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This page is about the Irish rock band. For other uses, see U2 (disambiguation).
U2
U2 performing at Madison Square Garden in November 2005.
U2 performing at Madison Square Garden in November 2005.
Background information
OriginDublin, Ireland
GenresRock, post-punk, alternative rock
Years active1976 – present
LabelsInterscope (1997-present)
Island (1979-1997)
MembersBono
The Edge
Adam Clayton
Larry Mullen Jr.
Websitewww.u2.com

U2 (/ˌjuːˈtuː/) are a rock band from Dublin, Ireland. Since their formation in 1976 as a group of four teenagers with limited musical skills, the band's members have been Bono (vocals and guitar), The Edge (guitar, keyboards and vocals), Adam Clayton (bass guitar), and Larry Mullen Jr. (drums and percussion).

In the early years, through the Boy and War albums, their success as a live act was greater than their success at selling records. It wasn't until their 1987 album, The Joshua Tree,[1] that they made, as Rolling Stone described, "the leap from heroes to superstars".[2] Their 1991 album Achtung Baby and the accompanying Zoo TV Tour were part of a significant reinvention for the band; it was a response to their own sense of musical stagnation, the dance and alternative rock revolutions, and criticism of their image. This experimentation continued for the rest of the 1990s. U2 have pursued a more traditional sound with 2000's All That You Can't Leave Behind and 2004's How to Dismantle An Atomic Bomb, while maintaining influences from their previous musical explorations.

Since the mid-1980s, the band has been one of the world's most popular acts, noted for their anthemic sound, Bono's impassioned vocals, and The Edge's textural guitar playing. They have sold more than 170 million albums worldwide[3] and have won more Grammy Awards than any other band.[4] They continue to enjoy high levels of commercial and critical success. In 2005, the band were inducted into the Rock and Roll Hall of Fame in their first year of eligibility. Band members are active, as a band and as individuals, in human rights, international development, and social justice causes, such as Amnesty International, Make Poverty History, the ONE Campaign, Live Aid, Live 8, Bono's DATA (Debt, AIDS, Trade in Africa) campaign, and Music Rising.

Merbabu's Lead

[edit]
This page is about the Irish rock band. For other uses, see U2 (disambiguation).
U2
U2 performing at Madison Square Garden in November 2005.
U2 performing at Madison Square Garden in November 2005.
Background information
OriginDublin, Ireland
GenresRock, post-punk, alternative rock
Years active1976 – present
LabelsInterscope (1997-present)
Island (1979-1997)
MembersBono
The Edge
Adam Clayton
Larry Mullen Jr.
Websitewww.u2.com

U2 (/ˌjuːˈtuː/) are a rock band from Dublin, Ireland. The band's four members are Bono (vocals and guitar), The Edge (guitar, keyboards and vocals), Adam Clayton (bass guitar), and Larry Mullen Jr. (drums and percussion).

U2 formed in 1976 when the members were teenagers with limited musical proficiency. By the mid-1980s, however, the band had become a top international act, noted for their anthemic sound, Bono's impassioned vocals, and The Edge's textural guitar playing. Their success as a live act was greater than their success at selling records, until their 1987 album, The Joshua Tree,[1] brought them success that Rolling Stone described as "the leap from heroes to superstars".[2] Their 1991 album Achtung Baby and the accompanying Zoo TV Tour were part of a significant reinvention for the band; it was a response to their own sense of musical stagnation, the dance and alternative rock revolutions, and criticism of their image. This experimentation continued for the rest of the 1990s. => PARAGRAPH??? <= U2 have pursued a more traditional sound with 2000's All That You Can't Leave Behind and 2004's How to Dismantle An Atomic Bomb, while maintaining influences from their previous musical explorations.

U2 have sold more than 170 million albums worldwide[3] and have won more Grammy Awards than any other band.[4] In 2005, the band were inducted into the Rock and Roll Hall of Fame in their first year of eligibility. Throughout their career, as a band and as individuals, they have actively campaigned for Amnesty International, the ONE Campaign, Bono's DATA (Debt, AIDS, Trade in Africa) campaign, and other causes.

History

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Formation (1976–1979)

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U2 in the late 1970s: (left to right) Clayton, Mullen, Bono, Edge

U2 formed in Dublin, Ireland on September 25, 1976.[5] Larry Mullen Jr., then fourteen, posted a notice on his secondary school notice board (Mount Temple Comprehensive School) seeking musicians for a new band. Seven teenage boys attended the initial practice in Mullen's kitchen. Known for about a day as "The Larry Mullen Band," the group featured Mullen on drums, Paul Hewson (Bono) on lead vocals, Dave Evans (The Edge) and his brother Dick Evans on guitar, as well as Ivan McCormick and Peter Martin, two other friends of Mullen.[6] Soon after, the group settled on the name "Feedback", because it was one of the few technical terms they knew.[7] Martin did not return after the first practice, and McCormick left the group within a few weeks. Most of their material consisted of cover versions, which the band explained was not their forte.

We couldn't believe it. I was completely shocked. We weren't of an age to go out partying as such but I don't think anyone slept that night....Really, it was just a great affirmation to win that competition, even though I've no idea how good we were or what the competition was really like. But to win at that point was incredibly important for morale and everyone's belief in the whole project.

— The Edge on winning the CBS competition[8]

In March 1977, the band changed its name to "The Hype".[9] Dick Evans, who was older and by this time at college, was becoming the odd man out. The rest of the band was leaning towards the idea of a four-piece ensemble and he was "phased out" in March 1978. During a farewell concert in the Presbyterian Church Hall in Howth, which featured The Hype playing covers, Dick ceremoniously walked offstage. The remaining four band members completed the concert playing original material as "U2".[10] Steve Averill, a punk rock musician and family friend of Clayton's, had suggested six potential names from which the band chose "U2" for its ambiguity and open-ended interpretations, and because it was the name that they disliked the least.[11]

On Saint Patrick's Day in 1978, U2 won a talent show in Limerick, Ireland. The prize consisted of £500 and funding to record a demo, which was an important milestone and affirmation for the fledgling band.[10] The band recorded its first demo tape at Keystone Studios, in Harcourt Street, Dublin, in April 1978.[12] In May, Paul McGuinness, who had earlier been introduced to the band by Hot Press journalist Bill Graham, agreed to be U2's manager.[13] U2's first release, an Ireland-only EP entitled Three, was released in September 1979, and was the band's first Irish chart success.[14] In December 1979, U2 performed in London for their first shows outside Ireland, although they failed to get much attention from audiences or critics.[15] In February 1980, their second single "Another Day" was released on the CBS label, but again only for the Irish market.[16]

