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Archive for the ‘u2’ Category


zoo tv on the radio

with only 2 shows left on their european tour, u2 is broadcasting their sheffield, england show live on the radio all across england, scotland and ireland for free on thursday, august 20th.

a few websites also promise to carry it live online including qmagazine, 94.7rockfm and iloveu2ontheradio.com. the show will start roughly 7p local time or 2p eastern standard with the opening band and u2 usually coming on stage and hour and a half to two hours later…but with this live broadcast….who knows???

hoping these sites will have the capactity for a worldwide audience! good luck with it!

after these two dates….its onto chicago!

Posted under u2

atu2.com shoutout deux!

i got my second atu2.com shoutout! here’s the story:


i sent in a news bit about u2.com, the official band site, and the resolution of a fan club dispute with fans over the 2009 gift. each year, as a “thank you” for renewing, the band and the club send us a gift. however, the gift was announced late but fans with expiring memberships were encouraged to re-up with the promise of receiving the bonus once everything was figured out. but then it seemed like the club rescinded leaving many loyal fans with no 2009 goodie.

howeva!…the good folks moderating the site including baja and bigwave advocated for us and the cds are on their way! i thought atu2.com, the leading unofficial fan site would be interested so i sent it in. but it never appeared in the news.

but each week atu2.com has a column that drops on sunday….and if you scroll down, you’ll see this:


i’m as giddy as a schoolgirl once again!

Posted under u2

bring on the tour: godmommy gifts

as you know, our irish friends will hit the road soon….first in europe and then in the fall, the states. our small network of friends have been quietly accumulating tickets. evaluating what we can and cannot do. we may have some extras depending on circumstances so if there’s a city you’re interested, be sure to ask. because of ticket limits, we have not been able to help all our friends…..but a lot of them!

but what about baby?

godmother #2 got these for baby tsang. baby mamma tsang got this idea from gwenyth paltrow and baby apple martin in the pit at live 8. these noise cancelling headphones are designed for jetsetting, world trekking, music loving parents, their kids and the kids’ sense of hearing.

we also found out that parents with ga tickets who brought kids with them to u2’s shows regularly got into the pit!

the green is of course, gm2’s idea.

however, our baby will likely be too young at the start of the american leg. she’ll have to wait til the next go around to use these. if we bring a 3 month old to a show…no one will enjoy the show! people around us will be angry!! maybe for arcade fire or austin city limits or something else in the future.

luckily, we have an extensive network of family and friends who will help when we go country hopping including theresa’s grandma who is moving in with us! we go from 2 to a family of 4 in a few months! my parents, theresa’s parents, aunts and uncles in maryland, california and nyc are all eager to get a share of the baby sitting duties! but we’ll see how it goes…..

to be continued…..

Posted under baby, u2

atu2.com shoutout

these few weeks have been hunting weeks as u2’s tix have gone on sale in the states….we’ve done really well so far with a few more shows to come….also terrific has been being able to help friends get tix! and good seats too! in the midst of the hunt, i came across a serendipitous piece of news and sent it in…..

i was as giddy as a school girl when i got a shout out from my fave u2 fan site. i periodically offer info to the site that i stumble upon….but i assume they also get many other submissions…some with the same same same. but with u2 ticket buying season high and every second counting, info is gold….

check out the story on toronto getting a second show…and the update!


i wondered if they would use my real name or my internet identity…..real name would mean that this could have been anyone….but with this, there was little doubt…..

good hunting.

Posted under u2

hosive-u2ography: live aid/1985/14 years young

historiography is the the study of history. hosive-u2ograpy is the history of my life as it parallels u2’s history.

what’s the big deal? that’s what people want to know. why this band? they just seem like any other(old)band. why are you so attached to these guys? why the devotion? u2 has produced music for every significant period of my life since high school: my teenage years, my college years, my early twenties, my mid and late twenties, my early and mid thirties…and soon, when the new album is released this week, my late thirties. and when i see them in concert, its not a greatest hits from back in the day sing along…they are still producing new music.

in short, i can tell the history of my life to the tune of u2. i don’t know many people who have a band like that:one you’ve followed or followed you your whole (adult) life…and still making music! i don’t know many bands that fit that description. i don’t know how many bands are even around long enough to apply for the job…..the stones? pearl jam? dave matthews band? the spice girls? hanson? coldplay?

