Showing newest posts with label Bono. Show older posts
Showing newest posts with label Bono. Show older posts

Friday, 9 July 2010

The Music - Bono interviews Bob Dylan and Van Morrison prior to Dylan's Dublin show (1984)




 


Irish music has always been a great part of my life because I used to hang out with the Clancy Brothers. They influenced me tremendously.


An interesting interview from Boner who spoke with His Bobness - and Van the Man,  who stumbled into the scene too! - just prior to Dylan's legendary show at Slane Castle (in Co. Kildare .... a stone's throw away from Dublin) on 8th July 1984.

Meeting Dylan confirmed for Bono, who's "record collection started in 1976", how much he still had to learn about the traditions of singing, songwriting, and musicianship. A friendship developed between Bono and Bob. U2 would soon begin to delve into Dylan's back catalogue and explore some of the connections between Irish and American folk music, bringing elements from that idiom in their own work in albums from "The Joshua Tree" ("Red Hill Mining Town" etc.) and more obviously in "Rattle and Hum".  ... Erm, wait a goddang minute! ... why the f*ck am I writing about U2?!

In the wide ranging discussion here, His Bobness - who seems way more talkative than usual (perhaps the Guinness helped!) - speaks about stuff as varied as his musical influences, his admiration for the Clancy Brothers, his love of Irish music (he can't stop singing the classic Behan ballad "The Auld Triangle" which he wrongly calls "The Royal Canal" during the interview ... a song U2 would later perform at numerous live gigs!) the songwriting process, troublemaking, synthesizers, Ginsberg, Kerouac, Eno, the maligned 'Shot Of Love',  the madness of modern recording ... and chess!

Dylan bizarrely mentions that he really likes muzak monger Paul Brady! WTF!! .. Next he'll say he's a big fan of Billy Ray Cyrus!

Both Bono and Van Morrison later performed with Bob at the Slane show. Van knocked out his favourite Dylan tune "It's All Over Now, Baby Blue" plus his own great "Tupelo Honey" while Bono joined Dylan on "Leopard-Skin Pill-Box Hat" and "Blowin' In The Wind".

The concert was filmed by UTV and recorded for the Dylan's "Real Live" LP, but only "I and I" and "Girl From The North Country" eventually ended up on that album.

This interview was published in the Irish fortnightly music paper 'Hot Press' ( a once- mighty bastion of musical taste!)


Read On ...

Sunday, 14 February 2010

The Muzak - U2 put in their place by NME readers





There were some great replies on NME's Site reacting vitriolically - and properly - to their recent hilarious poncey piece (which we posted HERE) on muzak mongers and professional douchebags U2. A string of Bono and Edge bullshit that was like something out of Spinal Tap! A piece wherein NME forgot to ask these dicks what it was like to be insatiably greedy and infinitely irrelevant to modern music.

Anyway, I especially like the reply below from Lord Byron!

No, I'm not Lord Byron! I'm not a romantic poet of any kind! I'm not even romantic! ... But I like what he says here and how he says it!

Yap, I too would rather shave my balls with a hedge trimmer than listen to one of U2's so-called 'masterpieces'! ... Although that does sound potentially very f*cking painful!

Still, far less painful than listening to U2's recent "No End to This Bullshit" LP!


I wish the tossers would go bankrupt, then maybe we wouldn't have to put up with bullshit articles like this in the NME.

Bono, i think i speak for a massive percentage of the population when i say this, give us a fucking break! Everyone's sick of your repetitive, dull, life snatching music, your shit clothes and awful names.

The Edge? You off your tits? You're like 40! Grrow the fuck up. Your form of so called 'rock n roll' is horrific, thinking your so cool because you have stage names and shit sunglasses, like those idiots from Green Day, Tre Cool and all that bollocks.

You're not rock n roll your wannabes, i would rather shave my balls with a hedge trimmer than listen to one of your 'masterpieces'!

And as for Morrissey and Dylan making you laugh? I hope for your sake it's not in a bad way because that would truly show what a prick you really are. You don't deserve to re-string one of Dylans guitars to be quite honest. I wouldn't een let you re-string mine.


- By Lord Byron












The Douche: U2 - What Rock n' Roll Has Taught Us





What Rock'N'Roll Has Taught Us ... By U2

from NME.com
02/08/10

Bono and The Edge on being bad drivers, nearly bankrupting themselves, and laughing at Morrissey.


Being successful doesn’t necessarily mean you’ve compromised your credibility

The Edge: Looking back, there are so many bands that, at different times, were considered to be the zenith of what was important and relevant and resonant but who are now gone. Having lived though the whole rock Vs disco thing, it’s a shock to realise that disco was better than most rock. Bands like the Bee Gees, OK, they had terrible dress sense and not everything they did was great, but their best work is genius.

So that’s kind of our challenge, we’re not surprised that at times we’re written off as being on the wrong side of artistic credibility. There have been so many groups that have tried desperately to hold on to their status of cool and just ended up becoming so bloody safe and repetitive. They end up in a ghetto of their own making artistically.


Morrissey is up there with Bob Dylan.

Bono: I laugh out loud listening to Morrissey albums. Only Bob Dylan and Morrissey make me laugh. Sometimes, I’ll be listening to the music and doing some press-ups and I’ll fall over.


Bono might seem like a saint but he can be a devil when it comes to driving.

The Edge: Bono’s a ‘creative’ driver who sees the rules of the road as helpful suggestions. He’s fine as long as he’s not trying to play you music at the same time, because male brains are more mono-orientated. Female brains have more connections between the two sides – that’s an actual fact.

Men tend to be great focusing on details of things as a result. Bono’s incredible at keeping the wide-angle view, but when he’s driving he really can’t. He has terrified people at different times trying to play our work in his car while he’s driving.


Musicians and politicians can work together – if only because they’re all human beings.

The Edge: I know Bono gets stick for meeting with politicians, but he cares deeply. That’s not so unique – a lot of people out there care deeply – but what probably is unique is that he has opportunities that very few other people have. I think if you were to ask him he would admit to being amazed how successful his initiatives have become, how many of the doors of power have actually swung open and the influence he’s been able to have.

