Saturday, June 10, 2017

Liv Boeree 2017-06-10 Fashion Fix Daily, From Astrophysicist to Pro Poker Player - Tips on Living Your Dream from Liv Boeree

https://www.fashionfixdaily.com/from-astrophysicist-to-pro-poker-player-tips-on-living-your-dream-from-liv-boeree/


From Astrophysicist to Pro Poker Player - Tips on Living Your Dream from Liv Boeree

From Astrophysicist to Pro Poker Player - Tips on Living Your Dream from Liv Boeree


I didn't know much about poker before attending the PokerStars Championship presented by Monte-Carlo Casino® in Monaco last month; but I know that I didn't have a whole lot of respect for the game. After learning how to play myself and meeting lots of poker pros, I quickly realised what a fascinating game of skill it is.

There aren't many female professional poker players, but the few that there are, are highly intelligent and all have fascinating backgrounds and previous careers.

I got the chance to sit down with the incredibly smart and interesting Liv Boeree, whose brain power is up there with the best. She went from being an astrophysicist to traveling the world playing poker professionally. She is literally living the dream and has shared her tips on how to go after what you want in life.



You're very academic and you've got a real scientific mind. Do you think that helps with playing poker?

Yes, definitely. I think that's a big part of it. It's a game of analysis. There's a lot of sort of crossover between the scientific method and poker e.g. experimentation and analysis. It's all about finding out the truth of the situation and that's what's good in poker too. I might WANT my opponent to have a worse hand but it doesn't make the truth any different. It's all about getting to the bottom of it, and that's what science is about too.

Do you get the same satisfaction from being a poker player as you did from studying astrophysics?

It's just different. Science definitely keeps your mind very busy, but so does poker. Are they both worthwhile? Well, it depends on what your goal is. In terms of making money, poker is obviously better for me; but I'm not going to find out the mysteries of the universe. It just depends on your definition of worthwhile. I find them both stimulating and deep.

alt

Do you feel as if you are living the dream now?

I have to pinch myself regularly about how lucky I've been. I wanted to become a pro. I wanted to be part of Team PokerStars. I wanted to win an EPT tournament. I wanted to travel the world and find love, and I've achieved all of those things. I'm a very lucky girl.

What advice would you give people who are struggling to get the confidence to go after their dreams and change their life path like you did?

Definitely be confident, but confidence comes and goes. I think we all go through phases where we're more confident, and then have times when we're not. I think one of the things that comes out of low self-esteem is feeling bad about the fact that you have low self-esteem, and the quickest way to stop that in its tracks is to say to yourself "okay, I'm feeling like this right now, but that's fine".

People think of me as a confident person, but I definitely have my down days too - not just days, but periods of time when I'm down on my game, or my career etc - just that dissatisfaction. Then I just have to go check into myself and remember that it's okay, you're not invincible. You have swings and up hills and down hills, and so I advise people who are struggling with their confidence, to just go "okay that's fine. I'm feeling low confidence, but that will pass”.



In the meantime, as an motivator to going after your dreams, remind yourself that you only live once, and that life is very short, so get on out there and if you screw up, that's totally fine. We all screw up all the time. I've screwed up countless times. With the social media world though, we only ever see all the glory. People can cherry pick the best bits to put on social media, so that creates an imbalance in the picture that people see of the world and of other people, and then we compare our own lives to that. But no-one's perfect like that. So, just remember that even your idols and your celebrities have plenty of shitty days and have things that they wish they hadn't done. I think that's where you can draw confidence from.

Talking about life being too short, did any of your friends or family judge your change from something that was so highly academic?

I don't know about 'judge', but they definitely had their concerns at some point. I think now, they're extremely happy with what I've done. I don't think there's anyone in my family that's deeply disappointed. So it's good, and it's not like I'm giving up the whole science thing completely - I'm following it a lot and reading about it a lot. So, if they judged me, they didn't tell me.

What are your tips for focussing your mind on the task and keeping positive in times of failure?

Tips - if you're really struggling to keep your mind on the task, take some time out and go do something else. I've been trying to do some writing lately and I have days where I'm making myself do it because I'm feeling the time pressure. But if you are trying to do something that you really care about, you want to do it right; so don't force yourself if it's just not coming. Take a break, go outside, go for a run, walk around, dance, play music or take a couple of days off. And then when you do feel that vibe again, jump back into it.