Boy, October, and War (1980–1983)

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Island Records signed U2 in March 1980, and "11 O'Clock Tick Tock" became the band's first internationally released single that May.[17] The band's debut album, the Steve Lillywhite-produced Boy, followed in October, and received generally positive reviews.[18] Although Bono's lyrics were unfocused and seemingly improvised, common themes appeared that described the hopes of adolescence as well as its frustrations[19] such as fear over sex, confusion during maturation, loss of innocence, and uncontrollable mood swings.[20] The album included the band's first United Kingdom hit single, "I Will Follow". Boy's release was followed by U2's first tour of continental Europe and the United States.[21] Despite being unpolished, these early live performances demonstrated U2's potential, as critics noted that Bono was a "charismatic" and "passionate" showman.[22]

The band's second album, October, was released in 1981 and contained overtly spiritual themes. Bono, The Edge, and Mullen had joined a Christian group in Dublin called the 'Shalom Fellowship', which led them to question the relationship between the Christian faith and the rock and roll lifestyle.[23] The album met with mixed reviews and limited radio play. It did not sell well outside of the United Kingdom, which put pressure on their contract with Island and focussed the band on improvement.[24]

Resolving the doubts of the October period, U2 released War in 1983.[25] A record where the band "turned pacifism itself into a crusade,"[26] War's sincerity and "rugged" guitar was intentionally at odds with the "cooler" synth-pop of the time.[27] The album included "Sunday Bloody Sunday," where Bono had lyrically tried to contrast the events of Bloody Sunday with Easter Sunday.[28] Rolling Stone magazine wrote that the song showed the band was capable of deep and meaningful songwriting. War was U2's first album to feature the photography of Anton Corbijn, who remains U2's principal photographer and has had a major influence on their vision and public image.[29] U2's first commercial success, War debuted at number one in the United Kingdom, and its first single, "New Year's Day", was the band's first overseas hit.[30]

On the subsequent War Tour, the band performed to sold-out concerts in mainland Europe and the U.S. The image of Bono waving a white flag during performances of "Sunday Bloody Sunday" became a familiar sight.[31] U2 recorded the Under a Blood Red Sky live album on this tour and a live video was released, both of which received extensive play on the radio and MTV, helping expand the band's audience.[32] Their generally unfavourable record deal with Island Records was coming to an end, and in 1984 U2 signed an unusually lucrative extension. Forgoing a larger initial payment, they instead negotiated the return of their copyrights (such that they owned the rights to their own songs), an increase in their royalty rate, and a general improvement in terms.[33]

The Unforgettable Fire and Live Aid (1984–1985)

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We knew the world was ready to receive the heirs to The Who. All we had to do was to keep doing what we were doing and we would become the biggest band since Led Zeppelin, without a doubt. But something just didn't feel right. We felt we had more dimension than just the next big anything, we had something unique to offer. The innovation was what would suffer if we went down the standard rock route. We were looking for another feeling.

— Bono on The Unforgettable Fire's new direction.[34]

The Unforgettable Fire was released in 1984. Ambient and abstract, it was at the time the band’s most marked change in direction.[35] The band feared that following the overt rock of the War album and tour, they were in danger of becoming another "shrill", "sloganeering arena-rock band".[36] Thus, experimentation was sought[37] as Adam Clayton recalls, "We were looking for something that was a bit more serious, more arty."[34] The Edge admired the ambient and "weird works" of Brian Eno, who, along with his engineer Daniel Lanois, eventually agreed to produce the record.[38]

The Unforgettable Fire has a rich and orchestrated sound. Under Lanois' direction, Larry's drumming became looser, funkier, and more subtle and Adam's bass became more subliminal; the rhythm section no longer intruded, but flowed in support of the songs.[39] Complementing the sonic atmospherics, the album's lyrics are open to many interpretations, providing what the band called a "very visual feel".[35] Bono's recent immersion in fiction, philosophy, and poetry made him realise that his songwriting responsibilities—about which he had always been reluctant—were a poetic one. Due to a tight recording schedule, however, Bono felt songs like "Bad" and "Pride (In the Name of Love)" were incomplete "sketches".[40] "Pride (In the Name of Love)", about Martin Luther King, was the album's first single and became the band's biggest hit at that point, including being their first to enter the U.S. top 40.[41]

Much of the Unforgettable Fire Tour moved into indoor arenas as U2 began to win their long battle to build their audience.[42] Translating the complex textures of the new studio-recorded tracks, such as "The Unforgettable Fire" and "Bad", to live performance was problematic.[35] One solution was programmed sequencers, which the band had previously been reluctant to use, but are now used in the majority of the band's performances.[35] Songs criticised as being "unfinished", "fuzzy", and "unfocused" on the album made more sense on stage.[43]

U2's performance at Live Aid was a turning point in their career.

U2 participated in the Live Aid concert for Ethiopian famine relief at Wembley Stadium in July 1985.[44] U2's performance was considered one of the show's most memorable and was a turning point in the band's career.[45] During the song "Bad", Bono leapt down off the stage to embrace and dance with a fan, showing a television audience of millions the personal connection that Bono could make with audiences.[46] In 1985, Rolling Stone magazine called U2 the "Band of the 80s," saying that "for a growing number of rock-and-roll fans, U2 have become the band that matters most, maybe even the only band that matters."[47]

The Joshua Tree and Rattle and Hum (1986–1989)

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Friendships with Bob Dylan, Van Morrison, and Keith Richards motivated the band to look back to the roots of rock music. At the same time, Bono began to focus on his skills as a song and lyric writer.[48] Realising "that U2 had no tradition, we were from outer space", the band explored American blues, country, and gospel music.[49] The band wanted to build on The Unforgettable Fire's atmospherics, but instead of its out-of-focus tracks, they sought a harder-hitting sound within the strict discipline of conventional song structures.[50]

U2 interrupted their 1986 album sessions to serve as a headline act on Amnesty International's A Conspiracy of Hope Tour, but rather than be a distraction, the tour added extra intensity and power to their new music.[51] In his 1986 travels to San Salvador and Nicaragua, Bono saw the distress of peasants bullied in internal conflicts subject to American political intervention. This first-hand experience later became a central influence on the album. The album juxtaposes antipathy towards America against the band's deep fascination with the country, its open spaces, freedom, and what it stands for.[52] The band wanted music with a sense of location, a 'cinematic' quality; the album's music and lyrics draw on imagery created by American writers whose works the band had been reading.[53]

The wild beauty, cultural richness, spiritual vacancy and ferocious violence of America are explored to compelling effect in virtually every aspect of The Joshua Tree—in the title and the cover art, the blues and country borrowings evident in the music...Indeed, Bono says that "dismantling the mythology of America" is an important part of The Joshua Tree's artistic objective.