I suppose it says that, in the end, no matter whether you’re the Prime Minister of Britain or the President of the United States or the Chancellor of Germany, you’re a human being and it’s about relationships and it’s about everyone wanting to do the right thing in the end. Whether you want to admit it or not, I don’t think there’s a politician in the world that’s ever got into politics who didn’t want to do the right thing.

If you’re gonna get into politics, one of the great calling cards if you’re doing what Bono is doing is to be bipartisan; this is not about supporting one side or the other in political terms, it’s about just getting the job done with whoever he has to work with.


Don’t underestimate the business side of things.

Bono: The Grateful Dead’s music didn’t connect with me, but as a phenomenon, they’re doing something similar to us. They invest, they were into business – bunch of hippies, but into business. They were early investors in the internet. I think you can be creative in business and if you’re not creative in business, it gets you by the throat.

That’s the other thing that screws bands, you get a few albums and then they’re looking around wondering whether the money went up your nose or on some accountant’s new nose. We’re spending fortunes trying to turn stadiums – which can be ugly, brutal pieces of architecture – into extraordinary places of imagination and soul. And we’re spending fortunes, nearly bankrupting ourselves. But we’ve learned to be savvy about business.


You’d be surprised how far back fans can remember.

The Edge: There was one gig we played at The Lyceum in London – it must have been the early-’80s, because Echo & The Bunnymen and The Teardrop Explodes were on the same bill I think. Every other act on the bill was sort of shoe-staring, totally cool, 25 minutes getting their hair right, all the rest.

U2 came out, looking like a complete mess and proceeded to just go at our thing with total energy and commitment but in a totally haphazard and uncool way. Bono ended up ripping his pants and freaking out, berating the crowd. There are still people who hate us vehemently for that one performance!


If you’re into playing the guitar, Rory Gallagher is someone you need to know about.

The Edge: Very early on, Rory Gallagher was the first guitar player I really had a connection with, probably because he was Irish. His early albums were really raw and really inspiring and he always had something very interesting on them.


Living in Dublin keeps you grounded.

The Edge: In Ireland, people love us and they hate us. They don’t hate us really, but there’s a kind of healthy disrespect, put it that way. Everyone really wants to bring you back down to earth.

I remember Bono did a guest slot with Bob Dylan early on at Slane Castle, which was a big, big deal for Bono. He did a song with Bob called ‘Leopard-Skin Pill-Box Hat’ and he had no idea what the lyrics were. But he didn’t wanna say that to Bob, so he did the song and totally made up all the lyrics on the spot – went into a stream of consciousness moment.

After the gig, some guy was at a set of traffic lights in his car and Bono was crossing over the road and he said, ‘I saw you with Bob Dylan there tonight, what the fuck were you talking about there?’ That’s Dublin.


Did You Know?

*U2’s first demo tape was funded by winning a talent show staged in Limerick on St Patrick’s Day, 1978.

*The first U2 single to be released outside Ireland was ‘11 O’Clock Tick Tock’ in 1980 – produced by the now-legendary Martin Hannett.

*Ten out of U2’s 12 studio albums have gone to Number One in the UK.










Sunday, 11 October 2009

Hypocritical Muzak Douche Boner is King of England Politics





Why do politicians - including sadly, the Tories this week - fawn over Bono, a smug hypocritical, whining, tax dodging Irish mountebank?

By Quentin Letts
10th October 2009
www.dailymail.co.uk


If we are to continue to send millions of pounds of British tax money abroad, let us at least do so without being lectured by such an unappealing, hypocritical little man.

Mysterious ways: U2 frontman Bono's shock appearance at the Conservative Party conference on Thursday is just one of a string of occasions he has tried to cosy up political leaders

To encounter Bono at one party conference might be construed a misfortune. 

To be subjected to a Save The Third World sermon by this runty rock squillionaire at both Labour and Conservative party conferences was enough to make a reasonable man come over all Pete Townsendish and want to snap Bono's guitar in two. 

What is it about this whiny little Dubliner that makes one's gorge rise? 

What is it that makes him feel he can lecture the rest of us about how to spend our tax money, while he himself leads a life of near-unimaginable wealth? 

Has he ever been elected? No. Is he particularly eloquent? Nope. He just happens to be exceedingly rich. And famous. 

And convinced that he is a figure who can transcend politics and somehow shame us into accepting higher taxes. Because pop singer Bono said so. 

Surely one of the greatest of life's impenetrable mysteries is just why politicians of all hues and on both sides of the globe bow to this little Irishman.

From George W. Bush and Obama to Nelson Mandela and the UN's chief Ban Kimoon, they all swoon at St Bono. 

Last week he spoke to the Labour party conference, appearing in a film clip to say what a great bloke Gordon Brown was. 

Only a few weeks ago he awarded our bungling PM the 'World Statesman of the Year' prize, God help us. 

Then, this Thursday, to the Conservatives' eternal discredit, the same trendy-haired, wheedly-voiced Bono popped up on two vast plasma screens at the Tory conference, shortly before David Cameron's speech. 

When he did his turn for the Labour conference, there were whoops of joy.




When this ageing hipster droned on in mind-numbing platitudes about how we should all donate our hard-earned cash to distant dictatorships, there were two slightly differing reactions. 

From the professional sceptics of the media there was a near-universal groan. Hands slapped against despairing foreheads. 

From the seats of Tory activists, meanwhile, there wafted an air of widespread indifference, if not bafflement. 

Who was this scruffy little man? What was his name again? Mr Bonio?

Some of the more ancient ones plainly hadn't a clue as to who he was. And they wondered why he was not wearing a tie.  Who was this scruffy little man? What was his name again? Mr Bonio?

Ah, the good old Tory faithful. Maybe there is hope yet for this kingdom of ours. 

Bono is a prime example of baby-boomer good vibes - of feel-good politics tarted up with celebrity endorsement. 




Born in 1960, he is a pin-up for late fortysomething, early fiftysomething urbanites of a vaguely Left-wing bent. 