on the eve of another u2 campaign, i reflect on where it all began. a question i get about me following this band is when i started to get into the band. for me, it was live aid…one of the early attempts for this generation of rock and roll’rs to save the african continent. even though the concert generated nearly $300 million dollars for hunger and poverty relief, bono and others soon realized that most of the money would not actually help people but would be siphoned off to others because of corruption and debts. it would cause them to rethink the model and the cause. today, we have project red and campaigns for debt relief.  but i am going slightly off course.

i had listened to u2 before on the radio. i was recovering from a car accident earlier in the year when a drunk/drugged up driver crossed a lane, jumped the curb then hit me, hurtling me across the street before the car went smashing into a lamp post. all this was third or fourth hand info as i was out cold. i was even told he wanted to get away before people stopped him.

when i got better, i went to the bronx to stay with my aunt since my high school was much closer to her place. crutches would make my already one hour commute from queens even longer.  when i was studying in the evenings, the hot, cool kids radio station in the city at the time, z-100 was pushing u2…not quite a pop band, which the station mostly featured…u2 was more suited for the rock stations or even the new alternative options popping up on the dial in the city. but u2’s appeal was starting to cross over the more strict lines that existed in the 80’s.

it was much harder to see bands and live performances on television back then. it just didn’t happen….which made live aid such an incredible event. all these bands that you hear about….and hear on the radio…would appear. i remember taping as much of it as i could on vhs.

u2 was not a headliner. they were programmed in the middle of the day…given a slot during the hottest part of the day. the biggest acts would play last and in the cool of the night. i was curious so i turned up the volume and was instantly mesmerized. i was in a trance. i marveled at bono’s command of an audience. the psychosis and belief in his words and message. i couldn’t sing or play instruments that well but somewhere something awakened in me that i wanted to do something similar? i see the seeds planted for my own fearlessness on stage with my words.

live aid is seen as the coming out party…the start of the metaphoric rise of the band. it was the start of my journey with the band as well.

Posted under hosiveu2ography, u2

the magical winter: my favorite music video of the season

most people would think that the new u2 video is my favorite video of the season…..
Get On Your Boots

but in reality, i like this mad, mad, mad world video. its all kinds of crazy. you’re in for a treat if you haven’t seen this yet…..

they may not always bring it in concert…but this video brings it!

Posted under coldplay, u2, winter

the magical winter: new u2 single

i haven’t been in nyc for a u2 single launch since 1987 during the with or without you release ahead of the joshua tree.  for desire and rattle and hum, i was already in boston for college. i was in wheaton, illinois when the fly signaled the advent of the achtung, baby years. when discoteque came out for pop, i had moved to maryland. that’s also where i was when beautiful day and all that you can’t leave behind reintroduced u2 to the masses. for vertigo and how to dismantle an atomic bomb, we were vacationing in boston as we huddled with good friends from efcon to hear the new single.

it is an event….the first new sounds of something that will become part of the fabric of our lives. and as i detail elsewhere, part of our soundtrack.

this time, we were in maryland visiting with theresa’s parents on a snowy morning as get on your boots, the first song from no line on the horizon premiered. i did not wake up at 4:55am to listen along with ireland and the world…but listened to it at a decent hour after we slept in.

technology has changed since even the last album a few years ago….instead of waiting while some pompous dj in love with the sound of his own voice teases us with delay upon delay, we went on the internet…the official website of the band….loaded up the song and the lyrics…and got instant access. if you have not heard it yet, try goyb.u2.com

theresa liked it right away! this was real punk by her standards….but the masses may not embrace it. i agreed with the latter statement.

as to whether i liked it, i need a few more listens. but i’m biased. i like everything(eventually)….except maybe beautiful day. it just takes me some time spent with the music. only a month more until the rest of the album is released! this is usually an event for the magical fall….but i’ll take it for the magical winter!

Posted under u2, winter

countdown to new favorites: (red)wire and the boys

as we hurtle toward the new year, new albums, new episodes and new tours of our favorites are coming….

the new u2 album is delayed but a new single is out this week and will be released as an exclusive on (red)wire, the new music service affiliated with product red that donates part of the profits to fight the aids epidemic in africa. its only $5 a month for 2 songs per week with half the proceeds going towards meds for those afflicted in africa. don’t like u2? how about jay z, coldplay, the killers, the police, elton john or john legend? they are all (red)wire artists. check them out here.

from billboard magazine:

U2, Coldplay, Killers help launch digital magazine

U2, Coldplay, Killers Help Launch (RED)WIRE
by Jonathan Cohen, N.Y.
Some of the biggest names in music are contributing exclusive songs to RED(WIRE), a new digital music magazine launching on World AIDS Day (Dec. 1).