Have you learnt to pick yourself up when you lose quite quickly now?

You become de-sensitised to it a little bit, so it doesn't always affect me. But then again, it depends on my mood - some days if I'm feeling down and then I lose, I will take it harder and I will still go and kick things around the room occasionally. That happens, but generally speaking, I'm seeing a trend of not being so bothered by things.

Apart from poker and science, what are your other passions in life? How do you relax?

I love being outside. Out in nature, in woodlands, on beaches, up mountains, anything like that. That's my favourite thing to do.

If you haven't looked into poker, I really recommend that you do. You don't need to gamble with real money - you can just treat it as a game of skill and play with the many available free apps.

Main Image - Neil Stoddart

Tuesday, May 23, 2017

Roger Moore, DEAD (1927-10-14, 2017-05-23) (aged 89)

Roger Moore dies with 89. Actor.

My favourite 007 actor ever. Also liked his part in "The Saint" as Simon Templar.

Remember his 007 movies:

- "Live and Let Die" (1973) as James Bond,
- "The Man with the Golden Gun" (1974) as James Bond,
- "The Spy Who Loved Me" (1977) as James Bond,
- "Moonraker" (1979) as James Bond,
- "For Your Eyes Only" (1981) as James Bond,
- "Octopussy" (1983) as James Bond,
- "A View to a Kill" (1985) as James Bond,

Roger Moore Website

Roger Moore on IMDb

Here it goes the story of Roger moore from Wikipedia

Thanks to Roger moore on Wikipedia

Sir Roger George Moore KBE (/mɔər/; 14 October 1927 – 23 May 2017) was an English actor. He played the British secret agent James Bond in seven feature films between 1973 and 1985. He is also known for playing Simon Templar in the television series The Saint between 1962 and 1969.

Moore took over the role of Bond from Sean Connery in 1972, and made his first appearance as 007 in Live and Let Die (1973). The longest serving Bond to date, Moore portrayed the spy in six more films. Appointed a UNICEF Goodwill Ambassador in 1991, Moore was knighted by Queen Elizabeth II in 2003 for "services to charity". In 2008, the French government appointed Moore a Commander of the Ordre des Arts et des Lettres.

Early life

Roger Moore was born on 14 October 1927 in Stockwell, London. He was the only child of George Alfred Moore, a policeman, and Lillian "Lily" (Pope). His mother was born in Calcutta, India, of English origin. He attended Battersea Grammar School, but was evacuated to Holsworthy, Devon, during the Second World War, and attended Launceston College. He was further educated at Dr Challoner's Grammar School in Amersham, Buckinghamshire and then attended the College of the Venerable Bede at the University of Durham, but did not graduate.

Moore studied for two terms at the Royal Academy of Dramatic Art, during which his fees were paid by film director Brian Desmond Hurst, who also used Moore as an extra in his film Trottie True. At RADA, Moore was a classmate of his future Bond co-star Lois Maxwell, the original Miss Moneypenny. Moore chose to leave RADA after six months in order to seek paid employment as an actor. His film idol was Stewart Granger. At the age of 17 Moore appeared as an extra in the film Caesar and Cleopatra (1945), meeting his idol on the set. Later Moore and Granger were both in The Wild Geese (1978), though they had no scenes together.

At 18, shortly after the end of the Second World War, Moore was conscripted for national service. On 21 September 1946, he was commissioned into the Royal Army Service Corps as a second lieutenant. He was given the service number 372394. He eventually became a captain, commanding a small depot in West Germany. He later looked after entertainers for the armed forces passing through Hamburg.

Career

...

The Saint (1962–1969)


With Earl Green in The Saint

Worldwide fame arrived after Lew Grade cast Moore as Simon Templar in a new adaptation of The Saint, based on the novels by Leslie Charteris. Moore said in an interview in 1963, that he wanted to buy the rights to Leslie Charteris's character and the trademarks. He also joked that the role was supposed to have been meant for Sean Connery who was unavailable. The television series was made in the UK with an eye to the American market, and its success there (and in other countries) made Moore a household name. By spring 1967 he had achieved international stardom. The series also established his suave, quipping style which he carried forward to James Bond. Moore went on to direct several episodes of the later series, which moved into colour in 1967.