That is, they feel they should be Left-wing, though they may not live out their principles in their spending habits. It is a very Islington state of mind. 

Bono, for instance, is fantastically extravagant. He is an enthusiastic buyer of stocks and shares - he owns a hefty chunk of the New York money magazine, Forbes. 

He travels the world in a bubble of executive-jet comfort, spending a fortune on his little treats and fancies and racking up tens of thousands of air miles. 

Here is a man worth hundreds of millions who has a villa in the South of France, an Italian palazzo looking over the briny near Dublin and a multi-million-pound penthouse in Manhattan.

And yet Bono's message to the Tory conference, as ever, was a homily about the poor and neglected of Africa. 
 
If he feels that strongly, why doesn't he cough up some more of his own fortune? 

In itself, his message should have been worth heeding. Many good British people devote their lives to improving the lot of oppressed Africans.

The problems of disease and famine south of the Sahara are something no good Christian can honestly ignore. 

British charities are a credit to our generosity. And that is before you even start counting British government aid - something the Tories have promised to leave uncut, should they win the next General Election. 

So the issue itself was not the problem. It was the fact that it was being raised, yet again, by this scruffy, plutocratic, hypocritical mountebank.

That was what made it hard to take. Bono the pious! Bwana Bono the aid grandee! Bono the tax avoider. 

As has been frequently reported, this same Bono who talks of the importance of Western aid for the world's most hungry and diseased wretches is himself no saint when it comes to volunteering tax payments. 

Far from it. He seems to be so keen on money that he devotes almost as much time these days to his business dealings as he does to his music making. 

The company which handles U2's fees was accused by tax campaigners this year of moving to an overseas tax haven rather than stay in Ireland. 

Tax haven, eh? Where does he think government aid comes from if it does not come from taxes? 

If he places such a high value on this aid, how can he decently go to such lengths (legal though they may be) to avoid paying tax in his home country? 

Is this not, well, a little whiffy? Does it not smack of double standards?




Bono may think that he sets an example to his fellow Westerners by prowling around the political forums of Europe and America, beating the drum for state handouts for Africa. 

But would he not set a better example if he dismissed his accountants and his canny financial advisers and declared instead that he was rich enough to pay his taxes wherever they would be highest?

The millions of people who buy U2 records, by and large, have no choice but to pay their taxes at home. 

Not for them the opulent international homes - Bono has countless fancy pads - and the limousines and the hot and cold running personal assistants.
Many of his music fans struggle to pay their taxes. What are they to make of a 'be happy to pay more tax' lecture by a tax avoider?

Many of his music fans struggle to pay their taxes. What are they to make of a 'be happy to pay more tax' lecture by a tax avoider? 

The problem is that today's political hero worship is a symbiotic affair. The likes of Bono are useful to the politicians not just for their political analysis (such as it is). 

They are valuable for their attendant glamour. The main reason Labour and the Conservatives asked Bono to appear at their conferences was a suspicion that he is somehow a 'cool guy', an artist who encapsulates their parties' values and ideals.

That the Tories fell for such shallow pretension is, well, just sad. 




In some ways all this is a hangover of Tony Blair's Cool Britannia project, when pop stars and fashion designers were asked to 10 Downing Street to bestow glitter to the newly- elected Labour government. 

Mr Blair was not the first to indulge in this sort of thing. Harold Wilson greased up to The Beatles in the hope of making himself look groovy. Ted Heath posed alongside opera singer Dame Janet Baker. Poor Ted. He never was wildly 'with it', was he? 

If today's politicians use rock stars, the same is true vice-versa. People such as Bono use their political access not only to recommend-policy change but also to improve their own images. 
 
Had Bono not taken up his famine and African poverty agenda, would he have sold so many records and remained such a big name for so long? Quite possibly not. He might well have disappeared into non-entitydom. 

But Bono is nothing if not calculating. There is something contrived about his stage persona, from the silly mononym (his real name is Paul Hewson) to the twirly glasses and his apparent inability to wash his hair, shave his chin and speak clearly while looking his audience square in the eye. 
 
Such vanity about being untidy! When he appeared in the video at the Labour conference, he looked like something out of Steptoe And Son. 

At the Tory conference, his spectacles had such ornate hinges that they could have been part of the Queen Mother's gates near London's Hyde Park Corner. 

But how much longer will these celebrity endorsements work?

Two years ago, there was a big charity push by rock stars, backed by some of the biggest and most fashionable brands in the world. 

It was called the RED campaign. Despite a £52 million marketing drive, the charity raised just £9million for use against tuberculosis and malaria. 

The disparity in those figures perhaps tells us that the public's appetite for celebrity charity campaigns is on the wane. 

In part this may be down to over-exposure. In part it may reflect mounting suspicion that celebrity campaigners sometimes latch on to causes as much for their own publicity benefit as out of a genuine belief in the arguments. 

Although it was depressing that David Cameron's Tories followed the received wisdom of recent years and felt that Bono might add something to their conference, the indifference of the reception he received will surely make a return performance unlikely.

The celebrity-awed vacuity of the Blair years is yielding to a different generation. 

With any luck, our new masters will take their cue from the old Tories in that Manchester conference hall and reflect that a lecture about foreign aid from a small, strange-looking Irishman accounts to little more than a row of autumn beans. 

If we are to continue to send millions of pounds of British tax money abroad, let us at least do so without being lectured by such an unappealing, hypocritical little man.










The Dumb Side - Carla Bruni idles away hours painting Bono





Spot the difference? Of course, you can't!! They're damn nigh identical!!

Left, we have a portrait of Boner, which appears on Carla Bruni-Sarkozy's website, and right, a picture of the Irish rocker/tosser himself.

Carla was obviously high (and not wearing her specs) when doing this Da Vinci-esque doodle! (that's Jean-Paul Da Vinci, an addled tramp who lives in a box down the road from the Bruni's grand mansion who creates great art after a few bottles of turps!)

President Sarkozy - aka Lil Napoleon - is delighted to have his mad model missus spend hours trying to draw other powerful crazy Freemasons!!