— Rolling Stone[54]

The Joshua Tree—so named as a "tribute" to, rather than a "metaphor" for, America[52]—was released in March 1987. It became the fastest-selling album in British chart history, and was number one for nine weeks in the United States.[55] It won U2 their first two Grammy Awards.[56] The album's first two singles, the 'rock & roll bolero "With or Without You"[57] and the rhythmic gospel "I Still Haven't Found What I'm Looking For", quickly went to number one in the U.S. U2 became the fourth rock band to be featured on the cover of Time magazine,[58] which declared U2 "Rock's Hottest Ticket".[59] The album brought U2 a new level of success and is cited by Rolling Stone as one of rock's greatest.[60] The Joshua Tree Tour, the first during which the band consistently played in stadiums, sold out arenas and stadiums around the world.[61]

The documentary Rattle and Hum featured footage recorded from The Joshua Tree Tour, and the accompanying double album of the same name included nine studio tracks and six live U2 performances. Released in record stores and cinemas in October 1988, the album and film were intended as a tribute to American music.[62] The film included tracks recorded at Sun Studios in Memphis and tracks performed with Bob Dylan and B.B. King. Despite a positive reception from fans, Rattle and Hum received mixed reviews from both film and music critics;[63] one Rolling Stone editor spoke of the album's "excitement", another described it as "bombastic and misguided".[64] The film's director, Phil Joanou, described it as "an overly pretentious look at U2".[65] Most of the album's new material was played on 1989's Lovetown Tour, which primarily consisted of shows in Australia and Europe. With a sense of musical stagnation, Bono announced at an end-of-decade concert that the weary U2 had come to the end of an era and had to "...go away and just dream it all up again".[66]

Achtung Baby, Zoo TV, and Zooropa (1990–1993)

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Buzzwords on this record were trashy, throwaway, dark, sexy, and industrial (all good) and earnest, polite, sweet, righteous, rockist and linear (all bad). It was good if a song took you on a journey or made you think your hifi was broken, bad if it reminded you of recording studios or U2...Berlin became a conceptual backdrop for the record. The Berlin of the Thirties—decadent, sexual and dark—resonating against the Berlin of the Nineties—reborn, chaotic and optimistic...

— Brian Eno on the recording of Achtung Baby[67]

In November 1991, U2 released Achtung Baby. Hurt by criticism of Rattle and Hum, the band made a calculated change in musical and thematic direction, their most dramatic since The Unforgettable Fire.[68] Sonically, Achtung Baby incorporated dance, industrial, and alternative music influences of the time and the band referred to the album as the sound of "four men chopping down the Joshua Tree".[69] Thematically, it was a more inward-looking and personal record; it was darker, yet at times more flippant, than the band's previous work. Commercially and critically, it has been one of the band's most successful albums and a crucial part of the band's early 1990s reinvention.[70] Like The Joshua Tree, it is cited by Rolling Stone as one of rock's greatest.[60]

The band initially worked on Achtung Baby in East Berlin, seeking inspiration and renewal on the eve of German reunification. Daniel Lanois produced the album with assistance from Brian Eno.[71] In the Berlin sessions, conflict arose within the band over the quality of material and musical direction. While Adam and Larry preferred a sound similar to U2's previous work, Bono and The Edge were inspired by alternative and European dance music and advocated a change. Weeks of slow progress, arguments, and tension subsided when the band rallied around a chord progression The Edge had written, creating the song "One".[72]

The Zoo TV Tour of 1992–1993 was a multimedia event, and showcased an extravagant but intentionally bewildering array of hundreds of video screens, upside-down flying Trabant cars, mock transmission towers, satellite TV links, subliminal text messages, and Bono's over-the-top stage characters such as "The Fly", "Mirror-Ball Man", and "(Mister) MacPhisto". The extravagant shows were intentionally in contrast to the austere staging of previous U2 tours, and mocked the excesses of rock and roll by appearing to embrace these very excesses. The shows were, in part, U2's way to represent the pervasive nature of cable television and its blurring of news, entertainment, and home shopping.[73] Prank phone calls were made to President Bush, the United Nations, and others. Live satellite uplinks to war-torn Sarajevo caused controversy.[74]

The Zoo TV stage

Quickly recorded and released during a break in the Zoo TV tour in mid-1993, the Zooropa album continued many of the themes from Achtung Baby and the Zoo TV tour. Initially intended as an EP, the band expanded Zooropa into a full-length LP album. It was an even greater departure from the style of their earlier recordings, incorporating techno influences and other electronic effects.[75] Most of the songs were played at least once during the 1993 leg of the tour, which extended through Europe, Australia, New Zealand and Japan; half the album's tracks became fixtures in the set.[76]

Passengers, Pop, and PopMart (1995–1998)

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In 1995, U2 released an experimental album called Original Soundtracks 1. Brian Eno, producer of three previous U2 albums, contributed as a full partner, including writing and performing. For this reason, and due to the record's highly experimental nature, the band chose to release it under the moniker "Passengers" to distinguish it from U2's conventional albums. It was commercially unnoticed by U2 standards and it received generally poor reviews. However, the single "Miss Sarajevo" featuring Luciano Pavarotti, and which Bono cites as one of his favourite U2 songs,[77] was a hit.

It's not enough to write a great lyric; it’s not enough to have a good idea or a great hook, lots of things have to come together and then you have to have the ability to discipline and screen. We should give this album to a re-mixer, go back to what was originally intended, so that 'Mofo' is on top of the stickiest groove with a proper plastic attack, 'Do You Feel Loved' is done as a liquid base line hook that carries the intimacies whispered on top of it, 'If God Will Send His Angels' should be diamonds and pearls.