U2, Coldplay, the Killers, the Dixie Chicks, John Legend, R.E.M. and Bob Dylan are on board for the initiative, which is an outgrowth of the Bono-reared activist organization (RED). All proceeds from subscriptions will benefit HIV-infected people in Africa; MSN.com will host a kick-off party on Dec. 1.

For $5, users will receive a new issue of RED(WIRE) every Wednesday, featuring an exclusive song from a major artist, a song from an artist (RED) aims to showcase, a multimedia piece that could encompass video or photography and a look at how proceeds are directly benefiting Africans in need. The materials will be downloaded to a custom player and automatically loaded into iTunes.

Users can send two free issues to friends, and will be rewarded if they join RED(WIRE). “Artists are already saying, ‘I want to give you a track for those people who brought friends in,’” (RED)WIRE founder Don MacKinnon tells Billboard.com. “That’s the biggest idea: using social networking to actually change the world in a unique way.”

U2’s track was recorded just last Wednesday, while the Killers, Elton John and the Pet Shop Boys’ Neil Tennant teamed up for the Christmas song “Joseph, Better You Than Me,” which MacKinnon describes as “like a power ballad.” This is the third year in a row the Killers have penned a holiday song and donated proceeds to (RED).

Meanwhile, John Legend’s take on Bob Marley’s “Redemption Song” finds him eschewing piano for a
stripped-down arrangement with guitar, bass and backing vocalists, according to MacKinnon.

Also coming is the first new Dixie Chicks song since the group’s Grammy sweep in 2007, “Lucky One,” and Elvis Costello and the Police jamming on “Watching the Detectives” and “Walking From the Moon,”
taped during Costello’s new Sundance Channel show “Spectacle.” Additional (RED)WIRE offerings will
be announced in the coming weeks.

MacKinnon is particularly enthused about the creative directions open to (RED)WIRE, especially with such high-profile artist participation.

“I had a meeting with Jay-Z, and he wants to talk about artists to be featured in that spotlight slot,”
he says. “Big artists may curate an issue. The whole goal was to create a creative platform. When somebody says, ‘I do all this photography and I want to put it in as an extra,’ That’s when I go, this is going to be really cool.”

from usatoday.com:

Subscriptions to (RED) Wire digital music will fight AIDS

The new digital music service co-founded by Bono, which promises fans exclusive music by major artists in exchange for $5 a month to fight AIDS, will launch on the 20th anniversary of World AIDS Day.

MSN will host Monday’s kickoff event for (RED) Wire, an extension of the (RED) organization founded by the U2 frontman and Bobby Shriver to combat AIDS in Africa. New songs and videos from U2, Coldplay, Death Cab for Cutie, Dixie Chicks, Jay-Z, John Legend and Sheryl Crow will be available at red.msn.com.

For Legend, signing on “was a no-brainer. (RED) has proven an effective vehicle. And the lineup of artists is exciting company.” The singer recorded a new version of Bob Marley’s Redemption Song, “which just felt right for this project and for the time that we’re in.”

The premieres also include a live track from the upcoming Sundance series Spectacle, pairing Elvis Costello with The Police, and a new Christmas song recorded by The Killers and Elton John. Bob Dylan and R.E.M. are on deck for future editions.

“The goal was something that wasn’t just a one-off CD, but an ongoing service that would generate an ongoing flow of money,” says Hear Music founder Don MacKinnon, who conceived the project.

as for the new u2 full album, here’s the latest from mojo:

U2 Album Still Not Finished

But Edge confident as deadline looms, learns MOJO’s Danny Eccleston.

With the release of U2’s 12th studio album delayed until February, and the band still mixing furiously in a London studio MOJO are unable to name for fear of an instant fan-siege, guitarist the Edge has called the MOJO office with a progress report.

In line with U2’s late preference for enigmatic titles, the album seems certain to be called No Line on the Horizon — although Edge insists that anything can still change (U2 have even been known to record backing vocals in the mastering suite).

He goes on to reveal that they’ve shelved the songs recorded with Rick Rubin in 2006 and that much of the material dates from sessions with stalwarts Brian Eno and Daniel Lanois, who co-write.