Friday, 9 October 2009

When Douchebags Collide - Bono, Scarlett Johansson and Courtney Love Love-In






The intellectual conversation that ensued between the Freemason Leprachaun and the two other uber-irritating bints went like this;

Boner - I'm da biggest diva bitch here!
Scar - No, actually I'm the biggest diva bitch here!
Widowmaker - Gaa Goo Gaa, me dunno where I is!

(Silence)

Boner - Where's me bleedin close-up?
Scar - No, where's my close-up?
Widowmaker - Gaa Goo Gaa, me Courtney!

(Silence)

Boner - I'm bleedin legally married to myself! No one else fookin deserves me!
Scar - No, I'm actually legally married to myself! No one else deserves me!
Widowmaker - Me want marry Boner! He rich and famous! ... And rich!

(Silence)

Boner - I can't bleedin believe I ain't been found out as a fookin vastly over-rated douche yet!
Scar - No, I can't believe I've not yet been found out as a vastly over-rated douche!
Widowmaker - Courtney been found out long long time ago!!

(Silence)










Wednesday, 29 July 2009

Hey Bono, Wanna Save the Planet? Stay Home!



Another tale from the Dumb Side pertaining to hypocritical "world saving" muzak mongering has-been billionaires Boner and his backing band U2!

The best way these has-been muzak mongers could save the world is by disbanding and not inflicting any more aural pain on the planet!




By Simon Scowl
http://deceiver.com/



If you know anything about how WE’RE ALL GONNA DIE FROM GLOBAL WARMING, you know that one of the most vigorous finger-waggers around is none other than Bono of the modern “rock-and-roll” ensemble U2. And if you know that, you also know he’s totally full of crap.

Case in point. According to the Associated Press:


Dubliners angry over the around-the-clock dismantling of U2’s monumental concert stage mounted street protests Tuesday, snarling the Irish band’s plans for the next stages of their European tour.

Residents around Croke Park stadium said their aim was to embarrass Dublin City Council and the Gaelic Athletic Association - which authorized the all-night noise - not delay Ireland’s most famous musical export.

But U2 managers said the protests meant more than 50 trucks carrying much of the band’s 390-ton stage, TV screens, lighting and sound equipment missed their intended morning ferry…

“We should all not be talking to you and (should be) on a boat,” the tour’s production director, Jake Berry, told reporters as several dozen residents protested beside three road junctions outside Croke Park, Ireland’s largest stadium…

Berry said singer Bono, guitarist The Edge, bassist Adam Clayton and drummer Larry Mullen Jr. were told of the Dublin disruption about 5 a.m. Tuesday as their private jet landed in Nice, France, where they are staying in between European gigs.

Got that? When they’re not playing their cute little songs on the 400-ton stage that has to be transported from one city to the next using, y’know fuel, they’re flying back and forth to France in their private jet. Now Nice! Which almost rhymes with “sheesh.”

Did you know U2 has a new album out? I’d forgotten. The last I’d heard about them, people were all ticked off about them dodging their taxes. Silly commoners. Taxes, environmental responsibility, singing talent: Those are for the little people!

P.S. Thanks to commenter AlleyKat for pointing out that U2’s website has a big load of carbon about about how environmentally friendly their tour is. “Zero emissions.” Without explaining how exactly that works, of course. If you want to be environmentally friendly, don’t go on tour.







Friday, 24 July 2009

identitee.com




An interesting resource here, although the database could do with being populated more. The folks at http://www.identitee.com/visualizer.php have been in touch to say ....

"We've engineered a new way to look at and discover music.... through the lyrics.


The link above leads to a lyrics visualizer that cross references-songs against other songs in our database and then shows you what they have in common word-wise.

We'll be engineering new and different visualizations against this and other user data shortly. Such as tracking genre and artist preference by geography or, since you can vote on your favorites, where votes for popular lyrics are coming from. really, the options are pretty much endless. but we hope to create a tool that music lovers will be able to use and enjoy on an ongoing basis.

And, since we just won the "Pay It Fashion Forward" award from Fashion Delivers, we're paying it forward ourselves by giving everyone the chance to win 500 free iTunes tracks.

All you have to do is:

A little more about i/denti/tee (if you've made it this far :) )

We've partnered with Edun Live (founded by Ali Hewson and Bono) and teamed up with iTunes to create a responsible and ethical line of t-shirts that allow music lovers to express their passion for music by wearing their favorite lyrics on their chest.

All of our lyrics begin with “i” (like “I still haven't found what i'm looking for” and “I’m a hustler baby”) and all are legally cleared, so money goes back to the publishers and the songwriter.

Every purchase of an i/denti/tee t-shirt comes with 10 free iTunes songs of your choice. and, most importantly, all of our shirts are grow-to-sew African – from the cotton they source, through the spinning and knitting stages, all the way to the final logo print on the inside of every music tee.

So there you go. We’re excited and hope you think its worth paying forward to your readers."




Sunday, 29 March 2009

WHEN BONO WENT REPUBLICAN




From TerryMcCa who says;
A poem, while written two years ago, manages to remain topical in mentioning the disconnect between U2's laudable ideals and the rather conservative business decisions (moving song publishing from Ireland to Holland to pay lower taxes) the public doesn't notice.












Thursday, 19 March 2009

Bono Backs Out of Debate With Dave Marsh--The Full Story




Wow! Someone who hates the hypocritical, Wall Street cheerleading, media whore and muzak monger - and lover of warmongers Tony Blair and George W. Bush - Boner more than we do! Well, aside from South Park!

Nice work Dave!

Don't call Dave a “Trotskyist” though! Billionaire scumbag U2 manager Paul McGuinness did and now has a contract out on him!


 






Bono’s yelped vocals are another matter, his hollow lyrics - where every platitude yields to an obscurantist pretension and back again - yet another. 


 


by Dave Marsh
from  the excellent ROCK & RAP CONFIDENTIAL
(to which can subscribe free of charge by sending your email address to rockrap@aol.com )



As RRC disclosed in September, last May U2’s Bono confronted Irish journalist Gavin Martin and myself in the lobby of Dublin’s Merion Hotel. He asked what I’d been working on. I said “the premise that celebrity politics has been a pretty much complete failure.” Bono replied that he wanted to debate the topic in public. He reiterated the challenge the next evening. The witnesses included U2’s manager Paul McGuinness and my wife, Barbara Carr, among others.