The Saint ran from 1962 for six seasons and 118 episodes, making it (in a tie with The Avengers) the longest-running series of its kind on British television. However, Moore grew increasingly tired of the role, and was keen to branch out. He made two films immediately after the series had ended: Crossplot, a lightweight 'spy caper' movie, and the more challenging The Man Who Haunted Himself (1970). Directed by Basil Dearden, it gave Moore the opportunity to demonstrate a wider versatility than the role of Simon Templar had allowed, although reviews at the time were lukewarm, and both did little business at the box office.

...

James Bond era (1973–1985)

James Bond films


Moore in 1973

Because of his commitment to several television shows, in particular the long-lasting series The Saint, Roger Moore was unavailable for the James Bond franchise for a considerable time. His participation in The Saint was not only as actor, but also as a producer and director, and he also became involved in developing the series The Persuaders!. Although, in 1964, he made a guest appearance as James Bond in the comedy series Mainly Millicent, Moore stated in his autobiography My Word Is My Bond (2008) that he had neither been approached to play the character in Dr. No, nor does he feel that he had ever been considered. It was only after Sean Connery had declared in 1966 that he would not play Bond any longer that Moore became aware that he might be a contender for the role. However, after George Lazenby was cast in 1969's On Her Majesty's Secret Service and Connery played Bond again in Diamonds Are Forever (1971), Moore did not consider the possibility until it seemed abundantly clear that Connery had in fact stepped down as Bond for good. At that point Moore was approached, and he accepted producer Albert Broccoli's offer in August 1972. In his autobiography Moore writes that he had to cut his hair and lose weight for the role. Although he resented having to make those changes, he was finally cast as James Bond in Live and Let Die (1973).

After Live and Let Die, Moore continued to portray Bond in The Man with the Golden Gun (1974); The Spy Who Loved Me (1977); Moonraker (1979); For Your Eyes Only (1981); Octopussy (1983); and A View to a Kill (1985).

Moore was the oldest actor to have played Bond – he was 45 in Live and Let Die (1973), and 58 when he announced his retirement on 3 December 1985.

Moore's Bond was very different from the version created by Ian Fleming. Screenwriters like George MacDonald Fraser provided scenarios in which Moore was cast as a seasoned, debonair playboy who would always have a trick or gadget in stock when he needed it. This was designed to serve the contemporary taste of the 1970s. Moore's version of Bond was also known for his sense of humour and witty one liners, but also a skilled detective with a cunning mind.

In 2004, Moore was voted 'Best Bond' in an Academy Awards poll, and he won with 62% of votes in another poll in 2008. In 1987 he hosted Happy Anniversary 007: 25 Years of James Bond.

Other films during Bond era

During Moore's Bond period he starred in 13 other movies, beginning with a thriller featuring Susannah York, entitled Gold (1974). He portrayed an adventurer in Africa opposite Lee Marvin in Shout at the Devil (1976), a commando with Richard Burton and Richard Harris in the unorthodox action film The Wild Geese (1978), a counter-terrorism expert opposite Anthony Perkins in the thriller North Sea Hijack (1979), and a millionaire so obsessed with Roger Moore that he had had plastic surgery to look like his hero in The Cannonball Run (1981). He even made a cameo as Chief Inspector Clouseau, posing as a famous movie star, in Curse of the Pink Panther (1983) (for which he was credited as "Turk Thrust II"). However, most of these films were neither critically acclaimed nor commercially successful. Moore was widely criticised for making three movies in South Africa under the Apartheid regime during the 1970s (Gold, Shout at the Devil, and The Wild Geese).

Post-James Bond career

Moore did not act on screen for five years after he stopped playing Bond; in 1990 he appeared in several films and in the writer-director Michael Feeney Callan's television series My Riviera and starred in the film Bed & Breakfast which was shot in 1989; and also had a large role in the 1996 film The Quest; in 1997 he starred as the Chief in Spice World. At the age of 73, he played an amorous homosexual man in Boat Trip (2002) and, although the film was critically panned, Moore's comedic performance was singled out by many critics and viewers as the one of the few enjoyable aspects of it.

