U2 at the End of the World

An intimate chronicle of the three-year "Zoo TV" world tour taken by the popular rock band U2 records such events as the band's encounters with Bill Clinton, Salman Rushdie, and Frank Sinatra. Reprint.

U2 at the End of the World

An intimate chronicle of the three-year "Zoo TV" world tour taken by the popular rock band U2 records such events as the band's encounters with Bill Clinton, Salman Rushdie, and Frank Sinatra. Reprint.

U2 Above Across and Beyond

Paul Rees, “The Remaking of U2,” Q Magazine, December 2011, 56. Davis Guggenheim, From the Sky Down, 37:13. Ibid., 36:28. McCormick and U2, U2 by U2, 269–70. Flanagan, U2: At the End of the World, 16. Weick, The Social Psychology of ...

U2 Above  Across  and Beyond

This book offers new essays from interdisciplinary perspectives on U2’s career-long dynamic of resisting conventional boundaries in order to erase barriers that inhibit growth, understanding, and progress.

ThirdWay

Reviews The Family: Trevor Stammers takes some very nasty medicine Rock: Steve Turner catches up with U2 Fashion: Jo Ind ... U2 at the End of the World does not examine the religious dimension closely, but the faith of the relevant band ...

ThirdWay

Monthly current affairs magazine from a Christian perspective with a focus on politics, society, economics and culture.

One Step Closer

Flanagan, U2 at the End of the World, 66. “the sort of brown-rice position.”: Ibid., 477. “careful. And smart.”: Ibid., 22. “has been unfairly ignored.”: Stokes, U2 Into The Heart, 39. “It's very disturbing.”: Ibid., 40.

One Step Closer

Examines how the music of U2 points seekers to God through their lyrics and lives.

The World and U2

Jackson, Bono's Politics, 35–36; U2: The Ultimate Compendium, 71; U2 and McCormick, U2 by U2, 197; McGee, U2, 102. 89. Bono and Assayas, Bono, 307. 90. ... Bill Flanagan, U2 at the End of the World (New York: Dell, 1995), 1. 6.

The World and U2

The Irish rock band U2, and especially its frontman Bono, are among the most effective activists ever. U2 has convinced wealthy governments to forgive tens of billions of dollars in loans while spreading its activist messages to billions of people, helping save millions of lives. So how did four boys from one of the poorest countries in the West achieve this? Who and what influenced them? What strategies did they use to succeed as much as they did as activists, and how did those strategies change over time? In particular, how did lead singer Bono make the leap into superstar lobbying? And, with so much attention on him, how has he handled critics who have taken to task his work on behalf of developing countries? In The World and U2: One Band’s Remaking of Global Activism, Alan McPherson trains a historian’s eye on the evolution and influence of the band’s activism from its formation in 1976 to its most recent album and concert tour. Throughout its nearly four decades, the band has held up a mirror to the increasing selfishness in the world while at the same time working to fill the void left by those who have abandoned the world’s poor to their plight. From raising awareness about war and human rights in the 1980s to engaging in direct action in the 1990s to moving mountains of cash for the planet’s poorest in the twenty-first century, the band, and especially Bono, have both raised the bar and set the example for other celebrity activists. But it is also a success that has brought a greater scrutiny to bear on U2’s activism and initiated a healthy debate about the merits of Western development aid. The World and U2: One Band’s Remaking of Global Activism tells this story of U2’s successful storming of the world’s philanthropic stage. It will enchant the band’s fans, engage its critics, and offer lessons—and warnings—to activists seeking to change things for the better.

Exploring U2

24 The paradox at the heart of this project, however, is that were it not for the inglorious failure of Rattle and Hum, it's unlikely the Zoo TV project would ever have happened. Notes 22. Flanagan, U2 at the End ofthe World, 266—67.

Exploring U2

Exploring U2: Is This Rock 'n' Roll? features new writing in the growing field of U2 studies. In keeping with U2's own efforts to remove barriers that have long prevented dialogue for understanding and improving the human experience, this collection of essays covers such disciplines as literature, music, philosophy, and theology.