I made sure that Sirius Satellite Radio, which was to broadcast the debate, knew about Bono’s invitation. By mid-June, U2’s New York office confirmed the plan, asking only that it be delayed until U2 finished recording its next album. I kept it public via RRC and my Sirius show, Kick Out the Jams.

In November, U2 manager Paul McGuinness rang me. After some brief personal palaver—I like Paul even though I know he’s alluded to me as a “Trotskyist” behind my back—McGuinness sheepishly said “Bono has asked me to ask you if he can withdraw” from the debate.

I said “Sure.” McGuinness expressed gratitude that I was taking it so well.

“Of course,” I added, “this was a public challenge. Backing out’s not gonna be private.” I did not ask why Bono ducked the debate. Maybe he’d come to his senses, as his apologetics for world capitalism disintegrated with the stock, housing and employment markets. Maybe he was too busy preparing the banalities he’d blare on the new album.

In the wake of the New Depression generated by Bono’s tutors in world finance, it’s hardly necessary to issue a point by point refutation of his statements about how the world works,. Based on Bono’s response to criticism of U2’s tax avoidance, he plans to carry to the grave the ardently stupid globalization orthodoxy of Forbes, the Wall Street cheerleading rag he co-owns. Can there be anyone else who’s ventured a deep thought in the last several months who still believes that the only path to change involves bending the knee to the powerful?

As for the lyrics, don’t jump to the wrong conclusion. It can’t be denied that Larry Mullen, Adam Clayton and the Edge can still make fascinating music. Bono’s yelped vocals are another matter, his hollow lyrics--where every platitude yields to an obscurantist pretension and back again--yet another. Unfortunately, even if he’d come up with a lyric as great as “One,” Bono also carries into each project his off-stage political pronouncements, and his fawning affiliations with war criminals such as Tony Blair and George W. Bush.

I don’t know why Bono spit the bit on debating these issues in a public forum with a well-informed antagonist. Maybe he decided that he’d fucked up and was about to lower himself by going head to head with a journalist. Maybe he doesn’t want to deal on the spot with descriptions of his repeated appearances at the conferences of the leading capitalist nations where he’s yet to ask his first hard question about anything but Africa; about his settling for promises from world leaders that patently weren’t going to be kept, and never doing more than mewing when they weren’t; about why it is that Zambian economist Dambisa Moyo, by no means an anti-capitalist, observes that she met him “at a party to raise money for Africans, and there were no Africans in the room, except for me,” or why so many other Africans have complained that he claims to speak for them but has never so much as asked their permission. In regard to the last, I did receive more courtesy than Andrew Mwenda, the Ugandan journalist Bono cursed for raising such questions at an economics conference. (But then, I’m white and Celtic-American.)

It certainly isn’t my fault that I have to say “maybe” about all of this. Bono never got back to me, or had any of his handlers get back to me, about the ground rules for our projected “debate”--his term, not mine. I’d have settled for an honest interview although “debate” would have been more fun, even though the result was inevitable. No matter how many people sided with my being able to see through the kind of thing William Burroughs once poetically dubbed “a thin tissue of horseshit” it wouldn’t be enough to outweigh Big Time Pop Star status.

I don’t know. More to the point, you can’t know either.

U2 could be in a fair amount of trouble. The band is old by rock standards, and on the cover of Rolling Stone Bono looked much older than the rest because of a physical makeover that tries to deny it. No Line’s first single flopped on the radio. The band’s decision to have its song publishing company flee Ireland for a tax haven in the Netherlands has been subject to protests in the streets of Dublin and has no obvious justification, despite Bono’s fatuous counterclaim that it is his critics who are the hypocrites because free-market values were what created the “Celtic Tiger” of Dublin’s capitalist boom economy. The Tiger’s death throes look to be particularly messy, in part because of capital flight of just U2’s kind. The band’s attempt to alter the Dublin skyline with its Clarence Hotel expansion is another example of its ruinous distance from everyday Irish reality.

Bono’s self-promotion fares much better on this side of the Atlantic than at home. For instance, he got away scot-free in the American press after declaring during the Inauguration Concert, “What a thrill for four Irish boys from the north side of Dublin to honor you sir, Barack Obama, to be the next president of the United States.” But Shane Hegarty wrote in The Irish Times that only one of the band now lives on Dublin’s working class north side while Bono has lived more of his life on the south side.

“During the band's performance of ‘In The Name of Love,’” wrote Hegarty, “he described Martin Luther King's dream as ‘Not just an American dream--also an Irish dream, a European dream, an African dream, an Israeli dream . . .’ And then, following a long pause reminiscent of a man who'd just realized he'd left the gas on, he added, ‘. . . and also a Palestinian dream.’ This was his big shout out to the Palestinians… You can't help but marvel at this latest expression of Bono's Sesame Street view of the world. Hey Middle East, we just have to have a dream to get along.

“Just ignore the sound of those loud explosions and concentrate on Bono's voice.”

So listen, Bono, if you decide to suck it up and face me, I’m still available. I can’t win a debate, we both know that, and why you’d want to continue to look feeble and cowardly when you have virtually nothing to lose… well, that’s another question I suppose you’ll never be asked.

It doesn’t mean that those questions are going to go away. Maybe for the tamed tigers of the American pop press, but not for me, or for those people in the streets of Dublin calling you a tax cheat, or for the Africans who feel insulted by your ignorance of their lives, or for that matter, the fans who wonder why you insist on siding continually, if slyly, with the powerful against the powerless.






 

Wednesday, 18 March 2009

Bob Dylan by Bono - The 100 Greatest Singers of All Time






Rolling Stone Magazine : 100 Greatest Singers

#7: Bob Dylan
by Bono


from Rolling Stone : 100 Greatest Singers


Key Tracks
"Like a Rolling Stone," "Lay Lady Lay," "Visions of Johanna"

Influenced

John Lennon, Bruce Springsteen, Patti Smith, Conor Oberst


Photo: Wilmer/Redferns/Retna Born
May 24th, 1941





It is a voice like smoke, from cigar to incense, where it's full of wonder and worship.