The British comedy show Spitting Image once had a sketch in which their latex likeness of Moore, when asked to display emotions by an offscreen director, did nothing but raise an eyebrow; Moore himself stated that he thought the sketch was funny and took it in good humour. Indeed, he had always embraced the 'eyebrows' gag wholeheartedly, slyly claiming that he 'only had three expressions as Bond: right eyebrow raised, left eyebrow raised and eyebrows crossed when grabbed by "Jaws". Spitting Image continued the joke, featuring a Bond film spoof, The Man with the Wooden Delivery, with Moore's puppet receiving orders from Margaret Thatcher to kill Mikhail Gorbachev. Other comedy shows at that time ridiculed Moore's acting, with Rory Bremner once claiming to have had a death threat from one of his irate fans, following one such routine.

In 2009 Moore appeared in an advertisement for the Post Office, he also played the role of a secret agent in the Victoria Wood Christmas Special on BBC1 show over the festive period in the same year. Filming all his scenes in the London Eye, his mission was to eliminate another agent whose file photo looks just like Pierce Brosnan. In 2010 Moore provided the voice of a talking cat called Lazenby in the film Cats & Dogs: The Revenge of Kitty Galore which contained several references to, and parodies of, Bond films. In 2011 Moore co-starred in the film A Princess for Christmas with Katie McGrath and Sam Heughan andin 2012 he took to the stage for a series of seven 'Evenings with' in UK theatres and, in November, guest-hosted Have I Got News For You.

In 2015 Moore was named one of GQ's fifty best dressed British men. In October 2015, Moore read Hans Christian Andersen's "Little Claus and Big Claus" for the children's fairytales app GivingTales in aid of UNICEF, together with a number of other British celebrities, including Michael Caine, Ewan McGregor, Joan Collins, Stephen Fry, Joanna Lumley, David Walliams, Charlotte Rampling and Paul McKenna.

Humanitarian work

Moore's friend Audrey Hepburn had impressed him with her work for UNICEF, and consequently he became a UNICEF Goodwill Ambassador in 1991. He was the voice of Father Christmas or 'Santa' in the 2004 UNICEF cartoon The Fly Who Loved Me.

Moore was involved in the production of a video for PETA that protests against the production and wholesale of foie gras. Moore narrates the video. His assistance in this situation, and being a strong spokesman against foie gras, led to the department store Selfridges agreeing to remove foie gras from their shelves.

...

Awards

For his charity work

2007: Dag Hammarskjöld Inspiration Award (UNICEF)
2005: German Federal Cross of Merit (Bundesverdienstkreuz) for his UNICEF work[24]:275
2004: UNICEF's Audrey Hepburn Humanitarian Award
2003: Knight Commander of the Order of the British Empire
1999: Commander of the Order of the British Empire (CBE)

Lifetime achievements awards

2008: Commander of the French National Order of Arts and Letters (Ordre national des Arts et des Lettres)
2007: Hollywood Walk of Fame
2004: TELEKAMERA ("Tele Tydzień" Lifetime Achievement Award, Poland)
2002: Monte Carlo TV Festival (Lifetime Achievement Award)
2001: Lifetime achievement award (Filmfestival, Jamaica)
1997: Palm Springs film festival, USA, Lifetime Achievement Award
1995: TELE GATTO (Italian TV; Lifetime Achievement Award)
1991: GOLDEN CAMERA (German TV; lifetime achievement award)
1990: BAMBI (Lifetime Achievement Award from the German magazine BUNTE)

For his acting

1981: OTTO (Most popular Film Star; from German Magazine BRAVO)
1980: SATURN Award (Most Popular International Performer)
1980: GOLDEN GLOBE: World Film Favorite-Male
1973: BAMBI (shared with Tony Curtis for "The Persuaders", from the German magazine BUNTE)
1973: BEST ACTOR IN TV, award from the French magazine TELE-7-JOURS, shared with Tony Curtis for "The Persuaders"
1967: ONDAS-AWARD (Spanish TV for "The Saint")
1967: OTTO (Most popular TV-star for "The Saint"; from German magazine BRAVO)

Sir Roger Moore
KBE

Sir Roger Moore 3.jpg
Roger Moore in 1973
Born Roger George Moore
14 October 1927
Stockwell, London, England
Died 23 May 2017 (aged 89)
Switzerland
Cause of death Cancer
Occupation Actor
Years active 1945–2016
Spouse(s) Doorn van Steyn (m. 1946; div. 1953)
Dorothy Squires (m. 1953; div. 1968)
Luisa Mattioli (m. 1969; div. 1996)
Kristina Tholstrup (m. 2002; his death 2017)
Children 3
Website roger-moore.com

Monday, May 22, 2017

Katy Perry & James Corden - Carpool Karaoke

Another new Carpool Karaoke video by James Corden. Today is Katy Perry time.
Katy Perry and James corden singing same awesome Katy Perry songs.

