Friday, April 14, 2017

Star Wars: The Last Jedi (Official Teaser). Arriving in your galaxy December 15

And here it is the teaser trailer to the amazing "Star Wars: The Last Jedi (Episode VIII)" movie out December 15.

Published on Apr 14, 2017
Star Wars: The Last Jedi. Arriving in your galaxy December 15.

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Friday, March 24, 2017

Comic Relief - Take That: UK Red Nose Day Special Edition - Carpool Karaoke

Another awesome Carpool Karaoke video by James Corden.
This one is for Comic Relief: UK Red Nose Day Special Edition.

Published on Mar 24, 2017

In honour of the UK charity day Comic Relief, James Corden hops in the car with Gary Barlow, Howard Donald and Mark Owen of Britain’s biggest man-band, Take That, to sing some of the group's classic songs and perform for unsuspecting patrons in Los Angeles.

Made with love for Red Nose Day. To learn more and to donate, please go to:

For more Comic Relief Red Nose Day moments -

Wednesday, March 22, 2017

The Band Perry - Stay In The Dark (The Late Late Show With James Corden)

"The Band Perry" in The Late Late Show With James Corden.
Love this song.
New song "Stay In The Dark".

Published on Mar 22, 2017

Late Late Show music guest The Band Perry performs "Stay in the Dark" for the audience.

Friday, March 10, 2017

The Kelly Family - Nanana

"The Kelly Family" is back.

Kathy Kelly
Patricia Kelly
John Kelly
Joey Kelly
Jimmy Kelly
Angelo Kelly

Past Members:
Papa Dan Kelly, Mama Barbara-Ann Kelly, Joanne Kelly, Daniel Kelly, Caroline Kelly, Paul Kelly, Paddy Kelly, Barby Kelly, Maite Kelly

Years active: 1974–2008, 2017-

The awesome new video by the amazing The Kelly Family.

The Kelly Family - Nanana

Hope you will love this awesome lyric.

The Kelly Family - Nanana

In this grey grey world where nobody sings
I saw the face of a human doll
Her eyes were glass and her hair was gold
From her sweet soft lips
You could hear that song go

Nanana nana, nanana nana, Nanana nana, nanana nana,
Nanana nana, nanana nana, Nanana nana, nanana nana,

In a place where hell is around the corner
I touched her hand it was baby sweet
She kissed me there
I could feel the song going down my throat
She was singing to me

Nanana nana, nanana nana, Nanana nana, nanana nana,
Nanana nana, nanana nana, Nanana nana, nanana nana,

My daddy said if you want to live
You better not touch this is not a toy
The truth is boy I'm a bloody fool
I left the one I loved behind, singing

Nanana nana, nanana nana, Nanana nana, nanana nana,
Nanana nana, nanana nana, Nanana nana, nanana nana,

Tell me what it is that brings me back to you
Tell me what it is I can't stop loving you
Tell me what it is that brings me back to you
Tell me what it is I can't stop loving you

So take me back to the land of yours
Where the black swan loves the one I lost
My generation sings with the radio on
The melody of the human doll

Nanana nana, nanana nana, Nanana nana, nanana nana,
Nanana nana, nanana nana, Nanana nana, nanana nana,
Nanana nana, nanana nana, Nanana nana, nanana nana,
Nanana nana, nanana nana, Nanana nana, nanana nana,

Nanana nana, nanana nana, Nanana nana, nanana nana,
Nanana nana, nanana nana, Nanana nana, nanana nana,
Nanana nana, nanana nana, Nanana nana, nanana nana,
Nanana nana, nanana nana, Nanana nana, nanana nana,

Nanana nana, nanana nana, Nanana nana, nanana nana

Sunday, February 26, 2017

Bill Paxton, DEAD (1955-05-17, 2017-01-25) (aged 61)

Bill Paxton dies with 61. Actor.

One of the most compelling and hilarious actors of our time, and the only one to be killed by an Alien, a Predator, and a Terminator.

Remember a few of his movies like:

- "Streets of Fire" (1984) as Clyde the Bartender,
- "The Terminator" (1984) as Punk Leader,
- "Weird Science" (1985) as Chet Donnelly,
- "Commando" (1985) as Intercept Officer,
- "Aliens" (1986) as Private William Hudson,
- "Next of Kin" (1989) as Gerald Gates,
- "Predator 2" (1990) as Jerry Lambert,
- "True Lies" (1994) as Simon,
- "Twister" (1996) as Bill "The Extreme" Harding,
- "Titanic" (1997) as Brock Lovett,
- "U-571" (2000) as Lieutenant Commander Mike Dahlgren,
- "Vertical Limit" (2000) as Elliot Vaughn,
- "Spy Kids 2: Island of Lost Dreams" (2002) as Dinky Winks,
- "Edge of Tomorrow" (2014) as Master Sergeant Farell.

Bill Paxton on IMDb

Here it goes the story of Bill Paxton from Wikipedia

Thanks to Bill Paxton on Wikipedia

William "Bill" Paxton (May 17, 1955 – February 25, 2017) was an American actor and director. The films in which he appeared include The Terminator (1984), Weird Science (1985), Aliens (1986), Predator 2 (1990), True Lies (1994), Apollo 13 (1995), Twister (1996), and Titanic (1997). Paxton also starred in the HBO series Big Love (2006–2011) and was nominated for an Emmy Award for the miniseries Hatfields & McCoys (2012).

Early life

Paxton was born and raised in Fort Worth, Texas, the son of Mary Lou (née Gray) and John Lane Paxton. His father was a businessman, lumber wholesaler, museum executive, and occasional actor. His mother was Roman Catholic, and he and his siblings were raised in her faith. Paxton was in the crowd when President John F. Kennedy emerged from the Hotel Texas on the morning of his assassination on November 22, 1963. Photographs of an 8-year-old Paxton being lifted above the crowd are on display at the Sixth Floor Museum in Dallas, Texas.


Among Paxton's earliest roles were a minor role as a punk thug in The Terminator (1984), a supporting role as the lead protagonist's bullying older brother Chet in John Hughes' Weird Science (1985), and Private Hudson in Aliens (1986).

He directed several short films, including the music video for Barnes & Barnes' novelty song "Fish Heads", which aired during Saturday Night Live's low-rated 1980–1981 season. He was cast in a music video for the 1982 Pat Benatar song "Shadows of the Night", in which he appeared as a Nazi radio officer.

Music career

In 1982, Paxton and his friend Andrew Todd Rosenthal formed a new wave musical duo called Martini Ranch. The duo released its only full length album, Holy Cow, in 1988 on Sire Records. The album was produced by Devo member Bob Casale and featured guest appearances by other members of that band. The music video for the band's single "Reach" was directed by James Cameron.


Paxton worked with director James Cameron on True Lies (1994) and Titanic (1997), the latter of which was the highest-grossing film of all time at its release. In his other roles, Paxton played Morgan Earp in Tombstone (1993), Fred Haise in Apollo 13 (1995), the lead in Twister (1996), and lead roles in dark dramas such as One False Move (1992) and A Simple Plan (1998).


He directed the feature films Frailty (2001), in which he starred, and The Greatest Game Ever Played (2005). Four years after appearing in Titanic, he joined Cameron on an expedition to the actual Titanic. A film about this trip, Ghosts of the Abyss, was released in 2003. He also appeared in the music video for Limp Bizkit's 2003 song "Eat You Alive" as a sheriff.

Paxton's highest profile television performances received much positive attention, including his lead role in HBO's Big Love (2006–2011), for which Paxton received three Golden Globe Award nominations. Paxton also received good reviews for his performance in the History Channel's miniseries Hatfields & McCoys (2012), for which he was nominated for an Emmy Award, alongside co-star Kevin Costner.

In 2014, he played the role of the villainous John Garrett in Agents of S.H.I.E.L.D. , and a supporting role in Edge of Tomorrow (2014). He starred alongside Jon Bernthal, Rose McGowan, and John Malkovich as a playable character in the 2014 video game Call of Duty: Advanced Warfare (downloadable "Exo Zombies" mode). In February 2016, Paxton was cast as Detective Frank Roarke for Training Day, a crime-thriller television series set 15 years after the events of the eponymous 2001 movie; it premiered a year later.

Personal life

Paxton was married from 1979 to 1980 to Kelly Rowan. In 1987, he married Louise Newbury; together, they had two children, James and Lydia.


On February 25, 2017, Paxton died at age 61 from complications following heart surgery. A representative for the family released the following statement to the press on February 26:

It is with heavy hearts we share the news that Bill Paxton has passed away due to complications from surgery. A loving husband and father, Bill began his career in Hollywood working on films in the art department and went on to have an illustrious career spanning four decades as a beloved and prolific actor and filmmaker. Bill's passion for the arts was felt by all who knew him, and his warmth and tireless energy were undeniable. We ask to please respect the family's wish for privacy as they mourn the loss of their adored husband and father.