Bob Dylan did what very, very few singers ever do. He changed popular singing. And we have been living in a world shaped by Dylan's singing ever since. Almost no one sings like Elvis Presley anymore. Hundreds try to sing like Dylan. When Sam Cooke played Dylan for the young Bobby Womack, Womack said he didn't understand it. Cooke explained that from now on, it's not going to be about how pretty the voice is. It's going to be about believing that the voice is telling the truth.

To understand Bob Dylan's impact as a singer, you have to imagine a world without Tom Waits, Bruce Springsteen, Eddie Vedder, Kurt Cobain, Lucinda Williams or any other vocalist with a cracked voice, dirt-bowl yelp or bluesy street howl. It is a vast list, but so were the influences on Dylan, from the Talmudic chanting of Allen Ginsberg in "Howl" to the deadpan Woody Guthrie and Lefty Frizzell's murmur. There is certainly iron ore in there, and the bitter cold of Hibbing, Minnesota, blowing through that voice. It's like a knotted fist, and it allows Dylan to sing the most melancholy tunes and not succumb to sentimentality. What's interesting is that later, as he gets older, the fist opens up, to a vulnerability. I have heard him sing versions of "Idiot Wind" where he was definitely the idiot.

I first heard Bob Dylan's voice in the dark, when I was 13 years old, on my friend's record player. It was his greatest-hits album, the first one. The voice was at once modern, in all the things it was railing against, and very ancient. It felt strangely familiar to an Irishman. We thought America was full of superheroes, but it was a much humbler people in these songs — farmers, people who have had great injustices done to them. The really unusual thing about Bob Dylan was that, for a moment in the Sixties, he felt like the future. He was the Voice of a Generation, raised against the generation that came before. Then he became the voice of all the generations, the voices in the ground — these ghosts from the Thirties and the Dust Bowl, the romance of Gershwin and the music hall. For me, the pictures of him in his polka-dot shirt, the Afro and pointy shoes — that was a brief flash of lightning. His voice is usually put to the service of more ancient characters.

Here are some of the adjectives I have found myself using to describe that voice: howling, seducing, raging, indignant, jeering, imploring, begging, hectoring, confessing, keening, wailing, soothing, conversational, crooning. It is a voice like smoke, from cigar to incense, where it's full of wonder and worship. There is a voice for every Dylan you can meet, and the reason I'm never bored of Bob Dylan is because there are so many of them, all centered on the idea of pilgrimage. People forget that Bob Dylan had to warm up for Dr. King before he made his great "I have a dream" speech — the preacher preceded by the pilgrim. Dylan has tried out so many personas in his singing because it is the way he inhabits his subject matter. His closet won't close for all the shoes of the characters that walk through his stories.

I love that album Shot of Love. There's no production. You're in a room hearing him sing. And I like a lot of the songs that he worked on with Daniel Lanois — "Series of Dreams," "Most of the Time," "Dignity." That is the period where he moves me most. The voice becomes the words. There is no performing, just life — as Yeats says, when the dancer becomes the dance.

Dylan did with singing what Brando did with acting. He busted through the artifice to get to the art. Both of them tore down the prissy rules laid down by the schoolmarms of their craft, broke through the fourth wall, got in the audience's face and said, "I dare you to think I'm kidding."




Playlist
1. Like a Rolling Stone
2. Lay Lady Lay
3. Visions of Johanna
4. Hurricane
5. Knockin' on Heaven's Door
6. Mr. Tambourine Man
7. Tangled Up in Blue
8. Blowin' in the Wind
9. The Times They Are A-Changin'
10. All Along the Watchtower






Bob Dylan - Like a Rolling Stone










save

Monday, 16 March 2009

Aid hurts Africa - Bono attacks Africans (again); Africans fire back






'When the World Bank thinks its financing an electric power station,' it's really financing a brothel.'

- Dead Aid


'If you wanna save the planet, jump up and down!'

- Madonna at "Live Earth"


'Saint' Bono loses the rag in Africa and a look at the new book "Dead Aid" which looks at the futility of most aid programmes for Africa, and indeed the damage this aid actually causes.

"Dead Aid" was written by Dambisa Moyo, who was born in Zambia, and who has a doctorate in economics from Oxford, a masters from Harvard, and who, for several years, has worked for the World Bank in Washington DC.








Comic relief? Top black academic argues western approach is not working for Africa

By Christopher Hart

Daily Mail (UK)
10th March 2009



We are accustomed to bizarre outbursts and posturings from multimillionaire celebrities, especially when they spot a chance to portray themselves as concerned philanthropists with almost painfully big hearts.

Their favourite method is to drop in for a few hours at some televised charity event - Comic Relief, Live8 and Live Earth.

Perhaps the best-known, and certainly the loudest among them, is U2's Bono. His efforts have won him an honorary British knighthood, no fewer than three Nobel Prize nominations and the adulation of Tony Blair. Yet one of Bono's most significant outbursts - rude, heckling and laden with expletives - took place away from the world's TV cameras at a small conference it Tanzania recently.



Not so funny any more: Lenny Henry and Davina McCall lark about in their Comic Relief red noses but a voice from Africa argues western aid is not the best way to help Africa


Bono had been enraged by a Ugandan writer called Andrew Mwenda, who was presenting a powerful case that international aid, far from helping lift Africa out of poverty, might in fact be the very cause of its troubles.

Even the suggestion that this might be the case sent 'Saint' Bono into a foul-mouthed rant, accusing Mwenda of being a comedian rather than a serious contributor to political debate.

For his own sake, then, one can only hope that the pop star never comes face to face with the author of an incendiary new book. Called Dead Aid, its very title is a bitter mockery of that great institution and celebrity bandwagon, Live Aid.