Katy Perry Carpool Karaoke
Published on May 22, 2017
James and Katy Perry set off in the carpool lane, singing some of Katy's classics and new music, and James asks Katy about taking the beef with Taylor Swift off the grill.

Monday, May 08, 2017

Blade Runner 2049 (Official Trailer)

Here it is the Official Trailer to the amazing "Blade Runner 2049" movie out October 6.

Published on May 8, 2017

There are still pages left in this story. Watch the NEW trailer for #BladeRunner2049, in theaters October 6.



Thirty years after the events of the first film, a new blade runner, LAPD Officer K (Ryan Gosling), unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. K’s discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former LAPD blade runner who has been missing for 30 years.

From executive producer Ridley Scott and director Denis Villeneuve, #BladeRunner2049 stars Ryan Gosling, Harrison Ford, Ana De Armas, MacKenzie Davis, Sylvia Hoeks, Lennie James, Carla Juri, Robin Wright, Dave Bautista and Jared Leto.

Follow #BladeRunner2049 on social media:
http://bladerunnermovie.com
http://facebook.com/bladerunner2049
http://twitter.com/bladerunner
http://instagram.com/bladerunnermovie

Friday, May 05, 2017

Simple Minds 2017-05-05 Facebook Official, Some Words From Lisbon - A Night Overflowing With Energy

https://www.facebook.com/simpleminds/posts/1335299059883360

SOME WORDS FROM LISBON - A NIGHT OVERFLOWING WITH ENERGY.
(translated...)
 
http://canelaehortela.com/simples-minds-fizeram-reviver-euforia-dos-anos-80/

They opened with "New Gold Dream" and not a minute after stepping on stage, Jim Kerr was already giving a hand to an element of the audience. He knelt down, rolled the microphone in the air and realized that this would be an unusual acoustic concert. In the second minute of action, the singer walked out the side area of ​​the stage and into the enclosure by the access door to the audience. He came to greet his admirers! Never stop singing, allowed to hold and shoot for who approached him. He came along to the control room to greet people who were on the balcony and wave to the boxes and then returned to the stage.

The concert was held in great excitement, Jim Kerr thrilled the audience out of the chairs to dance. "See the Lights", "Glittering Prize", "Mandela Day" and "Chelsea Girl" were the themes that followed.

In between, the singer shared moments with the audience in a relaxed and fun approach. He began by making fun of his own Scottish accent thick as "the real James Bond, Sean Connery, you see?".

He then toyed with the huge chandelier hanging over the stage, only decorative element of the scenario. also recalled the first pass through our country in Cascais, a Peter Gabriel's opening concert. Between laughs, the singer said he made the drive from Glasgow to here. At the time, "was all drugs, it is now smothies and sushi-Pushi" ... he says.

Before "Stand by Love" explained that this idea of ​​doing an acoustic format emerged 20 years ago. "The idea took ...". The greatest fear of the band was that the result was a boring concert. Far from it, and this set is closer to pop rock, it continued with "Someone Somewhere in Summertime."

A more serene moment began with "Waterfront." This was followed by a tribute to David Bowie, during which called Gordy Goudie ahead, to sing "Andy Warhol". He spared no praise for the guitarist. He explained that, in the most difficult moments, Gordy always been there for the band. Then handed the microphone to Sarah Brown, voice choir, which ensured an interesting version of the original theme of Patti Smith's "Dancing Barefoot".

One of the issues that could not miss in the alignment was "Do not You Forget About Me." All accompanied feet. Arms air letter more than decorated. The party continued with "Sanctify Yourself" and gave a brief withdrawal of the band.

Returning for the encore, Jim Kerr respond to repeated requests for "Alive & Kicking". "Yes ... but we still want to sing some tunes other before." For "Promised You a Miracle" he calls KT Tunstall, the singer who secured the first part of the concert. KT also participated in the recording of the album Acoustic and Jim says that as soon as the singer went into the studio, "was she who dictated the rules."