U2 and Philosophy

U2's constant experimentation with musical styles and its refusal to continue comfortably sounding the same are manifestations of an effort to keep the communication ... You don't just throw them around” (U2 at the End of the World, p.

U2 and Philosophy

Is it possible to be a committed Christian and a rock superstar? Can political activists make good music? Do hugely successful rock bands really care about AIDS and poverty in Africa, or is it just another image-enhancing schtick? U2 and Philosophy ponders these and other seeming dichotomies in the career of the Irish supergroup. For over two decades, U2 has been one of the biggest acts in rock music. They’ve produced over a dozen platinum and multiplatinum records and won 15 Grammy Awards. Critics everywhere have praised the band’s thoughtful, complex lyrics and the artistry of their music. At the same time, Bono, the group’s lead singer, has dedicated himself to political and social causes, blurring the line between rock star and respected statesman. Offering fresh insight into the band’s music and activism, these thought-provoking essays allows fans to discover philosophy through the eyes of U2, and rediscover U2 through the eyes of philosophers.

U2 and the Religious Impulse

Atlanta: Library of Congress. Bracewell, Michael. 2004. U2 and Rock Music as Spectacle. In Diana Scrimgeour, ed., Show, 9–14. London: Orion. Brennan, Collin. 2016. U2 at the End of the World: Berlin and the Making of Achtung Baby.

U2 and the Religious Impulse

U2 and the Religious Impulse examines indications in U2's music and performances that the band work at conscious and subconscious levels as artists who focus on matters of the spirit, religious traditions, and a life guided by both belief and doubt. U2 is known for a career of stirring songs, landmark performances and for its interest in connecting with fans to reach a higher power to accomplish greater purposes. Its success as a rock band is unparalleled in the history of rock 'n' roll's greatest acts. In addition to all the thrills one would expect from entertainers at this level, U2 surprises many listeners who examine its lyrics and concert themes by having a depth of interest in matters of human existence more typically found in literature, philosophy and theology. The multi-disciplinary perspectives presented here account for the durability of U2's art and offer informed explanations as to why many fans of popular music who seek a connection with a higher power find U2 to be a kindred spirit. This study will be of interest to scholars and students of religious studies and musicology, interested in religion and popular music, as well as religion and popular culture more broadly.

Evangelical Christians and Popular Culture

The best account of this is Bill Flanagan, U2: At the End of the World (New York: Doubleday, 1996). 22. For a good description of the Zoo TV tour of 1992-1993, named by critics as one of the most innovative rock tours ever, ...

Evangelical Christians and Popular Culture

This three-volume collection demonstrates the depth and breadth of evangelical Christians' consumption, critique, and creation of popular culture, and how evangelical Christians are both influenced by—and influence—mainstream popular culture, covering comic books to movies to social media.

Bono

14 The album finally hit the racks in November and it was instantly greeted with rave reviews. Rolling Stone gave it 4.5 stars out of ... Bill Flanagan, U2 at the End of the World (London: Bantam Press, 1995), 5. 5. U2 by U2 (New York: ...

Bono

Chronicles the life and accomplishments of the international rock star and political activist.

U2 The Definitive Biography

voyage into the unknown through the eyes of an East German passenger, with heavy distorted riffs and a rhythm that suggested total confusion, while the vocals—treated through a Yamaha ... This was U2 at the end of the world.

U2  The Definitive Biography

John Jobling takes readers beyond the myth in this unauthorized biography to present the first comprehensive account of the illustrious Irish rockers in 25 years. Drawing on extensive interviews with insiders including record label scouts, studio presidents, politicians, music critics, and childhood friends, Jobling investigates the U2's most personal relationships and controversial business practices, delivering a vivid portrait that traces the rock phenomenon from its conception to post-punk champions to political crusaders. Filled with captivating revelations, reader will learn: - How Bono, the Edge, and Larry Mullen, Jr. worshiped with a Charismatic Christian church that practiced speaking in tongues during the band's early days - Insider stories of the genesis and recording of classic albums such as The Joshua Tree and Achtung Baby - Creative tensions within the band and power struggles among management - How the disappointments of the Rattle and Hum film and PopMart Tour spurred the band to greater creative heights - Both the successes and controversies of Bono's wide-sweeping philanthropic and political ventures - The disconnect between the band's personal lives and public personas Sure to inspire debate with every music lover, U2: The Definitive Biography humanizes the band and paints an honest picture of a band's rise to the top, plunging into the heart and underlying soul of this iconic rock and roll band.