Confirmed track titles include “Moment of Surrender” and “Unknown Caller.”

There follows the director’s cut of the interview reported in the issue of MOJO magazine that’s on the shelves right now…

MOJO: Well, my first question has to be, have you finished yet?
Edge: [Coolly] Not quite. That’s why we’re here.

So, why finish up in London?
Well, it’s good to get out of familiar surroundings when you’re looking for a different perspective. Get out of the comfort zone.

If you’d stayed in Dublin, would you have just carried on producing material rather than bringing everything to a conclusion?
Maybe. Also, a good mix room is always important. Our studio in Dublin is more like a glorified rehearsal room really. It doesn’t have proper acoustic treatments for mixing and whatever. So we always mix in a studio that’s properly set up for that process.

Is the album still going to be called No Line on the Horizon, or is that a red herring?
It’s not totally firmed up but it’s still the working title.

So, what the hell does it mean?
It’s an image. It’s an image, Bono tells me [laughs]. It’s like when you’re moving forward, but you’re not exactly sure what you’re heading towards — that moment where the sea and the sky blend into one. It’s an image of infinity, I suppose — a kind of Zen image.

Is it a metaphor for how U2 make their records? No deadline on the horizon?
[Laughs] Guilty your honour! We were talking about this. Our work process is all about allowing inspiration to arrive at any time during the process. So there’s no finality, there’s no formality, until it’s in the shops. U2 albums never get finished; they just get released.

So do you think that helps the record? You can use material you started months ago, but as long as you’re re-examining it right at the last it can still sound contemporary?
Yes, I think that’s true. Song titles, lyrics, melody lines can change right up until the last minute. I think our records are always…it’s the last few weeks when things really come into focus. It might take us a long time to establish the basis of the record musically, but then a lot of stuff will change.

Famously, Chris Blackwood came down when we were doing Achtung Baby and with a week to go he said, “There’s just no chance you’re gonna finish this album; I’ll come back in a month’s time and check on your progress.” So he left town, and sure enough we finished at the end of that week! It’s like this ground rush. You seem to be going nowhere and then suddenly you hit the last period and then everything starts to move and everything clicks into place. It’s just the way we do it because I suppose inspiration is the ultimate thing for us. It’s not craft. So when things start to really get close, it’s a really inspiring time and everyone just gets onto a whole other level of creativity and we go into overdrive and all these ideas start coming through.

Has anything survived from the first bout of sessions [from September 2006], the Rick Rubin material?
We actually laid all that stuff to one side. Really out of deference to Rick and that set of songs we just said, Ok, that’s that, and we drew a line. So none of the Rick material went into this project. Everything has been written subsequently.

Is that because you weren’t that keen on it in retrospect?
I think there are some fantastic ideas there and they will, I’m sure, be finished off and see the light of day. We just felt like we wanted to put off the decision about what kind of record we wanted to make. And then we went in with Brian [Eno] and Danny [Daniel Lanois], literally just as an experiment to see what would happen. And suddenly there was this excess of stuff, ideas…and we just thought, OK, this is clearly where we are at our most potent at this moment, working with Brain and Danny, so let’s follow that idea down the road and we’ll get back to the material we started with Rick at some point.

What were the Rubin tracks like? Were they unusual for U2? He’s quite hands-off isn’t he, as a production “entity”?
Rick’s just an amazing intelligence and a guy with a huge love of music and an instinct for it. He gave us great advice as much as anything. His whole thing is, Don’t go near the studio until you know exactly what you want to do…which of course is the opposite of how we usually work.

But we were following Rick’s approach with Rick and we were working on songs and working on ideas and they’re still there. So I’m still excited by the possibility of trying that approach. It reminds me of what happened on our first album [Boy, 1980]. We went in, we had all the tunes — although even then we didn’t have all the lyrics — we had all the arrangements down to the point where we could just go in and record the album. We could have done it in a day, and of course the backing tracks had a great completeness, because we knew exactly what the tunes were.

The way we do things now, there are drawbacks. I feel for Larry [Mullen, drums] sometimes. He’ll be playing drums to Song A and then somewhere along the line the whole song gets thrown out, but we keep the drums, and then something else happens over those drums. Then sometimes we’ll replace those drums at the very end because he plays differently depending on what the vocal is. So even if it’s the same tempo, the same backbeat, the same chords, if the vocal’s different, the drums don’t feel quite right. So, there is something to Rick’s approach and it just means you make all your decisions early…for better or for worse. Ultimately, I feel, for us, it is those last couple of weeks when you get those amazing new ideas.