No big surprise, but with genuine emotion, the night ended with "Alive & Kicking". Translation of an acoustic concert is for the Simple Minds, something that goes beyond the idea of ​​a room covered with candle lights.

It is a night to overflowing energy in you realize that they really like what they do and especially the contact with the public. The concert took place at the Coliseum, but the environment he felt was closer to the stage of euphoria.

Thursday, May 04, 2017

Simple Minds 2017-05-04 Canela & Hortelã, Simples Minds Fizeram Reviver A Euforia Dos Anos 80 (in portuguese)

http://canelaehortela.com/simples-minds-fizeram-reviver-euforia-dos-anos-80/

Simples Minds Fizeram Reviver A Euforia Dos Anos 80

Reportagem de Tânia Fernandes e António Silva
4 de Maio de 2017


Simple Minds

Quando pensamos num concerto acústico, imaginamos um ambiente intimista, luz fraca, plateia sentada a assistir atenta, sem grande movimentação. O que os Simple Minds demonstraram ontem, no Coliseu dos Recreios, desde o primeiro minuto, é que pode ser tudo isso, mas também uma grande festa.

Os Simple Minds são uma grande banda, que construiu uma sólida carreira. Encheram estádios e hoje, ao celebrar 40 anos de atividade, mantém a simplicidade e humildade de dar ao público toda a atenção e carinho que este espera de um grande artista (e poucas vezes recebe).

Abriram com “New Gold Dream” e nem um minuto depois de pisar o palco, Jim Kerr já estava a dar a mão a um elemento da plateia. Ajoelhou-se, rodou o microfone no ar e percebemos que este iria ser um concerto acústico invulgar. No segundo minuto de atuação, o vocalista saiu pela zona lateral do palco e entrou no recinto pela porta de acesso à plateia. Veio cumprimentar os seus admiradores! Sem nunca parar de cantar, deixou-se abraçar e fotografar por quem o abordou. Veio junto à régie cumprimentar as pessoas que se encontravam no balcão e acenar para os camarotes e só depois voltou para o palco.

O Coliseu estaria longe de estar cheio, ocupado por um público maduro. Antes de chegarem os cabelos brancos aos presentes, os Simple Minds foram a banda sonora de quem viveu nos anos 80. Alguns dos seus grandes êxitos foram hinos de verão, repetidos nas discotecas da moda.

O concerto decorreu em grande euforia, com Jim Kerr a empolgar a plateia a sair das cadeiras e a dançar. “See the Lights”, “Glittering Prize”, “Mandela Day” e “Chelsea Girl” foram os temas que se seguiram. Pelo meio, o vocalista partilhou momentos com o público numa abordagem descontraída e divertida. Começou por gozar com o seu próprio sotaque escocês cerrado, tal como “o verdadeiro James Bond, Sean Connery, estão a ver?”. Brincou com o enorme candelabro pendurado sobre o palco, único elemento decorativo do cenário. Recordou ainda a primeira passagem pelo nosso país, em Cascais, num concerto de abertura de Peter Gabriel. Entre risos, o cantor contou que fizeram a viagem de carro desde Glasgow até cá. Na altura, “era só drogas, agora é mais smothies e sushi-pushi”…diz.

Antes de “Stand by Love” explicou que esta ideia de fazer um formato acústico surgiu há 20 anos. “A ideia demorou…”. O maior receio da banda era que o resultado fosse um concerto aborrecido. Longe disso, e até mais perto do pop rock, continuaram com “Someone Somewhere in Summertime”.

Um momento mais sereno começou com “Waterfront”. Seguiu-se uma homenagem a David Bowie, durante a qual chamou Gordy Goudie à frente, para cantar “Andy Warhol”. Não poupou elogios ao guitarrista. Explicou que, nos momentos mais duros, Gordy sempre esteve lá, pela banda. De seguida entregou o microfone a Sarah Brown, voz do coro, que assegurou uma interessante versão do tema original de Patti Smith “Dancing Barefoot”.

Um dos temas que não podia faltar no alinhamento foi “Don’t You Forget About Me”. Todos acompanharam de pé. Braços no ar, letra mais do que decorada. A festa continuou com “Sanctify Yourself” e deu-se uma breve retirada da banda.