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Look on Bill Paxton on Wikipedia
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Awards and nominations
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Look on Bill Paxton on Wikipedia
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Bill Paxton

Bill Paxton by Gage Skidmore 2.jpg
Paxton in 2016
Born William Paxton
May 17, 1955
Fort Worth, Texas, U.S.
Died February 25, 2017 (aged 61)
Los Angeles, California, U.S.
Cause of death Complications following surgery
Occupation Actor, director
Years active 1975–2017
  • Kelly Rowan (m. 1979; div. 1980)
  • Louise Newbury (m. 1987; his death 2017)
Children 2, including James Paxton

Wednesday, February 22, 2017

The Band Perry - Stay In The Dark (Live On The Tonight Show Starring Jimmy Fallon/2017)

Awesome live new video of "The Band Perry". Love this song.
New song "Stay In The Dark".
Here the vocalist has dark hair. She's blond. First time I saw her with black hair.
The performance was on The Tonight Show Starring Jimmy Fallon on February 7, 2017 was so cool. Ice Cube and Rosamund Pike were the guests before The Band Perry.

Published on Feb 21, 2017

The Band Perry “Stay In The Dark” Out Now!

Follow The Band Perry:

Tuesday, January 24, 2017

U2 2017-01-24 Rolling Stone, U2's Adam Clayton Talks 'Joshua Tree' Tour, 'Songs of Experience'

U2's Adam Clayton Talks 'Joshua Tree' Tour, 'Songs of Experience'

Bassist on how band will approach classic 1987 album onstage, when to expect upcoming studio LP

U2 bassist Adam Clayton breaks down the group's upcoming 'Joshua Tree' tour and discusses plans for the 'Songs of Experience' LP. Franka Bruns/AP

By Andy Greene

Thirty years ago, the wild success of The Joshua Tree transformed U2 into the biggest band on the planet. Radio hits "With or Without You," "I Still Haven't Found What I'm Looking For" and "Where The Streets Have No Name" catapulted them from arenas into stadiums and found then hobnobbing with Frank Sinatra, appearing on the cover of Time magazine and sharing the stage with Bob Dylan, Bruce Springsteen and B.B. King. "Certainly looking back on playing the tour at that time, it should have been an extraordinarily, freeing, joyful opportunity," says bassist Adam Clayton. "But it was actually quite a tough time trying to deliver those songs under the pressure of growing from an arena act to a stadium act. I, for one, don't remember enjoying it very much."

He'll probably enjoy it more this summer when U2 take The Joshua Tree on a victory lap three decades down the line. "I think this summer run is almost an opportunity to take it back," he says, "and look at those songs and look at what was going on then and see where we are now." We spoke to Clayton about the impetus for the tour, how the show will be structured, if fans can expect to hear rarities and what's happening with Songs of Experience.

I know that the Innocence + Experience Tour was originally slated to go into 2016. What happened?
Well, the idea was really that we wanted to make sure we focused on the [Songs of] Experience album. By the time we finished the Innocence tour and came full circle to focus on the album, it was clear we weren't going to be able to flip it really quickly into the Experience side of the material and put it right back out on tour. As a challenge that was, "OK, we're going to have to look at this differently." Also, in the course of that year, some kind of strange political movements seemed to start happening. First of all, there was Brexit in the U.K., which was just a signal that things were changing. I'm not sure how people took it. Then, quite quickly on the back of it, was the rise of Trumpism. And that was like, "Oh, OK, there's something going on here. There's maybe something we missed and we need to start watching this." That sort of encouraged us to go away from trying to finish the record too quickly without being able to factor in some of the things this is telling us.

I think it's interesting to be able to go back to the Joshua Tree record because when we put that record out and when we were working on it, it was a bleak world in terms of America and the U.K. You had a Thatcher-ite government in the U.K. that was trying to destroy the coal-mining business and set up a different kind of economy in the U.K. In the U.S. you had Reaganomics and the kind of imperial power inserting itself into Central American politics and some pretty bad deeds going on from drug money funding arms for that war. That was an interesting setting, but ... looking back from 30 years, the story that it tells me the most is how much I've changed and how much I need to look at good, liberal values and how the world is really looking and what I accept from the news and what I want from politics now from someone that is less likely to be standing at the barricade. I'm all in favor of new artists coming up to be people that make a lot of noise, but I'm happy to still be a part of the movement.

I know the first thought was to maybe do one American Joshua Tree show and one in Europe. How did that grow into a whole tour?
Well, one of the early ideas was that perhaps, because the Experience tour when we get back out to it will be an indoor tour that's focused on the production we had pioneered on the Innocence tour, it was going to be that production taken further. But we thought, "Well, maybe in honor of The Joshua Tree we could go back out there and do shows that are much more rooted in what that experience was about." That's because when we took the Joshua Tree show out a couple of interesting things happened. That was a tour that started in arenas and in the course of the year-long progress of that album, since that was back in the very, very old days where when you put out an album, it sold and there was word of mouth and it got bigger and eventually it got to Number One on the charts and everyone knew it. So when that happened we were forced to go from arenas out into stadiums, and that was a huge, huge step for a bunch of Irish guys who were 25, 26 and had just put our back into this thing called U2 and it had been a five-, six-, seven-year sort of journey for us, a pilgrimage in many ways.

When we went outdoors in the stadiums, we didn't have any tricks. We didn't know how to do it. We steered away from video reinforcement, which was just happening at the time. We thought it would, in some ways, dilute the music. We had a fervent belief that the music was absolutely adequate and big enough to fill a stadium, so it was really a challenge to us. It also meant that every night Bono had to really put himself out there to try and connect to people. In some ways, that was a thankless task. You can't win in a stadium. No matter how good the songs are, you're still just a speck on the stage and you're still dependent on the PA system. That was very, very frustrating.

I spoke to Edge a few weeks ago. He wasn't sure the show was going to start with "Streets" and go right into the album. How do you see that happening?
We haven't really sat down and worked out the dynamics of it yet, but I suspect it would sit as the crown in the show. I think we would definitely want to open with perhaps something that is not dissimilar to the Songs of Innocence run [where we did our early 1980s songs] and get people in the mood for this thing that's coming and you give some sense of history of where it came from. Then it'll be a scene change. … This is my guess. We won't know until we start playing it around quite a bit. We will either start with "Streets," or end with it, I might think, but there will be a scene change. Whether or not we go completely in sequence, we've yet to work out. But I think it'll be the beginning of the traditional musical journey that we've always referred to in that period where the songs will take us through a version of America that certainly seemed true and possible at that time. In many ways, perhaps that was the very end of the period of thinking of America as wholesome and benevolent. Really, things have changed quite a bit from that point on. It's going to be hard to see how the country goes back to where it would like to be.

I imagine one challenge in playing it in sequence is the four most famous songs are the first four. Then there's seven straight that are lesser-known to a mass audience. Doing them all in a row could be a challenge in a stadium. Do you worry about that?
Umm … I think we really have to wait and see. I think anyone that's coming to that show clearly knows that record well. What we would need to figure out is whether that's a suite of songs [and] with our new knowledge of 30 years hence we could breathe life into them in a different way, or whether we kind of bundle them together with some other songs that are thematically in keeping with those. Again, I wish I could be more positive with that, but we aren't that far down the line. We have the aspiration, but we haven't quite figured out how it'll happen. But it will happen and we always toy around and experiment until it feels right.

That fans are super psyched to hear "Exit," "Red Hill Mining Town" and "Trip Through Your Wires." These are songs that haven't been played in 30 years, or even ever in one case.
"Trip Through Your Wires" I think we were pretty good at playing during the original Joshua Tree tour. I think "In God's Country" was in that set, but "Red Hill Mining Town" was never played live during that period. It fell into the midtempo malaise and I think we can now figure out ways to get around that.

Might you play any Songs of Experience songs during the show?
It would be very much my wish that we could play something from Experience as part of the show, maybe one or two songs. Again, I caution that by saying we really have to see the arc of this show and we have to figure out whether those Experience songs would work well in a stadium in this context, but I'd love to see some of that material out there and people being familiar with it before the album comes out.