— Bono on Pop[78]

On 1997's Pop, U2 continued experimenting; tape loops, programming, rhythm sequencing, and sampling provided much of the album with heavy, funky dance rhythms.[79] Released in March, the album debuted at number one in 35 countries, and drew mainly positive reviews.[80] Rolling Stone, for example, stated that U2 had "defied the odds and made some of the greatest music of their lives."[81] Others felt that the album was a major disappointment and sales were poor compared to previous U2 releases.[82] The band was hurried into completing the album in time for the impending pre-booked tour, and Bono admitted that the album "didn't communicate the way it was intended to".[83]

The subsequent tour, PopMart, commenced in April 1997, and continued the Zoo TV theme of decadence. The set included a 100-foot tall golden yellow arch, a 150-foot long video screen, and a 40-foot tall mirrorball lemon. Like Zoo TV, it featured advertising influences and was intended to send a sarcastic message to those accusing U2 of commercialism. U2's "big shtick" failed, however, to satisfy many who were seemingly confused by the band's new kitsch image and elaborate sets.[84] The late delivery of Pop meant rehearsal time was severely reduced, and performances in early shows suffered.[85] A highlight of the tour was a concert in Sarajevo where U2 were the first major group to perform following the Bosnian war.[86] Larry Mullen Jr. described the concert as "an experience I will never forget for the rest of my life, and if I had to spend 20 years in the band just to play that show, and have done that, I think it would have been worthwhile."[87]

"Reapplying for the best band in the world" (2000 – present)

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All That You Can't Leave Behind is easy to relate to, full of solid songs that appeal to a wide audience with its clear notions of family, friendship, love, death, and re-birth. More Lanois than Eno on first impression, the sounds on this album come from a band that has digested the music it started to consume while making Rattle and Hum. This time they are neither imitating or paying tribute. This time it's soul music, not music about soul.

— Caroline van oosten de Boer[37]

Following the comparatively poor reception of Pop, U2 declared on a number of occasions that they were "re-applying for...The best band in the world".[88] Since 2000, the band has pursued a more traditional sound while maintaining influences from their previous musical explorations.[89]

All That You Can't Leave Behind was released in October 2000 and reunited the band with producers Brian Eno and Daniel Lanois. The album was considered by many of those not won over by the band's 1990s experimentation as a return to grace;[90] Rolling Stone called it U2's "third masterpiece" alongside The Joshua Tree and Achtung Baby.[91] The album debuted at number one in 22 countries[92] and its world-wide hit single, "Beautiful Day" earned three Grammy Awards. The album's other singles, "Walk On", "Elevation", and "Stuck in a Moment You Can't Get Out Of" also won Grammy Awards.

U2 performs at Super Bowl XXXVI Halftime Show, 3 February 2002

For the Elevation Tour, U2 performed in a scaled-down setting, returning to arenas after nearly a decade of stadium productions. A heart-shaped stage and ramp permitted greater proximity to the audience. Following the September 11, 2001 attacks, the new album gained added resonance. In October, U2 performed a series of sold-out shows at Madison Square Garden in New York City. In later interviews, Bono and the Edge would call these New York City shows among their most memorable and emotional performances.[93] In early 2002, U2 performed during halftime of Super Bowl XXXVI.[94]

The band's next studio album, How to Dismantle an Atomic Bomb, was released on 22 November 2004. Sonically, the band was looking for harder-hitting rock than All That You Can't Leave Behind. Thematically, Bono states that "A lot of the songs are paeans to naiveté, a rejection of knowingness."[95] The first single "Vertigo" was featured on a widely-aired television commercial for the Apple iPod in conjunction with the release of a special edition U2 iPod and an iTunes U2 box set. The album debuted at number one in the U.S. where first week sales doubled that of All That You Can't Leave Behind and set a record for the band.[96] Claiming it as a contender as one of U2's three best albums, Bono said, "There are no weak songs. But as an album, the whole isn't greater than the sum of its parts, and it fucking annoys me."[95]

Using a similar setup and stage design as the previous tour, the Vertigo Tour featured a setlist that varied more across dates than any U2 tour since the Lovetown Tour, and included songs not played since the early 1980s. Much like the Elevation Tour, the Vertigo Tour was a large commercial success.[97] The album and its singles won Grammy Awards in all eight categories in which U2 was nominated. In 2005, Bruce Springsteen inducted U2 into the Rock and Roll Hall of Fame.[98]

In August 2006, the band transferred some of its operations to Holland two months after Ireland capped its artists tax exemption at €250,000.[99] Since 2006, the band have been writing and recording new material, initially with Rick Rubin, and more recently with Brian Eno and Daniel Lanois. A new album is planned to be released some time in 2008.[100] A 3D concert movie, U2 3D, filmed during the Vertigo Tour is scheduled for January 2008.

Musical style

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Since their inception, U2 have developed and maintained a distinctly recognisable sound, with emphasis on melodic instrumentals and expressive, larger-than-life vocals.[101] This approach is rooted partly in the early influence of record producer Steve Lillywhite at a time when the band was not known for musical proficiency.[102] The Edge has consistently used a rhythmic echo and a signature delay[103] to craft his guitar work, coupled with an Irish-influenced drone played against his syncopated melodies[104] that ultimately yields a well-defined ambient and atmospheric sound. Bono has nurtured his falsetto operatic voice[105] and has exhibited a notable lyrical bent towards social, political, and personal subject matter while maintaining a grandiose scale in his songwriting. In addition, the Edge has described U2 as a fundamentally live band.[104]

File:U2crokepark05.jpg
U2 performing live in their hometown of Dublin, Ireland, in 2005

Despite these broad consistencies, U2 have introduced new elements into their musical repertoire with each new album. U2's early sound was influenced by bands such as Television and Joy Division, and has been described as containing a "sense of exhilaration" that resulted from The Edge's "radiant chords" and Bono's "ardent vocals".[106] U2's sound began with post-punk roots and minimalistic and uncomplicated instrumentals heard on Boy and October, but evolved through War to include aspects of rock anthem, funk, and dance rhythms to become more versatile and aggressive.[107] The two albums were labeled "muscular and assertive" by Rolling Stone,[36] influenced in large part by Lillywhite's producing. The Unforgettable Fire, which began with the Edge playing more keyboards than guitars, as well as follow-up The Joshua Tree, had Brian Eno and Daniel Lanois at the production helm. With their influence, both albums achieved a "diverse texture".[36] The songs from The Joshua Tree and Rattle and Hum placed more emphasis on Lanois-inspired rhythm as they mixed distinct and varied styles of gospel and blues music, which stemmed from the band's burgeoning fascination with America's culture, people and places. In the 1990s, U2 reinvented themselves as they began using synthesizers, distortion, and electronic beats derived from alternative music, dance music, and hip-hop on Achtung Baby,[108] Zooropa and Pop.[109] The 2000s had U2 returning to a stripped-down sound, with less use of synthesizers and effects and a more traditional rhythm.