Ao regressar, para o encore, Jim Kerr responde aos insistentes pedidos de “Alive & Kicking”. “Já lá vamos… ainda quero cantar outras antes!”. Para “Promissed You a Miracle” chama KT Tunstall, a cantora que assegurou a primeira parte do concerto. KT participou também na gravação do álbum Acoustic e Jim conta que, assim que a cantora entrou em estúdio, “foi ela quem ditou as regras”.

Sem grande surpresa, mas com genuína emoção, a noite fechou com “Alive & Kicking”. A tradução de um concerto acústico é, para os Simple Minds, algo que extravasa a ideia de uma sala coberta de luzes de velas. É uma noite a transbordar de energia, em que se percebe que eles gostam mesmo do que fazem e principalmente do contacto com o público. O concerto teve lugar no Coliseu, mas o ambiente que se sentiu era mais próximo da euforia de estádio.

Simple Minds 2017-05-03 Coliseu, Lisbon

Wed, May 3, 2017 in Lisbon, Portugal @ Coliseu

I went to Coliseu in Lisbon to see Simple Minds (for the 5th time) live (Acoustic Live'17).

Saw them 4 times before and the shows were with all the great songs:
In 1991-07-31 - Estádio José de Alvalade, Lisbon, Portugal - They played 115 mn.
In 2002-05-27 - Pavilhão Atlântico, Lisbon, Portugal - They played 118 mn.
In 2012-02-14 - Coliseu, Lisbon, Portugal - They played 125 mn.
And in 2015-02-07 - Coliseu, Lisbon, Portugal - They played 137 mn.

Before "Simple Minds", played "KT Tunstall", she played 30 minutes.
Never heard of her before. She was awesome. So friendly. I like her sound.

Simple Minds, played for 107 minutes. Played 18 songs.
They were awesome live doing this acoustic show. Amazing sound.

Here it is the setlist:

01. New Gold Dream (81-82-83-84)
02. See the Lights
03. Glittering Prize
04. Mandela Day
05. Chelsea Girl
06. Big Sleep
07. Stand by Love
08. Someone Somewhere in Summertime
09. Waterfront
10. Andy Warhol (Sung by Gordy Goudie) (David Bowie cover)
11. Dancing Barefoot (Sung by Sarah Brown) (Patti Smith Group cover)
12. Speed Your Love to Me
13. Don't You (Forget About Me)
14. Sanctify Yourself

Encore:

15. Honest Town
16. Promised You a Miracle (with KT Tunstall)
17. For What It's Worth (with KT Tunstall) (Buffalo Springfield cover)
18. Alive and Kicking

In bold are the videos I made.

Videos of Simple Minds (6 videos):

Simple Minds-Chelsea Girl, Coliseu dos Recreios, Lisbon, PT, 2017-05-03 HD
https://youtu.be/42uDSrxBdNU
And the video:


Simple Minds-Waterfront, Coliseu dos Recreios, Lisbon, PT, 2017-05-03 HD
https://youtu.be/JsjcGQnZV_4
And the video:


Simple Minds-Don't You (Forget About Me), Coliseu dos Recreios, Lisbon, PT, 2017-05-03 HD
https://youtu.be/9ZabqnVAFCc
And the video:


Simple Minds-Promised You a Miracle (KT Tunstall), Coliseu dos Recreios, Lisbon, PT, 2017-05-03 HD
https://youtu.be/As4EnbXToCM
And the video:


Simple Minds-For What It's Worth (KT Tunstall), Coliseu dos Recreios, Lisbon, PT, 2017-05-03 HD
https://youtu.be/ORORwFW8FhM
And the video:


Simple Minds-Alive And Kicking, Coliseu dos Recreios, Lisbon, PT, 2017-05-03 HD
https://youtu.be/CkyaUbKJ4yI
And the video:

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: www.rednoseday.com

For more Comic Relief Red Nose Day moments - https://www.youtube.com/user/rednoseday

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.

Members:
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.

Career

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.

1990s

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).

2000s—2010s

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.

Death

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.

Filmography
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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
- - -

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
Spouse(s)
  • 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'

http://www.rollingstone.com/music/features/u2-bassist-talks-joshua-tree-tour-songs-of-experience-w462451

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

http://www.independent.ie/entertainment/music/u2s-joshua-tree-revisit-rooted-in-present-turmoil-35364374.html

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.