Broadly speaking, it must be hard to make a set list since there's so many albums and certain audience members that just know the big hits, and then there's the hardcore fans craving deep cuts. Satisfying them both at once must be difficult.
It is difficult. You very quickly realize when you're up there that there are those two types of songs. There are the songs with broad, mass appeal that people respond to in an instinctive ways. I suppose that's what hit songs are. Then there's, as you say, the more intellectual side of what I'd call the "bedroom songs" that people have a personal, intimate relationship with, but they don't share that with the rest of the world. I think we always try and walk the line between having those great emotional moments that are much more about what's happening in the crowd. The song unleashes the experience that people are having in the crowd, and then those other songs that one can pull back to the stage and they're about the music that's happening on the stage and the audience can participate in that.

I told the Edge the two songs the fans are always talking about are "Acrobat" and "Drowning Man." You've never done either of them. Do you think they'll ever be played?
We rehearsed up a version of "Drowning Man" for the 360° tour. I think we rehearsed it up until the moment we were rehearsing in stadiums. I think some of the fan chatter said that. I think in the end it seemed like really an obscure song to submit a stadium audience to [laughs]. But it has something. It really does have something. What we were doing with it was quite interesting, but you instinctively know that's not going to carry in a stadium. It could carry in a club situation because it is … that's right off War. It probably isn't that well-known, but it is a beautiful piece of music, really evocative. Perhaps there is a way to put it in.

How about "Acrobat?"
"Acrobat" is a funny one. There's a lot of anger. Again, I think when we were originally planning that tour it was just one song too many off Achtung Baby, but perhaps there is a way of bringing it back in. Perhaps not for this tour. I guess we're going to have to align everything, to a degree, that is pre–Joshua Tree and then Joshua Tree. Then after Joshua Tree, perhaps Achtung Baby would be too big a gauge, but who knows how it'll pan out once we start planning two-and-a-half hours in a stadium.

Do you ever talk about doing a fan show in a theater or club that's advertised as just the obscure songs? The thing is, if we were looking for innovative, different ideas to reconnect with our audience, I think all these things are valid. But we're still very much kind of plowing ahead with new material and that's our focus. This was just an opportunity to step sideways and honor Joshua Tree. I think when everyone saw it as something we could move forward with, there was great momentum and excitement within the band, but I think this is a step that is not really part of our language. It's just unique that we're choosing this year to do this.

Do you think if you put out "With or Without You" as a single today, it would be a big hit, or has radio changed so much it wouldn't work?
I think you could put it out. I think you'd have to Melodyne the vocal. I think you'd have to squeeze and program the rhythm tracks. Eventually you'd get something that sounds familiar on the radio and it would research well, and you might get a bit of traction and it might be a hit. But I think if you put it out just as it is, it would get lost in the noise and bubble of that particular sound that's popular at the moment.

Is it possible for a rock band 40 years in to score a hit in the climate where most pop artists are in their early twenties?
You know, I do believe that it is possible. I don't know what the particular formula is, but I've never been more aware of any other time that no matter where I am in the world, and I don't know why it is, I keep hearing Fleetwood Mac tracks. I'm going, "Why is it those songs have got such big, strong legs?" Of course, they were poppy in their day. They were very universal in terms of the lyric, but there was something about the sound that wasn't necessarily the classic sound of that period. They had their own unique sound and it seems to have survived the pop music of the day.

Yeah. I think "Every Breaking Wave" is among your greatest songs. Had it been released in a different time it would probably have been a huge hit. It just seems like this is a different world now.
Yeah, it is. The emotional connection with songs [is] different because people don't think of them as parts of albums. They don't think of them as lifestyle. They don't see them as identifying who they are. We live in a world where these songs are dropped and they get passed around and they validate people in a different way.

Do you think Songs of Experience will be out next year? The end of this year?
We all very much feel like it needs to be the end of this year. It's not on any schedule anywhere, anything like that. We're going to get back to that later this year and polish it off and finish it off a bit more. But we think we're there with it. It's not like the switch to do these Joshua Tree shows was because we needed a lot of time. It was just because it's pretty much in the bag. We can still work on it throughout this year, all the little nips and tucks that we want to do. It'll be a pleasure to get out there and play these Joshua Tree songs. In some ways, the experience of playing those Joshua Tree shows and those songs this summer, inevitably, couldn't help [but] have some impact on what that record ultimately becomes when we finish work on it.

The word "nostalgia" is being tossed around in relation to this tour. How do you feel about that?
[Let's out an agonized groan.] It's not something we would be interested in. The reason the audience is there and buys the ticket may be to look back and say, "Wasn't that great? Wasn't that a great period? Weren't we the generation that changed things?" You can't do anything about that. Some people may do that. I think I mentioned at the beginning of the piece, it's probably much more important to use that as a starting point of what the last 30 years have done to us all. Who are we now? How can we continue to act as members of the community and society and make changes and choices for the future?

Do you see yourselves still being in the group when you're in your seventies like the Stones and the Who?
[Laughs] I can't answer that. Maybe they couldn't either. I think it's fantastic that Pete [Townshend] and Roger [Daltrey] are still out there doing shows in their seventies. I would say if you're in your seventies, it's usually the most fun to be onstage with a rock & roll band if that opportunity is available for you, but I don't know if that is something you can plan for. I don't know. I don't know where we'll be in our seventies. I don't know which one of us will be in our seventies.

It's a miracle that U2 have been the same four guys for 40 years. Almost no group can claim that.
We've had a very solid, stable lineup. Hopefully it'll stay that way.

I feel like with Songs of Ascent and everything you've done during the Songs of Innocence and Songs of Experience sessions there's so many songs the fans have never got a chance to hear, maybe even a hundred or so. Do you think those songs are ever going to come out on box sets or anything?
Again, I never want to say never. Very often, the things that don't get completed is because we start out with a very broad palette and then again we do focus on the fact that what rock & roll is and what we do are a somewhat narrow palette. You have to focus in on that to be relevant and to be part of the discussion. So we can wander off into the ether and make nice, jazzy, progressive, atmospheric music – it doesn't necessarily reflect what U2 should be doing and how we should be connecting with our people out there.

Do you ever fee like the band is fighting gravity? So few bands have ever done work 40 years in that's connected with a mass audience. At the same time, rock is no longer at the center of the culture. That's a lot to work against.
Ummm … yeah. There are different rules and criteria for the operation. I kind of feel like the technology of how this all works has changed a lot over the years. If you look at the big bands of the 1940s, those bands got cut down to quartets and quintets after the war because there just wasn't the money around to pay for big bands or pay for petrols and buses. Then you came into the period where the electric instruments made that it very few people could make a big sound and entertain people. We're now in a situation because the current music business, because sales in the real sense don't exist, you can't support bands like you used to be able to in terms of economics. Actually singers are now finding, often with computers, that they can make a sound in the digital world and make a voice fit well on it in a special way. They don't have the overhead of a band in the studio or anything. So yeah, the economic forces have changed it a lot.

I also think that in that period of the 1960s there was the counterculture and information was translated through that youth movement and that counterculture movement through music and ideas. The Internet has completely changed that. People relate to each other in a different way and they communicate in different ways. It has more sophistication in so many different ways. We are, to use your term, somewhat swimming against the tide, but I'm hoping that some of those values … I don't know if we can do this again in that sort of way. It will change. The future is going to be different, and who knows what comes with it?

U2 are going on a summer tour that will feature a complete performance of their landmark 1987 album 'The Joshua Tree.'

Sunday, January 15, 2017

U2 2017-01-15 Entertainment Music, U2's Joshua Tree revisit rooted in present turmoil

U2's Joshua Tree revisit rooted in present turmoil

John Meagher

Published 15/01/2017 | 02:30

Reprisal: The Edge and Bono on the original Joshua Tree tour at Croke Park in 1987
Reprisal: The Edge and Bono on the original Joshua Tree tour at Croke Park in 1987
Michael Brook is a Canadian guitarist and composer who has worked with such leftfield musicians as David Sylvian, Robert Fripp and Iarla Ó Lionáird. But Brook has played his part in U2 history, too, even if his name is unlikely to register with many.

In the mid-1980s, Brook invented an instrument he called the infinite guitar, which allowed an electronic guitar note to be held with infinite sustain. His Canadian compatriot Daniel Lanois was intrigued by its capabilities and brought it to the attention of the Edge who, along with the rest of U2, was busy working on a follow-up album to The Unforgettable Fire.

That sustained-note technique would soon become very famous thanks to its use on 'With or Without You', the lead single of the resulting album, The Joshua Tree (both released in March 1987). The song is so well known by now that it's almost become sonic wallpaper, but listen to it with fresh ears and note how distinct Edge's playing is.

'With or Without You' has been a staple of the U2 live experience ever since, and it will feature at Croke Park on July 22 when U2 take The Joshua Tree on the road to mark its 30th anniversary.