Lyrics and themes

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Social and political commentary, often embellished with Christian-Catholic religious and spiritual imagery,[110] are a major aspect of U2's lyrical content. Songs like "Sunday Bloody Sunday" and "Mothers of the Disappeared" were motivated by current events of the time. The former was written concerning the troubles in Northern Ireland[111] while the latter described the plight of the mothers of kidnapped Argentinians that opposed the country's coup d'état in 1976. Furthermore, Bono's personal conflicts and turmoil related to family are showcased in songs like "Mofo", "Tomorrow" and "Kite". An emotional yearning or pleading is another frequent conveyance,[101] in tracks such as "Yahweh",[112] "Peace on Earth" and "Please". More generally, the investigation of loss and anguish coupled with hopefulness and resiliency, central in The Joshua Tree,[36] has motivated much of U2's songwriting and music. Some of this lyrical ideation has been amplified by Bono and the band's personal experiences during their youth in Ireland, as well as Bono's campaigning and activism later in his life. U2 have used tours such as Zoo TV and PopMart to caricature social trends such as media overload and consumerism, respectively.[109]

While the band and its fans often affirm the political nature of their music, U2's lyrics and music have been criticized as apolitical because of their vagueness and "fuzzy imagery", and a lack of any specific references to actual people or characters.[113]

Influences

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The band cites The Who,[114] The Clash,[115] Ramones,[116] and The Beatles,[117] Joy Division[118] and Siouxsie & the Banshees[119] as influences. Other musicians and bands such as The Fray,[120] OneRepublic,[121] Coldplay,[122] The Killers,[122] Flickerstick,[123] and Angels & Airwaves[124] have in turn been influenced by the work of U2. Cover versions of U2 songs have been made by performers such as Our Lady Peace, Mary J. Blige, Johnny Cash, The Chimes, Joe Cocker, Pearl Jam, James Blunt, tobyMac, Darlene Zschech, Pet Shop Boys, Ignite, The Smashing Pumpkins, Keane, Pillar, Utada Hikaru, Sepultura and The Bravery. U2 have also worked and/or had influential relationships with artists including Green Day, Bruce Springsteen,[125] Bob Dylan, Elvis Costello, R.E.M., and Anton Corbijn.

Campaigning and activism

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Bono with President Luís Inácio Lula da Silva of Brazil

Since the early 1980s, the members of U2—as a band and individually—have collaborated with other musicians, artists, celebrities, and politicians to address issues concerning poverty, disease, and social injustice.

In 1984, Bono and Adam Clayton participated in Band Aid to raise money for Ethiopian famine relief. The initiative produced the hit charity single "Do They Know It's Christmas?", which would be the first among several collaborations between U2 and Bob Geldof. In July 1985, U2 played Live Aid, a follow-up to Band Aid's efforts. Bono and his wife Ali, invited by World Vision, later visited Ethiopia where they witnessed the famine first hand. Bono would later say this laid the groundwork for his Africa campaigning and some of his songwriting.[126]

In 1986, U2 participated in the A Conspiracy of Hope Tour in support of Amnesty International and in Self Aid for unemployment in Ireland. The same year, Bono and Ali Hewson also visited Nicaragua and El Salvador at the invitation of the Sanctuary movement, and saw the effects of the El Salvador Civil War. These 1986 events greatly influenced The Joshua Tree album, which was being recorded at the time.

In 1992, the band participated in the "Stop Sellafield" concert with Greenpeace during their Zoo TV tour.[127] Events in Sarajevo during the Bosnian war inspired the song "Miss Sarajevo", which premiered at a September 1995 Pavarotti and Friends show, and which Bono and the Edge performed at War Child.[128] A promise made in 1993 was kept when the band played in Sarajevo as part of 1997's PopMart Tour.[129] In 1998, they performed in Belfast days prior to the vote on the Good Friday Agreement, bringing Irish political leaders David Trimble and John Hume on stage to promote the agreement.[130] Later that year, all proceeds from the release of the "Sweetest Thing" single went towards supporting the Chernobyl Children's Project.

In 2001, the band dedicated "Walk On" to Burma's pro-democracy leader Aung San Suu Kyi.[131] In late 2003, Bono and the Edge participated in the South Africa HIV/AIDS awareness 46664 series of concerts hosted by Nelson Mandela. The band played 2005's Live 8 concert in London. The band and manager Paul McGuinness were awarded Amnesty International's Ambassador of Conscience Award for their work in promoting human rights.[132]

Since 2000, Bono's campaigning has included Jubilee 2000 with Bob Geldof, Muhammad Ali, and others to promote the cancellation of third world debt during the Great Jubilee. In January 2002, Bono co-founded the multinational NGO, DATA, with the aim of improving the social, political, and financial state of Africa. He continued his campaigns for debt and HIV/AIDS relief into June 2002 by making high-profile visits to Africa.[133] Product Red, a 2006 for-profit brand seeking to raise money for the Global Fund, was founded, in part, by Bono. The ONE Campaign, the US counterpart of Make Poverty History, has been shaped by his efforts and vision. Bono has also teamed up with Yahoo! to promote the ONE Campaign, which Yahoo! has helped to re-develop.

In late 2005, following Hurricane Katrina and Hurricane Rita, The Edge helped introduce Music Rising, an initiative to raise funds for musicians who lost their instruments in the storm-ravaged Gulf Coast.[134] In 2006, U2 collaborated with pop punk band Green Day to record a cover version of the song "The Saints Are Coming" by The Skids to benefit Music Rising.[135]

U2 and Bono's social activism have not been without its critics however. Several authors and activists who publish in politically left journals such as CounterPunch have decried Bono's support of political figures such as Paul Wolfowitz,[136] as well as his "essential paternalism".[137] Other news sources have more generally questioned the efficacy of Bono's campaign to relieve debt and provide assistance to Africa, with one declaring that "foreign aid often just makes politicians rich—but leaves their people poor".[138]

Other projects

[edit]

The members of U2 have undertaken a number of side projects, sometimes in collaboration with some of their bandmates. In 1985, Bono recorded the song "In a Lifetime" with the Irish band Clannad. The Edge recorded a solo soundtrack album for the film Captive in 1986,[139] which included a vocal performance by Sinead O'Connor that predates her own debut album by a year. Bono and The Edge wrote the song "She's A Mystery To Me" for Roy Orbison, which was featured on his 1989 album Mystery Girl.[140] Together with The Edge, Bono wrote the song "Goldeneye" for the 1995 James Bond film GoldenEye, which was performed by Tina Turner.[141] Adam Clayton and Larry Mullen Jr. did a rework of the title track of the movie Mission: Impossible in 1996.[142] Bono loaned his voice to "Joy" on Mick Jagger's 2001 album Goddess in the Doorway.[143] Bono also recorded a spare, nearly spoken-word version of Leonard Cohen's "Hallelujah" for the "Tower of Song" compilation in 1995.