Voice of reason? Sir Bob Geldof has done much to highlight the plight of Africa


But what it contains - particularly at a time when people are generously giving time, money and enthusiasm to this week's Comic Relief fundraising events - is even more provocative. It argues that for 50 years the West has been giving aid to Africa - and in so doing has ruined the continent it professes to help. The author of Dead Aid is no lightweight courting controversy for its own sake. She is a highly qualified economist. More importantly, she is herself African - and what she has to say is as unsettling as it is important.

After years of listening to Western 'experts' such as Bono, Bob Geldof or Angelina Jolie pontificating about what Africa needs, here is a refreshing voice from Africa itself.

Dambisa Moyo was born in Zambia, where her family still live. She has a doctorate in economics from Oxford, a masters from Harvard, and for several years worked for the World Bank in Washington DC.

She is now head of research and strategy for sub-Saharan Africa at a leading investment bank. But here, you feel, is one banker who is still worth listening to, not least as she has witnessed the way her home country has become blighted by poverty. At independence in 1964, Zambia was a fresh, optimistic young nation, eager to embrace the future. Its GDP was around a quarter of the UK's.

Today it is one-26th, and the country is mired in corruption, poverty and disease. So what went wrong?

One by one, Moyo examines the usual lame excuses for African backwardness, and dispatches them with ruthless efficiency. Africa has a harsh, intractable climate, with huge natural barriers such as jungle and desert? Well, so does Brazil, or Australia.

Many African countries are landlocked, always an obstacle to economic growth? That hasn't done Switzerland or Austria much harm.



Happy birthday tyrant: Zimbabwean president Robert Mugabe celebrates his 85th birthday with wife Grace


African countries are too ethnically and tribally diverse? So is India, and its economy is booming.

Africa lacks democracy? So do China, Thailand and Indonesia, all Asian tiger economies.

As for any lingering mutterings about Africans simply not being up to it, or inherently lazy, she doesn't even consider them. She herself is eloquent proof of the idiocy of such Victorianera racism. No, the problem can be summed up in one short word - aid.

Aid isn't Africa's cure, she believes. It's the disease.

Let's be clear, though, Moyo is scrupulously fair about distinguishing between three different types of aid. There is emergency relief for famine, which many of us support through donations or charitable fundraisers, which is not only well-meaning but absolutely necessary at times of international crisis.


Heartbreaking: malnourished children continue to die in Ethiopia


Then there is the everyday work of the charities themselves, about which she appears neutral, although she quotes one cutting comment from a senior economist: 'They know it's c**p, but it sells the T-shirts.

' This year, it is Stella McCartney's Comic Relief T-shirts - featuring images of The Beatles and of Morecambe and Wise - that have become the must-have accessory of those who like to wear their conscience on their sleeve.

Despite the cynics, it is worth remembering that since its creation in the mid-Eighties, Comic Relief has generated £600 million - roughly two-thirds of which has gone to fund charities working on the ground in Africa (the other third goes towards charities in the UK).

That is an awesome achievement that has made a genuine difference towards alleviating suffering on a local scale in some of the most deprived nations on Earth. No one should belittle that work.

But charities are 'small beer' compared to what Moyo perceives to be Africa's real problem: the billions of pounds' worth of aid poured into the continent by Western governments.

Consider the figures. In the past 50 years, the West has pumped around £35 trillion into Africa. But far from improving the lives of ordinary Africans, the result of stateadministered charity on such a colossal scale has, argues Moyo, been 'an unmitigated political, economic and humanitarian disaster'.

The effects are easy to see, yet always ignored. Over the past 30 years, the economies of the most aiddependent countries have shrunk by 0.2 per cent per annum.

Yes, in the UK we have been in recession for six months or so now, but countries like Malawi and Burkina Faso have been in recession for three decades. How is this disaster related to thoughtless Western aid? Directly.


All smiles: Madonna performed at Live Eight in 2005 - but has celebrity endorsement really improved the lot of ordinary Africans?

And Moyo cites a brilliant example of how the whole concept is flawed. Imagine there's an African mosquito-net maker who manufactures 500 nets a week. He employs ten people, and this being Africa, each of those employees supports as many as 15 relatives on his modest but steady salary. Some 150 people therefore depend on this thriving little cottage industry, producing a much-needed, low-cost commodity for local people.

Then, Moyo writes: 'Enter vociferous Hollywood movie star who rallies the masses and goads Western governments to collect and send 100,000 mosquito nets to the afflicted region, at a cost of a million dollars. The nets arrive and a "good" deed is done.'

The result? The local business promptly goes bust. Why buy one when they're handing them out for free? Ten more people are unemployed, and 150 people are without means of support.


Not just a pretty face: Angelina Jolie has visited much of Africa to highlight the poverty faced by its people

Like all such aid hand-outs, it's an idiotically short-sighted way to treat a complex problem.

And that's not all. In a year or so, those nets will have sustained wear and tear, and will need either mending or replacing. But the local net-maker is no longer around.

So now those previously independent and self-sufficient Africans have to go begging the West for more aid. Intervention has actually destroyed a small part of Africa's economy, as well as its spirit of enterprise. Thus aid reduces its recipients to beggary in two easy moves.

Yet despite this ongoing disaster, we still have the celebrity harangues, the self-applauding rock concerts, 'making poverty history' from the comfort of your private jet.

At some point in the Eighties, as Dambisa Moyo observes, 'Public discourse became a public disco', reaching its eventual nadir, perhaps, with Madonna addressing her audience at Live Earth as 'motherf***** s' and declaring: 'If you wanna save the planet, jump up and down!'

Moyo is blisteringly critical about the 'Western, liberal, guilt-tripped morality' that lies behind these jamborees, about the tax-avoiding Bono lecturing us all on poverty and advising world leaders at summits, and Blair's craven admiration for him. Ordinary Africans do not, on the whole, have much admiration for Western pop culture at its noisiest and most foul-mouthed.

So what do they make of the bizarre spectacle of some ill-qualified Western pop star moralising with such supreme arrogance on 'what Africa really needs'? Africans themselves have ideas about what they really need, if only someone would listen. But as one such African comments: 'My voice can't compete with an electric guitar.'