It's the first time the band have toured a catalogue album but if there was one they were ever destined to showcase again, years later, it's this totemic 1980s release. Their biggest seller by far, it shifted 25 million copies and while I could make the case for both The Unforgettable Fire and Achtung Baby being even better albums, The Joshua Tree is, clearly, U2's most emblematic long player. Tickets go on sale on Monday at 9am and one can expect Joe Duffy to be fielding call after call on Liveline that afternoon from distressed U2 fans who weren't able to secure tickets amid the sales frenzy.

In an interview with Rolling Stone, Edge said he couldn't say definitively if they'll play the album in sequence, but it would be quite a surprise if they didn't. And what a start it would be: the opening quartet - 'Where the Streets Have No Name', 'I Still Haven't Found What I'm Looking For', 'With or Without You' and 'Bullet the Blue Sky' - is the sound of U2 at their stadium-baiting best and each of the four has long been part of the furniture of their live shows.

But while these songs - not least the incendiary 'Bullet' - are perfectly calibrated for Croker's scale, much of what's great about The Joshua Tree is to be found amid the non-single album tracks. 'Running to Stand Still' is one of Bono's finest vocal recordings and its subject matter is rooted close to home. It was inspired by a Dublin that was being torn apart by a heroin crisis fuelled by such notorious criminals as Tony Felloni and 'Ma' Baker, and the line "I see seven towers but I only see one way out" referenced the Ballymun skyline from the vantage of a pre-fame Bono growing up in nearby Cedarwood Road.

'Red Hill Mining Town' is a portrait of a blue-collar Britain that got an unmerciful kicking by the Margaret Thatcher administration. Remarkably for such an anthemic song, it has never been played live by U2. "I think," Edge noted, "it was probably one of those songs that due to tempo and arrangement, never found a place within the live set."

And then there's 'One Tree Hill', which is the band's sweet homage to their New Zealander roadie, Greg Carroll, who perished in a motorcycle crash in Dublin in 1986. The striking image conveyed by the title refers to the volcanic peak of the same name in Auckland that Carroll had taken Bono to some years before.

For an album whose sound is regarded as so American, and whose Anton Corbijn-photograhed cover evokes the great expanse of its desert plains, it's striking to note just how many of the tracks are concerned with places outside of the US. Besides the three album tracks mentioned, 'Bullet the Blue Sky' is about the unrest provoked by American foreign policy while 'Mothers of the Disappeared' looked at the crimes of the Argentinian and Chilean dictatorships.

If the album captured much of the turmoil of 30 years ago, it's being revisited once more at another time of great unrest. The Edge has admitted as much, telling Rolling Stone this week: "That record was written in the mid-1980s, during the Reagan-Thatcher era of British and US politics. It was a period when there was a lot of unrest. Thatcher was in the throes of trying to put down the miners' strike; there was all kinds of shenanigans going on in Central America.

"It feels like we're right back there in a way [a reference to Brexit and Trump]. I don't think any of our work has ever come full circle to that extent. It just felt like, 'Wow, these songs have a new meaning and a new resonance today that they didn't have three years ago, four years ago.'"

U2 started work on The Joshua Tree in early 1986 with the same Brian Eno-Daniel Lanois production team behind The Unforgettable Fire. The first time the public heard any new material was on short-lived RTÉ series TV GAGA back in January 1986, when a seemingly stylist-free U2 played an embryonic version of 'Trip Through Your Wires' and something called 'Woman Fish' that was soon abandoned, never to be resuscitated. A wise move.

Plenty of material was recorded during the album sessions, as proved by the deluxe edition, from 2007, which gathered several B-sides and unused songs. But, intriguing as 'Spanish Eyes', 'Beautiful Ghost/Introduction to Songs of Experience' and the original version of 'The Sweetest Thing' are, it would be foolhardy to make the case that any should have been included on the original. Say what you will about U2, but they tend to know which of their songs should be released and which are destined for the recording-studio floor.

Thursday, January 12, 2017

U2 2017-01-12, 'Music Can Pull People Together…'

'Music Can Pull People Together…'

12 Jan 2017

"Thirty years ago, The Joshua Tree found common ground by reaching for the higher ground," explains Bono. "This is a tour for red and blue, the coast and the heartland ... because music can pull people together as surely as politics can pull people apart."

We've got the questions, Bono has the answers.

A tour to celebrate an album from 30 years ago? That’s not like U2. Where’d that idea come from?

Haha, nostalgia is a thing of the past, as Edge is always telling me… and it’s true! As a band we are not known for the rear view mirror… I suppose that changed with the writing of Songs of Innocence. It kind of forced us and me in particular to look back. I began to think that indeed the past is a place worth a visit, even if only a fleeting one, as not to spend any time there can really mess with your ability to deal with the future. Not trying to be clever here, just sometimes, to quote one of my favourite writers – Eminem – you’ve got to go back to tidy your room. The Joshua Tree Tour is a recent idea… it started out as us just doing one or two shows, maybe even a festival for fun, but the more we thought about it, the more excited we got, and the more apt the subject matter of those songs felt for these times.

By the way, a lot of fans in South America, in Australia, in New Zealand, in Japan are asking how come Europe and North America get to see U2 again so soon.

It’s not fair… that’s for sure. I’m not exaggerating when I say that the band feel as disappointed as our fans about taking so long to get to some of our favourite places on earth. All I can say is we are working on it! Thanks for being so patient.

You were pretty outspoken politically at those two US shows in September and October. Some people didn’t appreciate an Irish band ‘intervening’ in their election? Will we see more of that in the Joshua Tree tour?

In the US election… as an Irish band, we clearly didn’t have a vote but we had a voice and wanted to use it to speak out against what we thought was runaway rhetoric, dangerous stuff … But in a democracy the people get the last word - and that's the way it should be. I opposed Trump while all the time understanding that many of the people who support him are the kind of people I grew up with, and can see myself in to this day. In my head at least the election result demanded I ask myself several questions:

Am I missing something here?
Am I out of touch with American values?
Am I out of touch with the American people?

It's clear a giant constituency in the country felt ignored or patronised… they are fearful of the future, as are a growing number of Europeans. I understand and respect that, and I want to try and understand those fears better. Against type, I’m a rockstar who doesn’t like to be surrounded by people who agree with me (at least all the time), which is why I joined a band and I’m still married! Haha

Our audience have always been fiesty, they often disagree with us and each other. I would like to think that everyone who loves their country would feel welcome at a U2 show, however differently they love it. And I think a little humility might be important for me here. I certainly want to understand better what just happened, but I’m going to do that without crossing what are bright lines for me, things like standing against the demonising of immigrants or refugees. I’m Irish for God's sake.

Edge said the world changed irrevocably whilst we were trying to finish off Songs of Experience and that we needed a moment to take that fact in. I think he’s right. He’s also right when he says the reasons our albums have lasted the test of time is, ironically, that the best of them can find a truth in the moment they were made that’s constant in changing times…

As for the Joshua Tree Tour, my hope is that number 1: it is a transcendent night of rock n roll. Number 2, if I were let to have even more lofty ambitions for this rock show, I would love if it became an opportunity for our audience and ourselves to ask the question - what is it these days to be an American or a European?… Thirty years ago, 'The Joshua Tree' found common ground by reaching for the higher ground. This is a tour for red and blue, the coast and the heartland ... because music can pull people together as surely as politics can pull people apart. It’s a great canvas and it would be amazing if it could still be a high voltage meditation on what’s happening now.

What happened to Songs of Experience? I thought it was finished? Can we expect it in the current century?

Ha, yes… possibly even this decade. The band have forbidden me from talking about deadlines and release dates. I can tell you that Songs of Experience is a very personal album, but that intimacy still needs the frame of a more anxious edgy world because that is where a lot of people are at this moment…

Throw us a bone - give us the title of one of the new songs… and a lyric. Are you going to play some of the new songs on TJTT?

Might. My favourite at the moment is “The Little Things That Give You Away”. Here’s a couple of verses:

"The night gave you a song,
a light had been turned on,
You walked out in the world
like you belonged there
As easy as a breeze,
each heart was yours to tease
Is it only me who sees there’s something wrong here
It’s the little things that give you away
The words you cannot say
Your big mouth in the way
It’s the little things that reveal and betray
Has the hunter now become the prey
It’s the little things, the little things
That give you away
I saw you on the stairs
You didn’t notice I was there
That’s cos you were busy talking at me
Not to me
You were high above the storm
A hurricane being born
But this freedom, it might cost you your liberty
It’s the little things that give you away
The words you cannot say
Your big mouth in the way
It’s the little things that reveal and betray
Has the hunter now become the prey
It’s the little things, the little things that give you away"

Theres a very big tangent at the end of this this, that’s very revealing – but that’s enough for now.