Aside from musical collaborations, U2 have worked with several authors. American author William S. Burroughs had a guest appearance in U2's video for "Last Night on Earth" shortly before he died.[144] His poem "A Thanksgiving Prayer" was used as video footage during the band's Zoo TV Tour. Other collaborators include William Gibson and Allen Ginsberg.[145] In early 2000, the band recorded two songs for the The Million Dollar Hotel movie soundtrack, including "The Ground Beneath Her Feet," which was co-written by Salman Rushdie and motivated by his book of the same name.[146]

Discography

[edit]
Main article: U2 discography
Studio albums
Compilation and live albums

Awards

[edit]
Main article: List of U2 awards

U2 first received Grammy Awards for the The Joshua Tree in 1988, and have won 22 in total since, tying U2 with Stevie Wonder as contemporary artists with the most Grammies.[4] These include Best Rock Duo or Group, Album of the Year, Record of the Year, Song of the Year and Best Rock Album. The British Phonographic Industry has awarded U2 seven BRIT Awards, five of these being for Best International Group. In Ireland, U2 have won 14 Meteor Awards since the awards began in 2001. Other awards include one AMA, four VMAs, ten Q Awards, two Juno Awards, three NME Awards, and a Golden Globe Award. The band were inducted into the Rock and Roll Hall of Fame in early 2005.[98]

References

[edit]

General

[edit]
  • Chatterton, Mark (2001). U2: The Complete Encyclopedia. Firefly Publishing. ISBN 0-946719-41-1
  • Flanagan, Bill (1995). U2 at the End of the World. Delacorte Press. ISBN 0-385-31154-0
  • Graham, Bill (2004). U2: The Complete Guide to their Music. London: Omnibus Press. ISBN 0-7119-9886-8. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • McCormick, Neil (ed), (2006). U2 by U2. HarperCollins Publishers. ISBN 0-00-719668-7
  • de la Parra, Pimm Jal (2003). U2 Live: A Concert Documentary. Omnibus Press. ISBN 0-7119-9198-7
  • Stokes, Niall (1996). Into The Heart: The Stories Behind Every U2 Song. Harper Collins Publishers. ISBN 0-7322-6036-1.
  • Wall, Mick, (2005). Bono. Andre Deutsch Publishers. ISBN 0233001593 Parameter error in {{ISBN}}: checksum (Promotional edition published by Paperview UK in association with the Irish Independent)