How would you describe the overall personality of the new album?
It’s a record of two halves. One half is songs that came virtually fully-formed out of sessions we did with Brian and Danny — stuff we’ve only played once or maybe twice and that’s it: just the raw moment of creation. Then the other half is material we’ve kicked around a while and went through the usual cycle of versions and incarnations. It sounds like a U2 album but it doesn’t sound like anything we’ve done before and it doesn’t really sound like anything that’s happening at the moment.

Can you talk about a couple of specific tracks?
There’s a song called “Moment of Surrender,” which is seven and a half minutes long. Brian got the ball rolling with a suggestion for some chords and then we made a few adjustments and got to this set of changes that we really liked and then just kicked it off and we immediately realised there was something powerful going on. And when that happens, it’s like you don’t have to say anything in the room; people know it’s going off. Then Adam came up with this incredible bass part and Bono had a couple of melody ideas on the spot, so it was really quick. There’s something really thrilling about a piece that comes together like that, because you really don’t have time to think. There’s something great about that. It’s the purest moment, often, when you don’t have an opportunity to step back and consider anything; you’re just in it.

So it’s a trance-y thing?
It’s hard to describe really. It’s very 21st Century. It’s a beautiful song, amazing rhythms, great lyrics and [laughs] fantastic guitar playing!

And then there’s another one from Fez [Morocco, where U2 recorded in May/June ’07]. Similar kind of situation, in a session where we’re just trying out ideas and this piece of music just came through and we all knew at the time that it was good. It seems to be everyone’s favourite or second favourite tune on the album. It’s called “Unknown Caller.”

Can you hear the influence of Fez?
To some degree. A couple of the tunes were recorded there. We had some local percussionists come down one day — but I’m not sure that the tune they did has made the record. With “Unknown Caller” the sound of Fez is there because we were recording in this riad [town house]. The way they are constructed, they have this big atrium and that’s where we were set up. So the roof was open and the swallows were flying into the atrium and nesting, so at the beginning of the tune you can hear these swallows. So it really has this very tangible atmosphere of the space that we recorded it in. So Fez is there in that sense. But we’re not into musical tourism. It’s the same with Achtung Baby, there was something in there but it wasn’t overtly German, you know, and this isn’t overtly Moroccan…It’s just a flavour.

Lanois has been quoted a couple of times recently in the Canadian press and the word he seems to be favouring with regard to this record is “innovative.” After all these years with the same team can U2 still be breaking boundaries?
Well, that’s what we get off on — hearing something that we’ve never heard before. It’s so great to work with Brian; he’s always doing things that are completely fresh, and we as a band don’t really come alive unless we feel like we’re exploring some uncharted territory. So, it’s not easy to get something that you’re really excited about, but once you do, you know, and that’s everything for us. We wouldn’t want to be working with anyone else on that front. Both Brian and Danny are hugely inspiring to work with, breaking us out of our comfort zone in our writing or playing.

Your relationship has endured longer than almost any other band/producer match-up, but it’s more than that this time. Did I read that Brian and Danny were writing with you?
We decided at the beginning of the project that we would make that offer to Brian and Danny to see what it might lead us to and I think it was really great. I think they were both flattered and I think it gave them a great boost of affirmation and confidence. So those sessions had this great atmosphere; everyone was in a great mood and we got some great shit out of it. That doesn’t mean that we didn’t have to go off and write as U2. Bono and I did a lot of work on material on our own as well, but it was those sessions that set the tone for the album and they wouldn’t have panned out as they did if we hadn’t asked Brian and Danny to co-write with us.

After a couple of straight-ish rock records in All That You Can’t Leave Behind and How to Dismantle an Atomic Bomb, was it time for U2 to stretch out again? Does knowing you’re in a position of strength mean you can do something wilder?
I think for us it’s really about keeping it fresh. Making All That You Can Leave Behind and How to Dismantle… inspired us at the time. This time we wanted to try something different and we didn’t really know what it was. We just knew that we wanted to fall in love with the process of making music and see where it led us. So, initially, we didn’t really think about where the music was going to go; we were just playing together and seeing what happened. And, by not concentrating at all on making an album I think an album started to emerge. So, it’s really us following our creative instincts. In some ways it’s very uncontrived. People tend to think of our music as being a manifesto of a kind but this is really organic; it’s just what is interesting to us right now in music and going for that.