I heard something about another one-off show this year, with the smallest audience ever known at a U2 show… Just Julia Roberts, was it?

No, there are two different (RED) Omaze experiences – one is tea with myself and Julia Roberts. I feel like I won every competition I ever entered just to be in her company. She’s the real deal. A friend and a comrade for many years. Except she still looks like the first time I met her in the 80s and I, well, I’m happy not to stay in the 80s… The other prize is the band playing just for you and a friend. Might break our all time record for smallest show, which was in Bristol on our first tour of the UK – 11 people – but we’re happy to break that record for (RED).

Monday, January 09, 2017

U2 2017-01-09 Rolling Stone, The Edge Breaks Down U2's Upcoming 'Joshua Tree' Tour

The Edge Breaks Down U2's Upcoming 'Joshua Tree' Tour

Guitarist also reveals status of band's upcoming 'Songs of Experience' LP and discusses rare songs fans might get to hear live

U2 guitarist the Edge discusses the group's upcoming 'Joshua Tree' anniversary tour and the status of 'Songs of Experience.' Debby Wong/Variety/REX/Shutterstock

By Andy Greene

Since their formation in 1976, U2 have aggressively avoided any move that even hints at nostalgia. But this year they're going to finally look back by taking their 1987 masterpiece The Joshua Tree on tour in stadiums across America and Europe in honor of the album's 30th anniversary. It's a chance for the band to re-connect with fans after the rather disappointing reception to their 2014 LP Songs of Innocence, and it gives them a chance to hit the road while continuing to put the finishing touches on their upcoming album Songs of Experience. A couple of weeks before the shows were formally announced, U2 guitarist the Edge phoned up Rolling Stone to talk about the tour, reviving rare songs onstage, their next album, Donald Trump and much more.

Can you give me some background on how this tour came together?
Well, when we came off the last tour, the Innocence and Experience indoor tour, we headed straight into finishing the second album of that set, Songs of Experience, which we were pretty much complete with after a couple of weeks of the final touches leading up to the end of the year. And then the election [happened] and suddenly the world changed. We just went, "Hold on a second – we've got to give ourselves a moment to think about this record and about how it relates to what's going on in the world." That's because it was written mostly, I mean, 80 percent of it was started before 2016, but most of it was written in the early part of 2016, and now, as I think you'd agree, the world is a different place.

You're talking about Trump and Brexit?
The Trump election. It's like a pendulum has suddenly just taken a huge swing in the other direction. So, anyway, we then were looking at the anniversary of The Joshua Tree, and another thing started to dawn on us, which is that weirdly enough, things have kind of come full circle, if you want. That record was written in the mid-Eighties, during the Reagan-Thatcher era of British and U.S. politics. It was a period when there was a lot of unrest. Thatcher was in the throes of trying to put down the miners' strike; there was all kinds of shenanigans going on in Central America. It feels like we're right back there in a way. I don't think any of our work has ever come full circle to that extent. It just felt like, "Wow, these songs have a new meaning and a new resonance today that they didn't have three years ago, four years ago." And so it was kind of serendipitous, really, just the realization that we needed to put the album on ice for a minute just to really think about it one more time before putting it out, just to make sure that it really was what we wanted to say.

So we said look, "Look, let's do both. We can really celebrate this album, which is really born again in this context, and we can also really get a chance to think about these songs and make sure they're really what we want to put out." So the two sort of coincided and we decided we were gonna do some shows. And we've never given ourselves the opportunity to celebrate our past because we've always as a band looked forward, but I think we felt that this was a special moment, and this was a very special record. So we're happy to take this moment to regroup and think about an album that's so many years old, but still seems relevant.

Are you going to play the album in sequence at the shows?
I believe we will, and I say "believe we will" because that is certainly the working assumption right now. The show might not necessarily start with Track One, Side One, "Where the Streets Have No Name," because we feel like maybe we need to build up to that moment, so we're still in the middle of figuring out exactly how the running order will go, so yes. We will be playing the album in sequence.

The fans are going to be thrilled. There's many songs you haven't played in decades. Then there's "Red Hill Mining Town," which you've never played.
That's true. I had a couple of days at the end of a studio session where I was listening to that song and working on guitar parts for it, which I hadn't thought about for so many years. That tune in itself is just right slap-bang in some ways what's going on with the U.K. It's not quite as intense, but there's industrial action breaking out all over the U.K. for the first time in generations. It's not exactly a repeat of the Winter of Discontent, but it's wild those issues are coming back. It does seem like politics is polarized in so many parts of the developing world to an extent that I find worrying. I'm sure most people do. Those days were difficult, dark times, and personally we really would hate to see it go back there.

Why do you think that's the only song on the album you never bothered to play live? Is it difficult to play or difficult for Bono to sing?
I think it was probably one of those songs that due to tempo and arrangement never found a place within the live set. It's funny, sometimes great songs ... Think of a live show as an ecosystem. You've got niches to fill. There are uptempo, fast, dramatic songs and those are crucial. Then there are sort of more medium-tempo songs and no matter how great they are, sometimes you just can't find a place for them. So I don't think it was anything more complicated than that. But listening back to it I was like, "Wow, this is, I'm really …"

You may not know this, but within a few days of finishing the album, "Red Hill Mining Town" was our leading contender for the first single. We went ahead and made a video for it with Neil Jordan and we were very pretty confident about it. Then as the weeks went by and we sort of got back our objectivity, views started to change and it became "With or Without You," and I think we were correct.

Then there's "Exit" and "Trip Through Your Wires," which you haven't done since the 1980s. And there's "In God's Country," which has only been done acoustically a handful of times. It'll be great hearing those again.
Yeah. They're all so diverse. That's the thing about The Joshua Tree. It's a very broad, CinemaScope kind of record. At the time we were thinking about it in cinematic terms. I mean, so much of the photographs that goes with the album, the scope was cinematic. We were thinking about songs from that standpoint. And also the literary inspirations and references. In fact, the original working title of "Exit" was "Executioner's Song" because we were using a lot of literature as our jumping off point for the songs in terms of just taking our work in a slightly different direction.

We definitely were falling into the arms of America in the sense that, as a band, punk rock was so much about establishing a unique form of music not inspired or influenced by American music. If you listen to our early records, you can hear the influence of a lot of German contemporary music at the time. A lot of U.K. bands were listening to the same music. The Joshua Tree was the first album where we consciously went, "OK, we spent like four albums thinking about Europe, Ireland, but let's take a look at the roots of this form that we are inevitably a part of." And those were all American.

So we looked at American [music]. We looked at the blues. We looked at the New Journalism. I remember that myself and Bono were reading Flannery O'Connor, the Southern writers. It was a conscious effort to look across the Atlantic and to start to explore America. I mean, for someone from Ireland, it is a vast source of ideas and aspirations and inspirations and generations, America being the Promised Land. We're looking at it in that regard, but also at what America really was. I read about the Soledad Brothers. I read about the Black Panthers. We were exploring America from all kinds of angles. And this time was a Reagan moment where, in some ways, the vision of what America would be seemed under threat. The America of Thomas Jefferson, the America of John F. Kennedy, these were visionaries talking about the ideals of what America can be. We were grappling with those big ideas and now here we are again. It's crazy.

What songs are going to feature in the non–Joshua Tree parts of the show?
Obviously whenever we go to do something live, we are looking to establish a through line, a cinematic core that we can hold to. And we're kind of spoiled and lucky that in the canon there's a lot to draw from. Being kind of early in the process, it's kind of hard for me to say exactly what we'll be looking to do. But I will say that all the old songs are going to be considered and what we finally end up playing will cohere to what the core theme is. You know, we're doing shows in America. We're doing shows in Europe. But certainly the American shows, I have no doubt that a lot of it will be focused on that mythic America that we were writing about during the Joshua Tree.

Do you think it's possible you'll do any B sides from the album like "Wave of Sorrow" or "Luminous Times"?
We've done a few B sides in our shows prior to now, and it's hard in some ways for a song to make the set because it's not about the quality of the song. It's about what you have to leave out to make space for it. We're ambitious to the extent that we always want to cater to what we call our uber-fans who have seen multiple shows. They want to see something novel that they've never seen before, something obscure and unique. And we know that. We try as much as we can to make that possible. But we are also aware that the great majority of the people only have seen us that once, or a couple of times before. There's a very long list of classic songs that they want to hear. It's that balance.

It's often really fun to take something from the past that we haven't played often and reinterpret it, so no doubt we'll be looking into that. But I don't think we're going to put a huge emphasis on obscure and little-heard U2 songs. I think there will be a few for sure. We mentioned "Exit," "Trip Through Your Wires," "In God's Country" and "Red Hill Mining Town." I mean, those are four songs. "Red Hill Mining Town" has never been played and the other three are extremely seldom heard. So, there you go. I don't know. I wouldn't rule out B sides.