Notes

[edit]
  1. ^ a b Paul McGuinness (1998). Classic Albums: The Joshua Tree (Television documentary). Rajon Vision.
  2. ^ a b Gardner, Elysa (1994). U2: The Rolling Stone Files. New York: Rolling Stone Magazine. pp. page xx. ISBN [[Special:BookSources/ISBN 0-283-06239-8|'"`UNIQ--templatestyles-000000C7-QINU`"'[[ISBN (identifier)|ISBN]]&nbsp;[[Special:BookSources/0-283-06239-8 |0-283-06239-8]]]]. {{cite book}}: |pages= has extra text (help); Check |isbn= value: invalid character (help); templatestyles stripmarker in |isbn= at position 1 (help)
  3. ^ a b Vallely, Paul. "Bono: The Missionary". The Independent, May 2006. Retrieved 15 October 2006.
  4. ^ a b c GRAMMY Winners List grammy.com. Retrieved 15 October 2006.
  5. ^ McCormick (2006), page 27
  6. ^ Chatterton (2001), page 130
  7. ^ McCormick (2006), page 30
  8. ^ McCormick (2006), pages 46-47
  9. ^ de la Parra (2003), page 6
  10. ^ a b McCormick (2006), pages 46-48
  11. ^ McCormick (2006), page 44
  12. ^ Wall, Mick, (2005). Bono. Andre Deutsch Publishers. ISBN 0233001593 Parameter error in {{ISBN}}: checksum (Promotional edition published by Paperview UK is association with the Irish Independent), pages 45
  13. ^ McCormick (2006), pages 53-56
  14. ^ de la Parra (1994), page 8
  15. ^ de la Parra (1994), page 10
  16. ^ Stokes (1996), page 142; McCormick (2006), page 88
  17. ^ Stokes (1996), page 142
  18. ^ "Boy Review". Hot Press. October 1980. Retrieved 2007-09-06.; "Boy New Music Express review". New Music Express. 1980-10-25. Retrieved 2007-09-06.; "Boy Billboard review". Billboard. 1980-09-30. Retrieved 2007-09-06.; "Boy The Washington Post review". The Washington Post. 1980-09-30. Retrieved 2007-09-06.
  19. ^ Henke, James (1981-02-19). "U2: Here Comes the "Next Big Thing"". Rolling Stone. Retrieved 2007-09-06.
  20. ^ "The Meaning of U2 Lyrics". U2MoL. Retrieved 2007-09-06.
  21. ^ de la Parra (2003), pages 16,17
  22. ^ "Voice of Influential U2 Frontman". BBC. 2006-12-23. Retrieved 2007-09-06.
  23. ^ Flanagan (1995), pages 46-48
  24. ^ McCormick (2006), page 120
  25. ^ Stokes (1996), page 36
  26. ^ Reynolds, Simon. Rip It Up and Start Again: Postpunk 1978-1984. Penguin, 2005. p. 367. ISBN 0-14-303672-6
  27. ^ Graham (2004), page 14
  28. ^ McCormick (2006), page 135.
  29. ^ McCormick (2006), page 127
  30. ^ "New Year's Day" reached number ten on the UK charts, and received extensive radio coverage in the US, almost breaking that country's Top 50. (McCormick (2006), page 139); "Songfacts: New Year's Day by U2". Songfacts.com. Retrieved 2007-09-06.
  31. ^ Block, Adam (1989-05-01). "Bono Bites Back". MotherJones.com. Retrieved 2007-09-06.
  32. ^ "Net Music Countdown: U2". netmusiccountdown.com. Retrieved 2007-09-06.
  33. ^ Connelly, Christopher (1984-03-14). "Keeping the Faith". Rolling Stone.
  34. ^ a b McCormick (2006), page 147
  35. ^ a b c d Parra, Pimm Jal de la U2 Live: A Concert Documentary, pages 52-55, 1996, Harper Collins Publishers, ISBN 0-7322-6036-1
  36. ^ a b c d Pond, Steve (9 April 1987). "The Joshua Tree Album Review". Rolling Stone.
  37. ^ a b Graham (2004), page 21
  38. ^ Island Records boss Chris Blackwell initially tried to discourage them from their choice of producers, believing that just when the band were about to achieve the highest levels of success, Eno would "bury them under a layer of avant-garde nonsense". (McCormick (2006), page 151)
  39. ^ Stokes, Niall (1996). Into The Heart: The Story Behind Every U2 Song. Australia: HarperCollinsPublishers. pp. 50–51. ISBN 0-7322-6036-1. {{cite book}}: Italic or bold markup not allowed in: |publisher= (help)
  40. ^ McCormick (2006), page 151
  41. ^ Graham, (2004), page 23, 24
  42. ^ de la Parra (1994), page 62-63
  43. ^ Rolling Stone, which was critical of the album version of "Bad", described its live performance as a 'show stopper'. Henke, James (18 July 1985). "''Wide Awake in America'' Album Review". Rolling Stone.
  44. ^ Live Aid: A Look Back At A Concert That Actually Changed The World MTV.com. Retrieved 31 October 2006.
  45. ^ McCormick (2006), page 164
  46. ^ de la Parra (2003), pages 72-73
  47. ^ U2, the Only Band that Mattered in the '80s? about.com. Retrieved January 31, 2007
  48. ^ McCormick (2006), page 179
  49. ^ Bono in McCormick (2006), pages 169, 177
  50. ^ DeCurtis, Anthony (27 March 1987). "U2 Releases The Joshua Tree". Rolling Stone. cited in Gardner, Elysa (ed) (1994), U2: The Rolling Stone Files, London: Sidgwick & Jackson, ISBN 0-283-06239-8 {{citation}}: |first= has generic name (help)
  51. ^ McCormick (2006), page 174
  52. ^ a b McCormick (2006), page 186
  53. ^ Graham (2004), pages 27-30
  54. ^ DeCurtis, Anthony (7 May 1987). "Truths and Consequences". Rolling Stone.
  55. ^ Classic Albums: The Joshua Tree (Television Documentary). Eagle Rock Entertainment. 1998.; McCormick (2006), page 186
  56. ^ Grammy Award for Album of the Year and a Grammy for the Best Rock Performance By a Duo or Group With Vocal.GRAMMY Winners List grammy.com. Retrieved 4 December 2006.
  57. ^ Pond, Steve (9 April 1987). "The Joshua Tree Album Review". Rolling Stone.
  58. ^ The Beatles, The Band, and The Who were the first three.
  59. ^ "Rock's Hottest Ticket" Time Magazine Archive, April 1987. Retrieved on 20 January 2007.
  60. ^ a b The RS 500 Greatest Albums of All-Time Rollingstone.com. Retrieved 15 October 2006.
  61. ^ de la Parra (1994), pages 102-103, 111)
  62. ^ Stokes (1996), page 78; Graham (2004), pages 36-38
  63. ^ Allmusic.com Rattle and Hum review. Retrieved 3 November 2006; Christgau, Robert. "Rattle and Hum. robertchristgau.com. Retrieved 3 November 2006.
  64. ^ Gardner, Elysa (1994). U2: The Rolling Stone Files. New York: Rolling Stone Magazine. pp. page xxiii. ISBN [[Special:BookSources/ISBN 0-283-06239-8|'"`UNIQ--templatestyles-000000E0-QINU`"'[[ISBN (identifier)|ISBN]]&nbsp;[[Special:BookSources/0-283-06239-8 |0-283-06239-8]]]]. {{cite book}}: |pages= has extra text (help); Check |isbn= value: invalid character (help); templatestyles stripmarker in |isbn= at position 1 (help)
  65. ^ Gardner, Elysa (1994). U2: The Rolling Stone Files. New York: Rolling Stone Magazine. pp. page xxiv. ISBN [[Special:BookSources/ISBN 0-283-06239-8|'"`UNIQ--templatestyles-000000E2-QINU`"'[[ISBN (identifier)|ISBN]]&nbsp;[[Special:BookSources/0-283-06239-8 |0-283-06239-8]]]]. {{cite book}}: |pages= has extra text (help); Check |isbn= value: invalid character (help); templatestyles stripmarker in |isbn= at position 1 (help)
  66. ^ McCormick (2006), page 213; "A Story of One" [Video documentary].
  67. ^ Eno, Brian (28 November 1991). "Bringing Up Baby". Rolling Stone.
  68. ^ Flanagan (1995), pages 4-6; Graham (2004), page 43
  69. ^ Deep Cuts: U2, Part I
  70. ^ Graham (2004), page 44
  71. ^ Flanagan (1995), page 7
