjo (‘Wendell Gee’, with sheet music in front of him, was his first venture). And he and his band have the audacity to wear their street clothes onstage in 1985. Some people say that R.E.M., in the most non-derogatory sense, may be the last "hippie" band.

"Even though they couldn't be more wrong as far as what I conceive as a hippie band, I can see that completely," he says. "If you divide it into hippie or young businessmen, then we're definitely on the hippie side. Most rock 'n' rollers today...take these heavy metal bands who are supposed to be real badasses. They're really young businessmen. We're not like that. We're the quintessential fuck-ups, and in that respect, we're gonna be like the Grateful Dead. We're just gonna muddle along, though none of us will probably get arrested for freebasing.

"So much today has nothing to do with what rock 'n' roll is all about. It's flash, image and no substance. I mean, Jerry Lee Lewis had an image, but he was also a great singer and piano player. Dylan had a great image, but he certainly carried that image along with a string of great records. Whereas now, it's all image and that's what's marketed.

"We could've made this record a sure-fire AOR hit, and it would've cut the heart out of it. The whole idea was to get real tough live tapes. Some of my favorite songs on it have like two or three big kinds of mistakes. Not terrible, though, and the tape kind of held together as a whole, so we said, 'To hell with the mistakes. I can live with it.' So we sell less records. I think we make better records. And the end, I can't think of anyone who's made really good records over a space of five or six years that hasn't reached the right audience, unless they've self-destructed."

How about the new "psychedelic revival," which Fables Of The Reconstruction will undoubtedly get lumped into?
"There are a couple of songs that are kind of '80s psychedelic, but it's not the paisley underground thing. It's more the way Nick Cave is psychedelic – kind of the wild glump. I never really think of anything in terms of 'psychedelic,' so whenever someone says that, I start laughing. I think of Nehru jackets and stuff. It's different, though, so it might be psychedelic in the sense that the song structures are mutated. We've never been real traditional as far as song structure goes, and this is even less traditional than the other ones. The thing I always liked about psychedelia wasn't the flower power, but the idea that you could do anything with a pop song and make it valid, without being arty or pretentious about it. I mean, some of my favorite psychedelic songs are like Tommy James & The Shondells."

How about R.E.M.'s political vision?
"We say things and we do benefits that we feel are consistent with the band. I don't think it comes across in the lyrics, except maybe a little bit in things like 'Moral Kiosk' or 'Little America'. But I think whatever comes across politically is intrinsic in the way we live our lives. As a reflection of our lives, the political things are going to be in there, but we're not telling anyone how to live their lives. I don't like sloganeering, especially when it gets to something like the Clash who don't know what they're talking about. They're fucking boneheads. People think that's revolutionary and it's garbage. If somebody really wanted to change society with their music, they'd put together this hot heavy metal band like Van Halen, have three LPs of 'party, party,' and on the fourth one hit them with 'the party we have isn't enough.' Because it's bullshit to preach to the converted. I mean, you get all these college kids in combat pants going, 'Hey, man, the Clash really turned me onto Communism, man.' Have they read Marx? I haven't. It's just senseless sloganeering that could be taken for any side. Hitler said some of the same stuff the Clash do.

"I'd like to think that people who like us don't like Reagan or agree with his policies, but that's not really the case. When we were announcing onstage last tour that everyone should register to vote and see if we can get him out of office, we'd get probably two-thirds cheers and one-third boos. You try to talk to people about it, but they don't really understand.

"But in the end, when you think about it, there's horrible things all over the world. There's starvation and stuff. But, really, one of the main problems is people just won't go out of their way to be nice. They won't help jumpstart some guy's car when it's raining. Or they're just very rude to one another."

Michael says the "Reconstruction" part of the new LP's title came from a phone conversation he had with his father. Peter says it's "just an Uncle Remus fable type thing" – and both prefer to remain obtuse about the title's meaning. It suggests numerous interpretations, but, in many ways, R.E.M. are perhaps trying to reconstruct something that's long seemed dead and buried, even if it is in their own image. The jury's still out, but many of the LP's images suggest a "sea of possibilities" (in the words of one of their heroes), as well as the obstacles that stand in the way ("You can't do this – I said 'I can' "). In other words, sometimes it does seem like you can't get there from here, even though we've been there before and should still know the way.

"We get letters from kids," says Peter, "and it's like 'I'm the only kid in Pork Butt, Idaho who listens to your music.' We write back 'Keep the faith – because we've all been there too."

"It's a really weird time that we're living in," says Michael. "It's kind of scary. I'm not sure that I like it too much."

Maybe it'll get better, I suggest.

"Is there a word that applies to the future, like an anachronism?"
I can't think of one off the top of my head. "How about 'courage'? That's a good one."


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