I think the two songs the fans are most dying to hear are "Acrobat" and "Drowning Man." They've never been done live. Is there a chance they'll finally be done?
That's very interesting. I didn't know that fans were interested in "Drowning Man." I mean "Acrobat," for sure, I guess. It was one of those kind of more dramatic pieces from Achtung Baby. But that's interesting. I'll take note of that. We always want to listen to our fans because in our experience, music fans are seldom wrong. There's something to what they say, so I'll take note of that. I'm not saying we'll definitely do it, but we're at this wonderful situation where we've got a blank canvas.

I think the fans also miss the moments in the show where you took lead on a song, like "Numb" and "Van Dieman's Land." There used to always be an Edge moment where you did one.
Yeah. You know, I do sing a lot as you know, pretty much always backing. But Bono is actually the one who is often pushing me to take a vocal. I'm fine singing lead, but also the fact is we have a really great singer in the band. I guess the opportunity just hasn't seemed right the last few tours. But I wouldn't rule it out either.

I see you're playing Bonnaroo. That should be fun. It's a very different sort of gig for you guys.
Yeah. We haven't played festivals for a number of years, but we did a lot of festivals early on, and I always remember them very fondly for various reasons. There's a kind of gladiatorial aspect to a festival which always keeps you on your toes in a good way. There's also the opportunity to rub shoulders with your peers and be in a background situation with other artists and other bands. One of the disadvantages of doing your own shows is you tend to just not have those opportunities as often. We formed a lot of friendships early on playing shows with Simple Minds and Eurythmics and various other bands. That's an important part of it to me, so I'm looking forward to that.

What's the stage going to be like at these Joshua Tree shows? Will it be like the original one in 1987 at all? I don't think we want to be too slavish, but at the same time we want to acknowledge sort of the aesthetic ideas that went with the record. I don't think we're going to go overboard in reinventing the wheel, but we'll definitely take those aesthetic ideas and kind of update them somewhat. This is The Joshua Tree 2017. It's not The Joshua Tree 1986.

Still, I'm sure the word "nostalgia" is going to get tossed around in connection to this tour. How do you feel about that?
Well, as I said, I think what's important for us is that it's not really about nostalgia. There's an element of nostalgia that we can't avoid, but it's not motivated by a desire to look backwards. It's almost like this album has come full circle and we're back there again. It's kind of got a relevance again that we're certainly aware of.

Will the next record be Songs of Experience or is it possible it will be something else entirely?
No, I think it's Songs of Experience. When I say it's almost done, we definitely want to take this opportunity to think about it, make sure it's really what we want to put out given the changes that have occurred in the world. And maybe a little will change, but we absolutely wanted to take that chance just to reconsider everything. And who knows? We may even write a couple of new songs because that's the very position we're in. We've given ourselves a little bit of breathing space for creativity.

Do you think that when the Joshua Tree tour ends, the Innocence and Experience tour will get revved up again with the same staging and everything as last time?
We feel like that tour wasn't finished. So right now, we'd love to finish that tour. I would imagine it's gonna be with very similar production components. But I would hate to attempt to see too far in to the future. That's the working assumption at the moment, but things can change and nothing's written in stone as of yet. But we like that tour and that project wasn't completed. It is still alive in our minds creatively.

Do you have any idea how the next album will be distributed? There was so much attention paid to the distribution of the last one.
My plan is that Bono and I would sneak into everyone's house and put a CD under their pillow [laughs]. But unfortunately, that doesn't seem to be getting much support from the rest of the band. But, no, again, it's quite interesting the way music distribution and promotion and marketing has sort of been thrown into turmoil over the last number of years. What seemed like the most cutting-edge and innovative ideas six months ago no longer seem novel or groundbreaking. Also, I'm aware that sales of vinyl records are going through the roof. It's just crazy to see that. That speaks about so many things about what the artifact, the object of a vinyl record signifies to people versus a digital download, a file. People, in the end, have an emotional connection with a great record and with the artist.

A digital file is … Look, convenience is wonderful. If I'm being honest, I still have my vinyl collection, but I use digital files 90 percent of the time. But I would never give up my vinyl. And so there's a need for both, and I find that kind of reassuring that in the midst of convenience being king, there's still this deep, emotional connection that people have with the body of work that is an album. So who knows? We're still trying to figure it out like everyone else.

What I find heartwarming is that music culture and music is still at the forefront. People are enjoying it and reveling in it and turning to it for all kinds of reasons. I'm interested to see if in this new post-truth world, music sort of reconnects with the activist-protest thread that it had for so many years and seems to have lost recently. I think that aspect of music has always been, to my mind, an important, crucial part of what drew me to it, and why I think a lot of people are drawn to it. So I feel that this is a moment where music might go through a kind of renaissance of a kind and I'm very excited to see what young kids in their garages across North America and Europe are going to be writing about and releasing over the next number of years. I think it's time to get back to some of that.

OK final question: Do you think there will be an Achtung Baby 30th anniversary tour in 2021?
[Laughs] No plans, but never say never.

Thursday, December 29, 2016

UFC 207 Countdown: Amanda Nunes vs Ronda Rousey

Tomorrow December 30 is the return of Ronda Rousey against the Current Champion Amanda Nunes in the UFC 207 World Bantamweight Championship.

I'm for Rousey. Would be awesome if she wins tomorrow the title back. She already said in the past that she might retire after this fight. Well!!!

Here it is the video promoting the fight that will happend tomorrow in Las Vegas, USA.

UFC 207 Countdown: Amanda Nunes vs Ronda Rousey
Published on Dec 26, 2016
UFC 207 Countdown takes you inside the lives and training camps of four bantamweights preparing for their December title fights. Former champion Ronda Rousey returns to the Octagon fiercely motivated to recapture the belt she pioneered. But current women’s bantamweight champion Amanda Nunes has no intention of letting go of her hard-earned title.

Watch UFC 207: Nunes vs Rousey, this Friday, December 30th, kicking off with the UFC Fight Pass Prelims at 7:30PM ET / 4:30PM PT.

Tuesday, December 27, 2016

Carrie Fisher, DEAD (1956-10-21, 2016-12-27) (aged 60)

Carrie Fisher dies with 60. Actress.

One of the most unforgettable actresses ever. Famous for being the Princess Leia in the Star Wars movies.

Remember a few of her movies like:

- "Star Wars (1977)" as Princess Leia Organa,
- "The Empire Strikes Back (1980)" as Princess Leia Organa,
- "Return of the Jedi (1983)" as Princess Leia Organa,

- "When Harry Met Sally... (1989)" as Marie,
- "Hook (1991)" as Woman kissing on bridge,
- "Scream 3 (2000)" as Bianca,
- "Heartbreakers (2001)" as Ms. Surpin,
- "Charlie's Angels: Full Throttle (2003)" as Mother Superior,

- "Star Wars: The Force Awakens (2015)" as General Leia Organa,
- "Star Wars: The Last Jedi (2017)" as General Leia Organa.

Carrie fisher Official Website
Carrie fisher on IMDb

Here it goes the story of Carrie Fisher from Wikipedia

Thanks to Carrie Fisher on Wikipedia

Carrie Fisher (October 21, 1956 – December 27, 2016) was an American actress, screenwriter, author, producer, and speaker. She was best known for playing Princess Leia in the Star Wars series of films. Her other film roles included Shampoo (1975), The Blues Brothers (1980), Hannah and Her Sisters (1986), The 'Burbs (1989), and When Harry Met Sally... (1989). Fisher was also known for her semi-autobiographical novels, including Postcards from the Edge and the screenplay for the film of the same name, as well as her autobiographical one-woman play and its nonfiction book, Wishful Drinking, based on the show.

Early life

Fisher was born in Beverly Hills, California, the daughter of singer Eddie Fisher and actress Debbie Reynolds. Her paternal grandparents were Russian Jewish immigrants. Her mother was raised a Nazarene, and is of English and Scots-Irish ancestry. When Fisher was two, her parents divorced after her father left Reynolds for her mother's close friend, actress Elizabeth Taylor, the widow of her father's best friend Mike Todd. The following year, her mother married Harry Karl, owner of a shoe-store chain, who secretly spent Reynolds' life savings.

Fisher "hid in books" as a child, becoming known in her family as "the bookworm". She spent her earliest years reading classic literature, and writing poetry. She attended Beverly Hills High School until, at the age of 15, she appeared as a debutante and singer in the hit Broadway revival Irene (1973), which starred her mother. This activity interfered with her education, and she never graduated from high school. In 1973, Fisher enrolled at London's Central School of Speech and Drama, which she attended for 18 months, and in 1978, Fisher was accepted into Sarah Lawrence College, where she planned to study the arts. However, she left before graduating due to conflicts filming Star Wars.