What’s Bono banging on about this time?
I think there are some interesting third person characters in the songs. It’s giving Bono an opportunity to change his perspective in the lyric writing. I think the last two albums were really personal and first-person. But I think this one has a more panoramic scope lyrically, so it’s still personal and it’s still ultimately written from experience and Bono’s perspective, but he just has more freedom.

Did his piano lessons come in handy?
Yeah! He’s been working a lot on material on his own and that’s fed into various different projects that we’re working on. It’s cool. We’re all still in a phase where we can learn, develop and change. I don’t think we’ve actually stopped that process of being born, so to speak. And it’s very inspiring for me to see Bono coming up with very strong musical ideas. That’s what being in a band is all about.

You always manage to find — in every record — a piece of technology that you engage with immediately, and that throws up a song. “Where the Streets Have No Name” came out of your dabblings with the Infinite Guitar box, and this time you mentioned your Death By Audio pedal…
It’s this particular kind of 21st Century distortion. Guitar is such a versatile instrument, but it’s very easy to get in a cul-de-sac in terms of how it sounds. I love anything that just gives it a different personality and this particular set of distortion pedals I think, are a different colour. It’s like a different personality and that, for me, is a great jumping-off point. I used Death By Audio’s Supersonic Fuzz Gun on the song “No Line on the Horizon,” and a couple of others I think. It was Ben Curtis who turned me onto them. He’s one of the Curtis Brothers from Secret Machine — he’s got a new band now called School of Seven Bells, who are pretty interesting.

So how much work is left to do?
Way too much, as usual, but we will get there. We’re not f**king around this time. This is personal!

© MOJO, 2008.

Posted under aids, politics, prophet, u2

new u2 and bsg just around the corner!

from newsarama:

The final fate of the survivors of the 12 Colonies is a little bit closer. According to Entertainment Weekly’s Michael Ausiello, the final ten episodes of Battlestar Galactica will begin airing on Sci Fi on January 16th at 10pm, which, if the episodes are being shown weekly, will put the series final on March 20th. Timing and scheduling, of course, is a little unclear, as Executive Producer Ron Moore has said that the final 10 episodes will run 11 hours in length – or longer, with the series finale running three or more hours. According to the Chicago Tribune’s Maureen Ryan, there will be websiodes in the lead-up to the final episodes.

What to do until then? Last week, NBC/Universal confirmed that Battlestar Galactica Season 4.0 will be released on DVD January 6th, 2009.


and while no dates for u2 are set…we are getting close. u2 had a party near our favorite half moon bay joint, duartes. u2 and the tsangs love the same areas!!!

according to atu2.com:

According to our staff in the San Francisco area, there was a party for U2’s new album Thursday night in Half Moon Bay, California. One of our staffers was told earlier today that U2 would be at Sam’s Chowder House, a highly-rated restaurant overlooking the Pacific Ocean, for an event tonight. On arriving at the restaurant, security wouldn’t allow our staffer inside. A restaurant employee, though, later told our staffer that there was a party for U2’s new album going on inside. Meanwhile, another staffer called the restaurant and heard loud, U2-sounding music being played in the background while being told there was a private event happening tonight. What we’re not sure of is how many (if any) of the band were in attendance. More to come if we learn anything new….

Update: Bono and Edge were at the party last night, which was hosted by Elevation Partners, and might have doubled as the company’s annual meeting (which has happened in October in past years). @U2 reader Roman G., who also writes for the Contra Costa Times and Oakland Tribune spoke to the restaurant owner, who said, “It was fascinating. It was wild.” Now you know!

Update #2: This article from the Half Moon Bay Review has pictures of Bono and Edge with the restaurant staff, and extra details … including news that Bono and Edge played a couple new songs.

Posted under battlestar galactica, u2

waiting for the(other)bailout

our boy at the clinton global initiative in new york city this week:

Bono commenting on the current financial crisis facing the United States:
“I am not qualified to comment on what has happened in the last week where this city has changed shape, certainly psychologically, and in terms of some people’s wallets. And I’m not qualified to comment on the interventions that have been put forth. I presume these people know what they’re doing. But it is extraordinary to me that you can find $700 billion to save Wall Street and the entire G8 can’t find $25 billion to save 25,000 children who die every day of preventable, treatable disease and hunger.”

Posted under new york, politics, u2