Another effect of aid, well known in the West and yet consistently and shamefully ignored, is that it props up the most thuggish and kleptomaniac of Africa's leaders.

That parade of grotesques who have filled our TV screens almost since independence, it seems - Idi Amin in Uganda, Mobutu in Zaire, Mengistu in Ethiopia, the 'Emperor' Bokassa in the Central African Republic - were always the greatest beneficiaries.

Bokassa spent a third of his country's annual income on his own preposterous 'coronation.' The genocidal Mengistu benefited hugely, it is said, from the proceeds of Live Aid.

Today we have Mr Robert Mugabe's wife Grace, 40 years his junior, going on £75,000-a-time shopping trips to Europe or the Far East, while her people starve, inflation runs at 230 million per cent, and Zimbabwe's Central Bank issues $100 trillion banknotes.

Such tales echo Mobutu's reign of terror in Zaire. He once asked the West for a reduction of his country's colossal debt. The West, feeling guilty, promptly granted it.

Mobutu's response? He hired Concorde to fly his daughter to her wedding on the Ivory Coast. In all, Mobutu may have looted £3.5billion from his country's coffers. Nigeria's President Sani Abacha stole about the same.

Even the World Bank itself reckons that 85 per cent of aid never gets to where it's meant to. 'When the World Bank thinks its financing an electric power station,' says one jaundiced commentator whom Moyo quotes, 'it's really financing a brothel.'



Out of control inflation: a young boy holds the new 1 million Zimbabwe dollar note


So the aid industry causes poverty, corruption and war. Yet it continues. Why? Could aid just be something the West indulge in to buy itself an easy conscience - regardless of what effect it has on Africa?

Whatever the case, we should turn the taps off immediately, says Moyo. Would this mean the end to the building of new roads, schools, hospitals? No.They're mainly built by investment, not aid.

Would it be the end to many a kleptomaniac despot? Most certainly. But would millions would die of hunger within weeks? Of course not.

The aid we send doesn't reach them anyway. Life for them would in the short term be no different, but in the longer term immeasurably better.

What makes Dead Aid so powerful is that it's a double-barrelled shotgun of a book. With the first barrel, Moyo demolishes all the most cherished myths about aid being a good thing.

But with the second, crucially, she goes on to explain what the West could be doing instead.

We all share the well-meaning belief that 'the rich should help the poor, and the form of this help should be aid'. The first part of this is plain morality. But the second part, as she so forcefully demonstrates, is false - lethally false.



Another grim day: Children collect stagnant water in Zimbabwe as cholera continues to claim lives in the southern African country

We shouldn't be giving aid to Africa. That's not what Africa wants. We should be trading with it, and idle chatter of 'economic imperialism' be damned. She has no time for such Left-liberal pieties. Of course we should be using Africa's vast pool of cheap labour to make our clothes, assemble our cars, grow our foodstuffs. In fact, one country already is - it's called China.

China is building roads in Ethiopia, pipelines in Sudan, railways in Nigeria. It's buying iron ore and platinum from South Africa, timber from Gabon and Cameroon, oil from Angola and Equatorial Guinea. China is pouring vast sums of capital investment into the continent, enriching both itself and Africa in the process.

Dambisa Moyo is not much bothered by Western concerns that China does nothing to further democracy in Africa. An villager with six children doesn't lose sleep over not having the vote, she loses sleep over what she will feed her children tomorrow.

Address poverty first, says Moyo, and democracy later.

The greatest example for Africa today, she believes, could be the Grameen Bank, which means, 'The Bank Of The Village', in Bangladesh. Moyo hopes that, in time, the nations of Africa can develop such a bank for themselves. For it is an extraordinary and heart-warming success story.

It was devised by Muhammad Yunus, who quite rightly won the Nobel Peace Prize in 2006 for his efforts. Yunus's inspiration was to ask: 'Where lies the wealth of the typical Bangladeshi village?'

A village may not have money, goods or assets. Yet it is a wonderfully tight-knit, loyal little community, where nobody locks their doors at night, nobody steals, everyone knows each other. This is a tremendous kind of wealth - but how to translate it into money for these impoverished, decent, hard-working people?

Yunus realised you could lend money to such a community and be sure of getting it back if you worked according to a plan - a plan with the simplicity of genius.

You lend not to an individual but to a group, but only one member at a time. So you might lend one woman £20 (and an amazing 97 per cent of the Grameen Bank's customers are women. That's enough for her to buy a new sewing machine, and so start a thriving little tailoring business.

A year later, she repays the amount, with interest. At which point, the original £20 is passed on to the next person in the group.

But if she doesn't repay the loan - and here Yunus saw how to turn the village's 'social capital', its trustworthiness and deep-rooted sense of community, into economic value - then the next person in the group, quite possibly her next-door neighbour, her sister or cousin, doesn't get it either.

The result? This humbly named Bank Of The Village now has 2.3 million customers, and a portfolio worth a colossal £170 million- in one of the poorest countries on Earth.

There is something deeply moving about it, especially when you learn that the reliability of the Grameen Bank's customers has proved to be virtually 100 per cent.

No greater contrast between our own inept but limitlessly greedy banks and Bangladesh's Bank Of The Village could be imagined.

The failed fat-cat Cityboy still awards himself a £500,000 bonus for his own incompetence, while these trustworthy women care for every single cent of their precious £20 loan.

More than that, though, it is a humbling example of the way that trade - not aid - can help Africa lift itself out of poverty. Certainly, there is still much that we can do to help Africa help itself. We should act, and fast. But pouring billions more in aid won't change a thing.

Moyo concludes her book with a wise old African proverb. 'The best time to plant a tree is 20 years ago. The second-best time is now.'

By all means give to Comic Relief when the fun gets under way this Friday. It is a worthwhile humanitarian cause that makes a real difference to people in desperate circumstances.

But as for a long-term solution to Africa's immense problems - that may require a new way of thinking.


DEAD AID by Dambisa Moyo (Allen Lane, £14.99). To order a copy (p&p free), call 0845 155 0720.