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Look on Carrie Fisher on Wikipedia
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Personal life

Fisher dated musician Paul Simon from 1977 until 1983 after meeting him on the set of Star Wars. In 1980, she was briefly engaged to Canadian actor and comedian Dan Aykroyd, who proposed on the set of their film The Blues Brothers. She said: "We had rings, we got blood tests, the whole shot. But then I got back together with Paul Simon." Fisher was married to Simon from August 1983 to July 1984, and they dated again for a time after their divorce.[citation needed] During their marriage, she appeared in Simon's music video for the song "Rene and Georgette Magritte with Their Dog after the War". Simon's song "Hearts and Bones" is about their romance.

She subsequently had a relationship with Creative Artists Agency principal and talent agent Bryan Lourd. They had one child together, Billie Catherine Lourd (born July 17, 1992). Eddie Fisher stated in his autobiography (Been There Done That) that his granddaughter's name is Catherine Fisher Lourd and her nickname is "Billy". The couple's relationship ended when Lourd left to be in a relationship with a man. Though Fisher described Lourd as her second husband in interviews, according to a 2004 profile of the actress and writer, she and Lourd were never legally married.

In her 2016 autobiography, The Princess Diarist, Fisher wrote that she and Harrison Ford had a three-month affair in 1976 during the filming of Star Wars.

Fisher also had a close relationship with singer James Blunt. While working on his album Back to Bedlam in 2003, Blunt spent much of his time at Fisher's residence. When Vanity Fair's George Wayne asked Fisher if their relationship was sexual, she replied: "Absolutely not, but I did become his therapist. He was a soldier. This boy has seen awful stuff. Every time James hears fireworks or anything like that, his heart beats faster, and he gets 'fight or flight.' You know, he comes from a long line of soldiers dating back to the 10th century. He would tell me these horrible stories. He was a captain, a reconnaissance soldier. I became James' therapist. So it would have been unethical to sleep with my patient."

On February 26, 2005, R. Gregory "Greg" Stevens, a lobbyist, was found dead in Fisher's California home. The final autopsy report lists the cause of death as "cocaine and oxycodone use" but adds chronic, and apparently previously undiagnosed, heart disease as contributing factors. Media coverage of an initial autopsy report used the word "overdose," but that wording is not in the final report. In an interview, Fisher claimed that Stevens' ghost haunted her mansion, which unsettled her: "I was a nut for a year", she explained, "and in that year I took drugs again."

Fisher described herself as an "enthusiastic agnostic who would be happy to be shown that there is a God". She was raised Protestant, but often attended Jewish services, the faith of her father, with Orthodox friends.

In 2016, Harvard College gave Fisher its Annual Outstanding Lifetime Achievement Award in Cultural Humanism, noting that "her forthright activism and outspokenness about addiction, mental illness, and agnosticism have advanced public discourse on these issues with creativity and empathy."

Fisher was a supporter and advocate for several causes, including women's advocacy, animal rights, and LGBT causes. She was open about her experiences caring for friends who suffered from AIDS, contributing financially to various AIDS and HIV organizations, including hosting a benefit for amfAR, The Foundation for AIDS Research. She also served as an honorary board member for the International Bipolar Foundation, and, in 2014, received the Golden Heart Award for her work with The Midnight Mission.

She was a spokesperson for Jenny Craig weight loss television ads that aired in January 2011.

Bipolar disorder and drug use

In appearances on 20/20 and The Secret Life of the Manic Depressive with Stephen Fry, Fisher publicly discussed her diagnosis of bipolar disorder and her addictions to cocaine and prescription medication. She said her drug use was a form of self-medication; she used pain medication such as Percodan to "dial down" the manic aspect of her bipolar disorder. She gave nicknames to her bipolar moods: Roy ("the wild ride of a mood") and Pam ("who stands on the shore and sobs"). "Drugs made me feel more normal", she explained to Psychology Today in 2001. "They contained me." She discussed her 2008 memoir Wishful Drinking and various topics in it with Matt Lauer on NBC's Today that same year, and also revealed that she would have turned down the role of Princess Leia had she realized it would give her the celebrity status that made her parents' lives difficult. This interview was followed by a similar appearance on The Late Late Show with Craig Ferguson on December 12, 2008, where she discussed her electroconvulsive therapy (ECT) treatments. At one point, she received ECT every six weeks to "blow apart the cement" in her brain. In 2014, she said she was no longer receiving the treatment.

Fisher revealed in another interview that she used cocaine during the filming of The Empire Strikes Back. "Slowly, I realized I was doing a bit more drugs than other people and losing my choice in the matter", she noted. In 1985, after months of sobriety, she accidentally overdosed on a combination of prescription medication and sleeping pills. She was rushed to the hospital, creating the turn of events that led to much of the material in her novel and screenplay, Postcards from the Edge. Asked why she did not take on the role of her story's protagonist, named Suzanne, in the film version, Fisher remarked, "I've already played Suzanne."

In her later years, Fisher had an emotional support animal, a French Bulldog named Gary, whom she brought to numerous appearances and interviews. Following her death, reports indicated that Fisher's daughter Billie Lourd would take care of Gary.

Death and tributes

On December 23, 2016, after finishing the European leg of her book tour, Fisher was on a flight from London to Los Angeles. She suffered a medical emergency around fifteen minutes before the plane landed. A passenger seated near Fisher reported that she had stopped breathing; another passenger performed CPR on Fisher until paramedics arrived at the scene. Emergency services in Los Angeles were contacted when the flight crew reported a passenger in distress prior to landing. After Fisher was taken by ambulance to the Ronald Reagan UCLA Medical Center, she was placed on a ventilator.

Following four days in intensive care at UCLA Medical Center, Fisher died on December 27, 2016, at 8:55 a.m. (PST); she was 60 years old. Fisher's daughter, Billie Lourd, confirmed her mother's death in a statement to the press. News of Fisher's death spread quickly online where fans from around the world responded with tributes and condolences. Many of her costars and directors from Star Wars and other works also shared their thoughts on Fisher's death.

On December 28, 2016, while at the home of Fisher's brother Todd, their mother Debbie Reynolds experienced a medical emergency and was taken to the hospital by ambulance. Reynolds and her son had been planning Fisher's funeral before 9-1-1 had to be called. The actress subsequently died at the hospital. It was reported later that Fisher's mother had suffered a stroke, and that Reynolds said, "I want to be with Carrie" shortly before she died. On January 5, 2017, a joint private memorial was held for Fisher and Reynolds. A portion of her remains were laid to rest beside Reynolds in a crypt at Forest Lawn Memorial Park in Hollywood Hills. The remainder of Fisher's ashes are held in a giant, novelty Prozac pill.

In her 2008 book, Wishful Drinking, Fisher wrote about what she hoped would eventually be her obituary: "I want it reported that I drowned in moonlight, strangled by my own bra." Several obituaries and retrospectives featured the quote. In the absence of a star for Fisher on the Hollywood Walk of Fame, fans created their own memorial using a blank star. Along with flowers and candles, words put on the blank star read, "Carrie Fisher may the force be with you always". In the video game Star Wars: The Old Republic, thousands of fans paid tribute to Fisher by gathering at House Organa on the planet Alderaan where Fisher's character in Star Wars resided. Lightsaber vigils and similar events in Fisher's honor were held at various Alamo Drafthouse Cinemas theaters and other sites. On January 6, 2017, the lights on Broadway in New York City were darkened for one minute in honor of Fisher and her mother.

On January 9, 2017, the Los Angeles county Department of Public Health issued a death certificate listing "cardiac arrest/deferred" as the cause. More tests were expected.
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Postcards from the Edge, 1987, ISBN 0-7434-6651-9
Surrender the Pink, 1990, ISBN 0-671-66640-1
Delusions of Grandma, 1993, ISBN 0-684-85803-7
Hollywood Moms, 2001, (introduction)
The Best Awful There Is, 2004, ISBN 0-7434-7857-6

Wishful Drinking, 2008, ISBN 1-4391-0225-2
Shockaholic, 2011, ISBN 978-0-7432-6482-2
The Princess Diarist, 2016, ISBN 978-0-399-17359-2

Postcards from the Edge, 1990
These Old Broads, 2001
E-Girl (2007)
Doctored screenplays for Sister Act (1992), Last Action Hero (1993) and The Wedding Singer (1998)

Wishful Drinking, 2006
Wishful Drinking, 2008
A Spy in the House of Me, 2008

Fisher in 2013
Fisher in 2013
Born Carrie Frances Fisher
October 21, 1956
Beverly Hills, California, U.S.
Died December 27, 2016 (aged 60)
Los Angeles, California, U.S.
Occupation Actress, screenwriter, author, producer, speaker
Years active 1973–2016
Spouse(s) Paul Simon (m. 1983; div. 1984)
Partner(s) Bryan Lourd (1991–1994)
Children Billie Lourd

George Michael 2016-12-27 Page Six, George Michael quietly battled heroin addiction before death

George Michael quietly battled heroin addiction before death

George Michael had been quietly battling a spiraling heroin addiction in the year before his death, according to a British media report.