Music and the Irish Imagination

2. Niall Stokes, Into the Heart: The Stories behind Every U2 Song, London, Carlton, 2001, p. 102. Music and the Irish Imagination..., Caen, PUC, 2013, p. 77-86 3. Bill Flanagan, U2: At the End of the World,

Music and the Irish Imagination

Irish music holds pride of place among the cultural attributes defining Ireland, and its role in shaping national identity is undisputed. To question these certainties which tend to convey a restrictive notion of a so-called Irish music, the first Irish music studies conference in France, which took place at the université de Caen Basse-Normandie on September 10th-12th, 2008, brought together Irish studies scholars, musicologists and musicians from Ireland and from France. Proceeding from this conference, this collection of essays places itself in the context of the fairly recent development of music studies as an area of scholarship within Irish studies. After an introductory essay by Mícheál Ó Súilleabháin, head of the Irish World Music Academy and chair of Culture Ireland, other articles look at issues such as (re-)defining, instrumentalising, performing, staging and listening to Irish music. In this volume, studies of form, setting, repertoire, political and ideological exploitation and government policy sit alongside explorations of music motifs and themes in literature and on the stage.

Handbook on Architectures of Information Systems

James Henke , “ U2 : Here Comes the ' Next Big Thing , " Rolling Stone , 19 February 1981 . 2. Niall Stokes , Into the Heart ( London : Omnibus ... Bill Flanagan , U2 at the End of the World ( London : Bantam Press , 1995 ) , 45 . 4.

Handbook on Architectures of Information Systems

An authoritative source about methods, languages, methodologies and supporting tools for constructing information systems that also provides examples for references models. Its strength is the careful selection of each of the above mentioned components, based on technical merit. The second edition completely revises all articles and features new material on the latest developments in XML & UML. The structure follows the definition of the major components of Enterprise Integration as defined by GERAM (Generalised Enterprise Reference Architecture and Methodology). 1st edition sold about 600 copies since January 2003.

Five against One

And Eddie, he was crying”: As recalled by Bill Flanagan in Flanagan, U2 at the End of the World. page 255: “the whole drunk-guy routine”; quotations and detail on MTV Awards incident, pp. 255-256: Author interview with Abbruzzese, ...

Five against One

More than any other band, Pearl Jam embodies the alternative style that dominates rock today. From their early days as fame-ducking grunge pioneers, through their headline-making battle with Ticketmaster, to their current status as self-assured survivors, Five Against One brings to life Pearl Jam's tumultuous ascent to superstardom in rich detail. A compelling portrait of the band's elusive leader Eddie Vedder and family photos never seen before by the public make this a must-have for every Pearl Jam fan.

Bono

See also Adam (Adam Clayton); Bono; Edge; Larry (Larry Mullen); Survival of U2; Zoo TV audience, perfect, ... at Concerts, ref-1 trauma of religious experience, ref-1 weight (authority) of, ref-1 U2: At the End of the World (Flanagan), ...

Bono

For the first time ever, Bono--the biggest rock star in the world--tells his life story. In a series of intimate conversations with his friend Michka Assayas, a music journalist who has been with the band since the very beginning, Bono reflects on his transformation from the extrovert singer of a small Irish post-punk band into one of the most famous individuals in the world--and from an international celebrity to an influential activist. He speaks candidly about his faith, family, commitment, influences, service, and passion. Bono is the closest we will come, for now, to a memoir from the iconic frontman of U2.

Kicking at the Darkness

In “Call It Democracy” Cockburn describes the local third world dictators who serve the interests of global capitalism as “open for business ... Cited by Bill Flanagan, U2 at the End of the World (New York: Delacorte Press, 1995), 171.

Kicking at the Darkness

Bestselling author Brian Walsh engages with the theologically rich catalog of musician Bruce Cockburn in an effort to ignite a renewed Christian imagination.

