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By Tim Molloy, The Wrap News
Rock gods have the same awkward interactions with panhandlers that you do.
U2 guitarist The Edge, producer of Friday night's MTV special on youth homelessness, "The Break," says he, too, sometimes finds himself at a loss about how to help people on the street.
"There's that awful thing where you realize there's nothing you can do, right at that moment, so you kind of pretend they're not there," he told TheWrap. "And I think for somebody who's homeless, particularly someone who's panhandling, that's the most emotionally difficult thing, is to become like a non-person. Like you literally do not exist to someone walking by.
Written by Sean Highkin & Liam Demamiel, One Thirty BPM
Sean Highkin and Liam Demamiel delve into the sprawling catalog and career of U2 in our next Discussions feature.
LIAM DEMAMIEL: Most U2 conversations invariably end up on the subject of Bono, and I can't really think of any other frontman who polarizes listeners as much as the man in the sunglasses. I know we are both big U2 fans, what are your thoughts on him?
SEAN HIGHKIN: I can sort of see why he's such a divisive figure. There is a strong contingent of rock fans that can't stand rock stars who have aspirations beyond being entertainers. I don't get it myself. The amount of money and awareness Bono has used his celebrity to raise for poverty, hunger, and AIDS is unparalleled in the pop music. People see him acting all buddy-buddy with world leaders and roll their eyes, because our first reaction when we see someone worth hundreds of millions of dollars talking about hunger in Africa is to question their intentions. But I don't think anyone can argue that Bono hasn't done a whole heck of a lot of good for society as a rock star.
by Bill Werde, Billboard
In the past few years, arguably no one has been a more prominent, more outspoken advocate on behalf of artists, record labels, publishers and other rights-holders in the digital age than U2 manager Paul McGuinness. McGuinness shepherded four young men (and himself) from the streets of Dublin to the top of the world, including a deal done in Steve Jobs' Palo Alto, Calif., kitchen in 2004: McGuinness, Bono, Interscope's Jimmy Iovine and Jobs ate lunch and agreed to a deal to use U2's "Vertigo" in an iPod TV ad, and for Apple to create a black-and-red U2-branded iPod.
U2 hadn't previously used its music in advertisements, and-heaven forbid-Apple had never released an iPod that wasn't white. McGuinness recalled this moment during a keynote speech at the MIDEM Music conference in Cannes in January 2008, while also beseeching Jobs to "bring his remarkable set of skills to bear on the problems of recorded music." McGuinness grouped Apple in with a number of other telcos and search companies that had "built multibillion-dollar industries on the backs of our content without paying for it" and urged them to take greater responsibility.
McGuinness caught up with us from his Dublin office, warmly remembering Steve Jobs the man, the music fan and, yes, the tough negotiator.
'I'm sure the next time we go out it will be quite different,' says the Edge
Last month, Rolling Stone Senior Writer Brian Hiatt traveled to Denver to catch up with U2 as they kicked off the final leg of their 360 Tour. He chatted with the Edge and Adam Clayton about the epic two-year tour, the difficult birth of Spider-Man: Turn Off The Dark and where exactly U2 goes from here. (For more, read our full account of U2's time on the road from the most recent issue of Rolling Stone.)
L.E. Eisenmenger, Boston Pro Soccer Examiner
Seth Ader, the Senior Director of Sports Marketing at ESPN, spoke with me at length about the making of ESPN's campaign for 2010 FIFA World Cup South Africa. He is passionate about getting the importance of the World Cup across to American and international audiences and worked with U2 to create the message. Since 2005, Ader has been responsible for all ESPN soccer properties including European Championship, English Premier League, Spanish La Liga, Major League Soccer and USA Soccer, and also Major League Baseball, "This is Sports Center," and others. Prior to 2005, he was the director of marketing for the NBA and NFL, managed ESPN the Magazine, and launched ESPN Desportes and ESPN HD networks.
Ader oversees ESPN's World Cup promotions and production from concept to design, to creation, to presentation worldwide. His attention to detail within the big picture is amazing, his conviction in the importance of this work is strong. After successfully working with Bono and U2 for 2006 World Cup Germany, Ader approached them again and they agreed to partner in the 2010 message. U2 believe in the World Cup as much as ESPN believes in their music.
Interview by Mike Pattenden
The name on his passport says Dave Evans but the rest of the world knows him as The Edge, the moniker handed to him by a young Bono Vox in U2's early days in Seventies Dublin. Polite and self-effacing, the guitarist is a self-confessed "music obsessive" who finishes our interview asking what new bands he should catch up on. His status presents many opportunities, not least the chance to work and play with his musical heroes. At the Rock & Roll Hall of Fame 25th anniversary concert in October he accompanied Bruce Springsteen, Mick Jagger, Black Eyed Peas and Patti Smith. "That was amazing," he recalls. "You don't get many opportunities to play with artists of that calibre in your life." Actually, he gets more than most, as evidenced by his starring role alongside Jimmy Page and Jack White in the big-screen rockumentary It Might Get Loud. A guitar fan's wet dream, it traces the threesome's differing approaches to their art before bringing them together to jam."What came out of the movie," he says, "was that it doesn't matter what your influences are, it's whether you are an originator. It's about attempting to express the sound in your head you can't otherwise explain."
By Steve Pond
With six nominations and one win between them, the members of U2 are no strangers to the Golden Globes. They'll be back this year as nominees for "Winter," the closing-credits song they wrote for Jim Sheridan's movie "Brothers."
The song may be a spare, atmospheric ballad, but the band and the director forged a relationship more than 30 years ago in Dublin's punk-rock scene, when Sheridan was running a small Dublin theater where the fledgling band met their manager and launched a career that has worked out pretty well for them so far.
U2's guitarist, the Edge, who's also a central figure in Davis Guggenheim's terrific rock doc "It Might Get Loud," checked in with theWrap to talk about old pal Sheridan, writing for movies and being an outsider on Hollywood's big nights.
"We are still capable of potentially doing our best-ever album"
David Fricke, Rolling Stone
The Rolling Stone editors picked eight stars -- from Bruce and Beyoncé to Radiohead and U2 -- who not only made the best music but also led the way as Artists of the Decade in our new issue. Here's more of our conversation with U2's The Edge.
U2 ended this decade by playing to some of the biggest audiences of your career, in those stadiums, in the round. How has that affected the music -- your connection to rock & roll in those dimensions?
It's only made possible because of the technology, the in-ear monitors. We can hear each other perfectly. Otherwise it would be an absolute disaster. Because of the in-ear technology, I'm right next to Larry, right next to Adam and Bono, in sonic terms.
by Joshua Klein, Pitchfork Media
"Eno is a postman's son," sums up friend and frequent collaborator Daniel Lanois. "He grew up essentially in a peasant environment, but he had a brilliant mind and was able to get to his mountaintop."
"Brian Eno is someone that you don't want to sound stupid in front of, and everything he said, I was just like, 'Wow'," noted (um) Natalie Imbruglia, who recently collaborated with Eno (and Coldplay's Chris Martin) for parts of her comeback album, on the BBC.
Any way you look at it, Brian Eno is one of the preeminent producers and thinkers of our time. Hell, an extemporaneous conversation between him and scholar Richard Dawkins recently packed the house in Oxford, and Eno's as well known these days for his politics, theories, and criticism as he is for his music. Indeed, the once prolific Eno's own output has slowed considerably since the 1970s and 80s, in part due to these extracurriculars and of course thanks to his ongoing work with U2 and Coldplay, something Eno addressed-- in addition to ABBA and Phil Collins-- when he opened some of his packed schedule for a brief conversation.