  72. ^ Flanagan (1995), pages 6-11
  73. ^ de la Parra (1994), pages 139-141; Flanagan (1995), pages 12,13, 58-61; Stokes (1996), pages 110-111
  74. ^ de la Parra (2003), pages 153, 166
  75. ^ Graham (2004), page 51
  76. ^ de la Parra (2003), pages 166-172
  77. ^ McCormick (2006), page 261-262
  78. ^ McCormick (2006), page 269
  79. ^ Graham (2004), pages 62-63
  80. ^ "(U2 have) relaxed sufficiently to allow a certain funk into their music..." NME. Retrieved 2006-10-31.; "U2 have not reinvented themselves so much as rediscovered themselves..." Sunday Times (UK). Retrieved 2006-10-31.
  81. ^ "Rolling Stone Pop Review". Rolling Stone. No. 756. March 1997.
  82. ^ Andrew Mueller. "U2's Pop reconsidered". Retrieved 2008-01-07.; "U2 makes album world is waiting for". The Daily Texan online. Retrieved 2008-01-07.; "The Best of 1990-2000 - U2". Christianity Today. Retrieved 2008-01-07.
  83. ^ "U2 Set to Re-Record Pop". contactmusic.com. Retrieved 2006-10-31.
  84. ^ Carter, Geoff (1997-04-27). "U2 live: Play-by-play of the concert". The Las Vegas Sun.; U2, Brute? spin.com. Retrieved December 29, 2006; U2:Pop : Music Reviews Rollingstone.com, December 1997. Retrieved 29 December 2006.
  85. ^ de la Parra (2003), pages 193-202
  86. ^ Rock On The Net: U2 rockonthenet.com. Retrieved 31 October 2006,
  87. ^ U asked U2! msn.com. Retrieved 15 January 2007; Furthermore, Bono described the show as "one of the toughest and one of the sweetest nights of my life."(Bono in Conversation The Independent. Retrieved 15 January 2007)
  88. ^ Tyrangiel, Josh (2002-02-23). "Bono's Mission". Time. Retrieved 2007-03-10.
  89. ^ McCormick (2006), pages 289 & 296
  90. ^ Time to Get the Leathers Out Guardian.co.uk. Retrieved on 31 October 2006
  91. ^ Hunter, James (26 October 2000). "Review: All That You Can't Leave Behind". Rolling Stone Magazine (RS 853).
  92. ^ The Rock Radio: U2 biography therockradio.com. Retrieved 31 October 2006.
  93. ^ VH1: All Access: U2 (Television documentary). 2005.
  94. ^ de la Parra (2003), page 268
  95. ^ a b Wenner, Jann S (February), "Bono On The Records", Rolling Stone, no. 648, pp. pages 74, 75 {{citation}}: |pages= has extra text (help); Check date values in: |date= and |year= / |date= mismatch (help)
  96. ^ Rock On The Net: U2 rockonthenet.com. Retrieved 31 October 2006.
  97. ^ U2's Vertigo Leads Year's Top Tours billboard.com. Retrieved 31 October 2006.
  98. ^ a b U2 stars enter rock Hall of Fame bbc.co.uk. Retrieved 17 January 2007; Transcript: Bruce Springsteen Inducts U2 into the Rock and Roll Hall of Fame u2station.com. Retrieved 17 January 2007
  99. ^ Daniel McConnell (2006-08-06). "U2 move their rock empire out of Ireland". Retrieved 2006-08-06.
  100. ^ U2's new album written
  101. ^ a b Top 10 U2 Songs of the '80s about.com. Retrieved 18 February 2007
  102. ^ U2 Dissect "Bomb" rollingstone.com. Retrieved 18 February 2007
  103. ^ A Study of the Edge's (U2) Guitar Delay amnesta.net. Retrieved 18 February 2007
  104. ^ a b U2's Leading Edge Musician Magazine. Retrieved 25 February 2007.
  105. ^ Column: off the record..., vol. 6-201 atu2.com. Retrieved 18 February 2007
  106. ^ Reynolds (2005), page 368
  107. ^ Rolling Stone: War: Review rollingstone.com. Retrieved 18 February 2007
  108. ^ U2: Achtung, Baby: Music Reviews rollingstone.com. Retrieved 18 February 2007
  109. ^ a b Under A Golden Arch, Sincerely U2 nytimes.com. Retrieved 18 February 2007
  110. ^ U2: The Catharsis in the Cathedral nytimes.com. Retrieved 18 February 2007
  111. ^ "Larry Mullen Interview". White Lucy. April 1, 1983. Retrieved 2007-11-06.
  112. ^ U2 - How to Dismantle an Atomic Bomb Review uncut.co.uk. Retrieved 18 February 2007
  113. ^ David Plotz. "The soaring nothingness of U2". Retrieved 2008-01-19.
  114. ^ McCormick (2006), page 113
  115. ^ Clash Star Strummer Dies, BBC news, 27 December 2002
  116. ^ About U2 Influences: The Ramones by Daniel Walker, October 2004
  117. ^ "Saint Bono". The Age. Retrieved 2008-01-07.
  118. ^ NewOrderStory [DVD]. Warner Bros., 2005.
  119. ^ Gigs In Scotland; The Creatures - Siouxsie Sioux Official Website. Archived News: Mojo Icon Award 17.06.05. Last night Siouxsie lifted the Icon Award and the Mojo Honours Awards. The award was given to her by U2's The Edge who cited Siouxsie as a big influence on Bono and U2 before handing over the Award. Retrieved 17 May 2007
  120. ^ Gitlin, Lauren (10 August 2006). "Enter the Fray". Rolling Stone.
  121. ^ OneRepublic's AmIAnnoying.com page
  122. ^ a b Rolling Stone, Issue #1025-1026, 3–17 May 2007
  123. ^ Flickerstick releases live Atlanta album
  124. ^ NME's 10 Most Influential Bands/Artists. NME Magazine, 2002; Angels & Airwaves - Between the Blinks musicOMH.com. Retrieved 18 February 2007
  125. ^ McCormick (2006), pages 39, 113, 343
  126. ^ Bono time.com. Retrieved 16 January 2007; McCormick (2006), page 289
  127. ^ McCormick (2006), page 238
  128. ^ McCormick (2006), page 262
  129. ^ McCormick (2006), page 277
  130. ^ McCormick (2006), pages 285-286
  131. ^ McCormick (2006), pages 295-296
  132. ^ Ambassador of Conscience Award 2005 artforamnesty.org. Retrieved 5 February 2007
  133. ^ Kagan Daryn."CNN Access: Bono backs 'effective aid' for Africa" CNN.com, May, 2002. Retrieved 31 October 2006; Bono and O'Neill in Africa: Summing up the trip CNN.com. Retrieved 31 October 2006; "Bono wins Chirac aid boost pledge". CNN.com, June, 2002. Retrieved 31 October 2006.
  134. ^ The Edge (U2) Announces 'Music Rising', a Campaign to Aid Musicians Affected by Hurricanes Katrina and Rita modernguitars.com. Retrieved 16 January 2007
  135. ^ Hiatt, Brian (25 September 2006). "U2, Green Day Unite". Rolling Stone. Retrieved 2007-05-04.
  136. ^ Derrick O'Keefe. "The Empire Moves and Co-opts in Mysterious Ways". Retrieved 2008-01-19.
  137. ^ Harry Browne. "RED Light District: Bono's Independent". Retrieved 2008-01-19.
  138. ^ John Stossel and Patrick McMenamin. "Will More Foreign Aid End Global Poverty?". ABC News. Retrieved 2008-01-19."Bono aid is making Africa sick". Retrieved 2008-01-19.
  139. ^ McCormick (2006), page 169
  140. ^ McCormick (2006), page 211
  141. ^ de la Parra (2003), page 141
  142. ^ de la Parra (2003), page 132
  143. ^ Wenner, Jann S (6 December 2001). "Goddess In The Doorway Review". Rolling Stone. Retrieved 2007-05-04.
  144. ^ William S. Burroughs dies at 83; Beat Generation godfather Houston Chronicle. Retrieved 31 October 2006; How Mystical 23 Changed Course Of History mirror.co.uk. Retrieved 25 February 2007.
  145. ^ U2 Connections: William Gibson atu2.com. Retrieved 31 October 2006; American Masters: Allen Ginsberg PBS.com. Retrieved 31 October 2006.
  146. ^ Salman Rushdie's Words Become U2 Lyrics CNN.com Retrieved 6 November 2006.
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