The Daily Telegraph reported that Michael’s condition forced him into the ER — or the “accident and emergency room” as the Brits call it — multiple times.

“He’s been rushed to A&E on several occasions,” an anonymous source told the British newspaper. “He used heroin. I think it’s amazing he’s lasted as long as he has.”

Michael’s long-time boyfriend, celebrity hairdresser Fadi Fawaz, said he found Michael’s lifeless body in bed on Sunday morning inside the singer’s Goring-on-Thames, Oxfordshire home.

“We were supposed to be going for Christmas lunch,” Fawaz told The Telegraph. “I went round there to wake him up and he was just gone, lying peacefully in bed. We don’t know what happened yet.”

Fawaz hinted that their relationship had been strained in recent times but they were looking forward to a pleasant holiday Sunday.

“Everything had been very complicated recently, but George was looking forward to Christmas, and so was I,” he said.

“Now everything is ruined. I want people to remember him the way he was — he was a beautiful person.”

Michael’s manager has only said the pop icon died of “heart failure.”

Authorities have not officially declared Michael’s cause of death, but have said it wasn’t suspicious or the result of foul play.

Michael had long battled insatiable desires for drugs and sex – but those demons had never stopped his music.

“In a strange way I’ve spent the last 15 or 20 years trying to derail my own career because it never seems to suffer. I suffered terrible things – bereavements and public humiliations,” Michael told BBC radio back in 2007.

“But my career just seems to right itself like a plastic duck in a bath and, in some ways, I resent that.”

Monday, December 26, 2016

Debbie Gibson - > Blog: Remembering George Michael - December 25, 2016

I have to repost this amazing blog from Debbie Gibson here.

Debbie was one of my idols of the 80s, still have her tapes and CDs. She was always playing in my tape recorder.

"Shake Your Love" was the music that made me know her. I was playing this song non stop. "Staying together", "Only In My Dreams" other 2 amazing songs also nonstop playing. This songs from "Out Of The Blue" (1987).

Then the album "Electric Youth" (1989) with all of the amazing songs inside. "Electric Youth" and "We Could Be Together", just to remember a few.

This 2 albuns made me always so happy.

"Think with Your Heart" (1995). My other Debbie CD.

Love this blog that she wrote about the great and only one George Michael. Made me remember the days in School where I took a tape recorder with the Wham! cassettes and play them on the breaks of classes.

Debbie Gibson, I would love to meet you one day. Photo with you and autographs on my CDs would make me so happy.

Links of the amazing Debbie Gibson:

Blog: Remembering George Michael

By now everyone has heard the news…. and, my first reaction was “No… not George!” We have lost so many greats as of late and all have impacted me, but quite possibly none more than George Michael. Let me tell you why.

I was 13 years old when I got my Tascam 4 track recorder in my garage. I was multi track recording with a sequencer, splicing tape… I didn’t know what I was doing except for the fact that I was making music as I heard it in my head. I’m not sure if I knew what the word “producer” meant at the time. Then, along came Wham!

I will never forget the day I got home from school and turned on MTV and there it was. “Wake Me Up Before You Go Go,” quite possibly THE catchiest pop song I had EVER heard! As a pop fan and a budding songwriter, I was beyond inspired. I announced to my family I had a new favorite group. The posters went up on my garage studio wall. And, as I struggled to write what I felt were “hits,” my Mom sited “Careless Whisper” as an example of a writing realm I had not yet ventured into. Suddenly, my own song was emerging with the minor key and haunting melody, epic sax solo, and even the concept of the title not being the obvious hook, but a phrase pulled from the middle of the song. As kids, we are directly influenced by whatever is going on in pop culture and George was among a short list of artists, which also included Madonna and a handful of others, who I was directly emulating in my formative years.

A lot of my friends made fun of me for liking Wham! A boy I liked walked into school one day and gave me all of his Wham! records and memorabilia because he was now into Depeche Mode saying they were far cooler than Wham! My love for Wham!, but namely the talents of George Michael, never wavered. When I saw “Written and Produced by…” on those records, it was the very thing that let me know that it was possible for me to do the same. I knew that he was channeling music without any outside interference and that notion captivated me. A man, his keyboards, a microphone… In my vision of George Michael in the studio, there wasn’t even an engineer present (though I am sure there was, which is a testament to how unadulterated and intimate the music was.) I knew he did not run these songs by a committee of execs who weighed in on his every note and nuance. I just knew. And, I respected the heck out of him for it. I wanted to be like him. He was the marker for me in my own musical compromise meter. I learned to be musically pure from George Michael.

George did not share details of his personal preferences in his early career. And what did that matter anyway? We were all in love with his essence and his voice. His voice had that tone that was so unique to him that if you were driving by another car on the freeway blasting his music out the window at 90 MPH you would know that TONE. The late great Ahmet Ertegun once cited that as the very thing that made so many of the greats great… To have a tone that is absolutely one of a kind that it pierces your soul leaving a mark forever… that you knew anywhere. His rich and resonant tone had that unmistakable “thing.”

At 14 years old, before I was signed to Atlantic Records, I called into WPLJ in NYC to try to win tickets to see Wham! in Philadelphia. I was a die-hard pop radio and music FAN. Lo and behold I was the 95th caller, and my sister Karen and I were off on the “Whamtrack to Philly!” En route, it was all Wham! all the way. Music, contests, t-shirt giveaways… I was in Wham! heaven! We were on the stadium floor amongst the masses, but I made my way to a spot in the stadium where I could call to George in the wings and I got a wave from him! It was all I talked about for ages. The concert was amazing. His presence was at once cool, magnetic and powerful! His voice soared. Chaka Khan was the opening act. Who could have followed her vocally? George Michael. Just three short years later, I would be whisked off on the Westwood One Radio Jet to visit with George backstage before one of his concerts. My “Momager” Diane and my younger sister Denise were with me at the time. I was already becoming known to the pop audience, but in that moment I was a teenaged girl… one who won tickets to see her idol and was about to meet him. I mean I had his posters on my wall! I was freaking out! He was super gracious and invited me to sit with him backstage in the catering hall to eat dinner before his performance. I could barely function. I was SO nervous, though he was super down to earth – albeit introverted – and, did everything within his power to set me and my family at ease.

I would continue to follow his career and draw on his productions and arrangements for inspiration. I had another opportunity to hang out with him after one of his big concerts in LA. His managers Michael and Terry Lippman hosted the after party and I was invited. It was at a house and then something happened to the stereo system. I remember finding myself assisting George in re-wiring the system to try and get the music going again. My friend and longtime dancer/choreographer Buddy Casimano was there and was recently saying that it was a night he would never forget. I never have and I never will. We were laughing and trying to figure out the wiring but could not get the music going. Turns out the plug had fallen out of the socket. My musical producing hero was human! That and a spot of tea in the kitchen with George made for the best Hollywood party I ever went to!

But at the heart of it all is the MUSIC. I know how devastated we all are that such an incredible talent and person has left us so soon, but there is such beauty in art and in the fact that he bared his soul and dared to be an innovator and dared to take a lot of heat for being who he was both personally and musically. He was SO crafty and wrote SUCH unforgettable hooks that it annoyed a lot of people. I love that he kept on writing those hooks and kept on coming at us with his physical and vocal perfection. “Faith” and the music that followed were his “Told ya so” to the critics who once made fun of him. With the integrity and sophistication of the post Wham! music, the critics had no choice but to shut up and sing his praises. I have always been proud to say I was never on the post Wham! bandwagon. I was a fan from note one. I know many of you reading this share that same experience. For those with eyes and ears that saw and heard beyond the confines of a 3 minute 45 second snapshot of someone’s talents and a pin up picture in Smash Hits, the soul of a timeless genius awaited. We Listened Without Prejudice to the future of music. He was always a step ahead.

RIP George Michael. We will all mourn the loss of your presence here on earth and what you would have done next as we celebrate your incomparable talents and the grooves you cut in our hearts that are forever a part of the soundtrack of our lives.