Expression in Pop rock Music

U2 at the End of the World . New York : Delacorte . Gardner , Elysa . 1994. Introduction . U2 : The Ultimate Compendium of Interviews , Articles , Facts and Opinions from the Files of Rolling Stone . New York : Hyperion : xi - xxx .

Expression in Pop rock Music

First published in 2000

Made in Ireland

From Dana to Dustin: The Reputation of Old/New Ireland and the Eurovision Song Contest.” In Performing the 'New'Europe, ... “ 'Gardens All Wet with Rain': Pastoralism in the Music of Van Morrison. ... U2: At the End of the World.

Made in Ireland

Made in Ireland: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology and musicology of 20th- and 21st-century Irish popular music. The volume consists of essays by leading scholars in the field and covers the major figures, styles and social contexts of popular music in Ireland. Each essay provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Irish popular music. The book is organized into three thematic sections: Music Industries and Historiographies, Roots and Routes and Scenes and Networks. The volume also includes a coda by Gerry Smyth, one of the most published authors on Irish popular music.

The Frontman

Bill Flanagan, U2: At the End of the World (London: Random House, 1996), 282-3. U2's Lost Song NEGATIVLAND, 2007, at youtube.com. 'Negativland Interviews U2's The Edge', Negativworldwidewebland!, n.d., at negativlandcom.

The Frontman

Celebrity philanthropy comes in many guises, but no single figure better encapsulates its delusions, pretensions and wrongheadedness than U2’s iconic frontman, Bono—a fact neither sunglasses nor leather pants can hide. More than a mere philanthropist—indeed, he lags behind many of his peers when it comes to parting with his own money—Bono is better described as an advocate, one who has become an unwitting symbol of a complacent wealthy Western elite. The Frontman reveals how Bono moved his investments to Amsterdam to evade Irish taxes; his paternalistic and often bullying advocacy of neoliberal solutions in Africa; his multinational business interests; and his hobnobbing with Paul Wolfowitz and shock-doctrine economist Jeffrey Sachs. Carefully dissecting the rhetoric and actions of Bono the political operator, The Frontman shows him to be an ambassador for imperial exploitation, a man who has turned his attention to a world of savage injustice, inequality and exploitation—and helped make it worse.

Music and Identity in Ireland and Beyond

albums and several globe-straddling sell-out tours.3 But, in particular, the last two decades had also witnessed the ... 2001); Visnja Cogan, U2: An Irish Phenomenon (Cork, 2006); Bill Flanagan, U2: At the End of the World (London, ...

Music and Identity in Ireland and Beyond

Music and Identity in Ireland and Beyond represents the first interdisciplinary volume of chapters on an intricate cultural field that can be experienced and interpreted in manifold ways, whether in Ireland (The Republic of Ireland and/or Northern Ireland), among its diaspora(s), or further afield. While each contributor addresses particular themes viewed from discrete perspectives, collectively the book contemplates whether ’music in Ireland’ can be regarded as one interrelated plane of cultural and/or national identity, given the various conceptions and contexts of both Ireland (geographical, political, diasporic, mythical) and Music (including a proliferation of practices and genres) that give rise to multiple sites of identification. Arranged in the relatively distinct yet interweaving parts of ’Historical Perspectives’, ’Recent and Contemporary Production’ and ’Cultural Explorations’, its various chapters act to juxtapose the socio-historical distinctions between the major style categories most typically associated with music in Ireland - traditional, classical and popular - and to explore a range of dialectical relationships between these musical styles in matters pertaining to national and cultural identity. The book includes a number of chapters that examine various movements (and ’moments’) of traditional music revival from the late eighteenth century to the present day, as well as chapters that tease out various issues of national identity pertaining to individual composers/performers (art music, popular music) and their audiences. Many chapters in the volume consider mediating influences (infrastructural, technological, political) and/or social categories (class, gender, religion, ethnicity, race, age) in the interpretation of music production and consumption. Performers and composers discussed include U2, Raymond Deane, Afro-Celt Sound System, E.J. Moeran, Séamus Ennis, Kevin O’Connell, Stiff Little Fingers, Frederick May, Arnold