Manual The U2 Reader: A Quarter Century of Commentary, Criticism, and Reviews

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After the September 11, attacks , "Peace on Earth" took on additional meaning and consequently, was used as an encore song in the Elevation Tour , coupled with " Walk On ".

Bordowitz, Hank – | tioneccoopatdand.tk

The two songs were similarly paired during the band's performance on the telethon America: A Tribute to Heroes. U2 wrote "Peace on Earth" in response to the Omagh bombing of August Moreover, its lyrics include the names of the people killed Sean, Julia, Gareth, Anne, and Breda [2]. The band has performed the song most notably during the Elevation Tour in , using it along with "Walk On" as an encore.

Irish journalist Niall Stokes calls "Peace on Earth" the band's most " agnostic song yet", saying that it "takes that sense of abandonment" felt in " Wake Up Dead Man " "a stage further". However, 'Sunday Bloody Sunday' deals with an historical event and is approached in a particular way: the ideas of surrender, forgiveness and neutrality are very much present. For instance, a Las Vegas radio station began playing the song immediately afterwards and it soon became one of their most requested songs.

From Wikipedia, the free encyclopedia. Archived from the original on Retrieved Irish News.

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U2 review — who knew stadium rock didn't need constant reinvention? The Guardian. And, as Bono's prediction blossomed into truth over the plus years that followed, U2 got what Bono was asking for. Sometimes glorified and sometimes vilified, U2 has had an often uneasy relationship with the press since Bono's brassy proclamation: they were uncomfortable when labeled a "Christian" band by many in the media during the band's early days they were caught off-guard by blistering criticism from U.

But that's exactly what Hank Bordowitz has done -- and done well -- in The U2 Reader - A Quarter Century of Commentary, Criticism, and Reviews , a book of press articles and clippings that's very satisfying thanks to a level approach to how the band is portrayed, warts and all.

It would've been easy for Bordowitz to use articles which illustrate the most common public perceptions of U2 at various stages of the band's career -- U2 as naive boys in the early '80s, U2 as heroes in the late '80s, U2 returning to their roots in the past few years. But the article selection is more judicious and deliberate than that, particularly in the "On the Record" chapter which measures U2's album output by media reviews.

While we may think of Boy as U2's critically-acclaimed debut which it largely was , The U2 Reader presents two reviews -- one restrained in its praise, the other restrained in its scorn -- that paint a more accurate picture of Boy 's assets and liabilities.

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Achtung Baby , another album that earned widespread critical praise, is also presented in both pro and con. A review from the Hartford Courant calls it a "bracing, exciting change of pace," while the next from a Stereo Review writer turns the tables by suggesting that "while some might laud it's daring, I say that it's simply not very good.

The opening question, in essence, asks for a response to criticism that U2 plays music "for white middle-class audiences in America, and is ineffectual as a force for change"! And pieces written by musicians such as Moby, Billy Corgan, and Bruce Hornsby are an additional treat. On the flip side, some of the all-time blasts at U2 are included, as well. There are flaws in this collection -- flaws of omission rather than commission.

The book is missing articles from sources such as Rolling Stone , NME , and Hot Press because, as Bordowitz told U2 in an interview earlier this year, "they have their own books. A moment like that needs to be included in any summation of U2's past because of what it meant for U2's future.

What is included, though, is often fascinating, and brings new facts to light about the band we know so well. A Trouser Press piece mentions Larry traveling with his own acoustic guitar because "he's started writing songs.