Madonna, 2015-09-17 - Rolling Stone, Bitch, She's Madonna: NYC Stop Showcases Genius of Rebel Heart Tour

http://www.rollingstone.com/music/news/bitch-shes-madonna-nyc-stop-showcases-genius-of-rebel-heart-tour-20150917

Bitch, She's Madonna: NYC Stop Showcases Genius of Rebel Heart Tour

Sentimental, unapologetic show comes 30 years after her first MSG performance

By Rob Sheffield | September 17, 2015

Madonna performs in New York City on September 16th, 2015. Matthew Shelter

"You know what they say — it's lonely at the top," Madonna told the crowd near the end of her New York show last night. "But it ain't crowded!" And on the second U.S. show of her hotly awaited new Rebel Heart tour, Our Lady spent three hours proving what a goddess she is, not to mention what an Unapologetic Bitch. Damn right it's not crowded, because there's nobody else near her throne. The whole night was a tour of everything only Madonna can do. She's not the same. She has no shame. She's on fire.

She sang the Edith Piaf ballad "La Vie En Rose" in French, alone on the stage, strumming her ukelele. ("It's en français, though, okay? So try and sing along if you can.") After "Material Girl," she tossed a wedding bouquet to a gay couple up front, then snickered, "Suckers!" She used crucifixes as stripper poles, doing the "Vogue" rap while writhing against a dancer clad in a nun's wimple and feathery hot pants. Her cassocked dancers simulated a group-grope orgy at the Last Supper while the guest of honor chanted "Yeezus loves my pussy best!" And all night long, her banter was the toppest of notch, like when she introduced her gorgeous new acoustic country-hoedown version of "True Blue." "No swear words in this song," she announced. "This is a song about true love. I didn't know what I was talking about when I wrote it." Glad you're the one who brought that up, Madonna.

She hasn't reached so far onstage, musically or emotionally, since her 2001 Drowned World extravaganza. Her last couple of tours had spectacular performances, but dodgy set lists. This time Madonna has much stronger new songs to play with, from Rebel Heart — and she brilliantly revamps the hits. She played a Flying V for a punked-out "Burning Up," dropping to her knees for her guitar solo — the first time she played Madison Square Garden, 30 years ago, she got on her knees in front of the male guitarist while he played a solo, and don't think she doesn't remember these things.

Matthew Shelter

Opening act Amy Schumer helped set the tone — when was the last time you saw a stand-up comedian slay in an arena? Schumer was clearly right at home in a room full of Madonna fans: "I know who's here. It's like taking a warm bath in a tub full of dick that doesn't want you." She talked abut how hot Bradley Cooper's girlfriend is ("She's like a panther fucked a gazelle and they fucked Gisele") and how hot Bradley Cooper is ("you would just grab your ankles and say 'any hole's fine'"). For the encore, she came back out to let Madonna kick her in the ass, right before "Holiday."

But it was Madonna's night. "Body Shop" was a Fifties-style dance routine where she rolled in on the hood of a vintage Chevy, just like Christie Brinkley in Billy Joel's "Keeping the Faith" video," then frolicked in glitter ankle boots with a harem of hot greaser mechanics, all looking like the boy who knocked her up in the "Papa Don't Preach" video. (So true: Italians do it better!) Then she sat her dancers down on a pile of tires and adopted a Dolly Parton twang to tell them, "Like my grandma always said, if it's got tits or tires, it's gonna give you trouble."

"Like a Virgin" was one of the night's peak moments — the song got pimped up with the Egyptian-lover electro-beats from "Music," while she took the stage alone to revamp her cowgirl line-dance moves from the "Don't Tell Me" video. She wore fingerless black gloves, reading her 1984 Boy Toy self, yet she humps the stage with enough verve and wit to make the girl she used to be look like the shy type. She also said, "It's so hot in here," which is Madonna-speak for, "You don't mind if I strip this shirt off, do you?"

She kept getting surprisingly sentimental about playing the Garden, 30 years after her 1985 Virgin Tour. Back then, she always used to ask the crowd, "Will you marry me?" Tonight the girl was in a slightly shadier mood. "I don't know about marriage," she mused, after her bouquet toss. "Do you want to marry me?" When fans screamed, she replied, "No, you probably don't. But maybe it'll be third time lucky." She resurrected long-unheard gems like "Love Don't Live Here Anymore" and "Deeper and Deeper," along with a snippet of "Justify My Love." ("You put this in me, so now what?" — such an underrated but on point Madonna line.)

"Music" began as a jazz-flapper café ballet, with Madonna in Twenties Gatsby drag, before it blew up to hit the electro-sleaze heights. (As it happens, it was 15 years ago this week that Madonna released Music, still her hardest-rocking and most seductive album.) After the devils-and-bullfighters-and-Minotaurs pageant of "Living My Life," she began the gratifyingly long Latin segment with "La Isla Bonita," stretching into a generous and unhurried medley of "Dress You Up," "Into the Groove" and "Lucky Star."

"I'm feeling very nostalgic tonight," she told the crowd. "Do you people understand I played Madison Square Garden 30 years ago?" She kissed a fan in a 1985 Virgin Tour shirt who claimed he was there — for all we know, he might have been the goth club kid doing the cobweb dance in the "Into The Groove" video. It led to the emotional highlight of the night, when she picked up her acoustic guitar for one of her saltiest and best Number One hits, a song she hasn't performed since the Eighties: "Who's that Girl," leading the audience in the question "¿Quien es esa niña?" The question hung in the air. "I still don't know," Madonna said after the song. "I still don't know. I think I'm not supposed to know — maybe that's what life's about, figuring out who the fuck you are."

Matthew Shelter

In her producer Nile Rodgers' essential memoir Le Freak, he tells the story of taking Madonna to Madison Square Garden in 1984 to see Duran Duran, where she sat unnoticed and unrecognized in the audience. Just a few months later, she returned, except this time she was onstage as the headliner. (Duran Duran were back in NYC this week too — and like Madonna, brazen enough to jumpstart an excellent show with an excellent new song, "Paper Gods." The Eighties are the flattest of circles.) But that's why she's Madonna. She might be still figuring out who the fuck she is — but a stage this size is always the place she goes to look for clues.

Set List:
"Iconic"
"Bitch I'm Madonna"
"Burning Up"
"Holy Water"/"Vogue"
"Devil Pray"
"Messiah"
"Body Shop"
"True Blue"
"Deeper and Deeper"
"Heartbreak City"/"Love Don't Live Here Anymore"
"Like a Virgin"
"Justify My Love"/"Sex"
"Living For Love"
"La Isla Bonita"
"Dress You Up"/"Into The Groove"/"Lucky Star"
"Who's That Girl"
"Rebel Heart"
"Illuminati"
"Music"
"Candy Shop"
"Material Girl"
"La Vie en Rose"
"Unapologetic Bitch"

Encore:
"Holiday"

Madonna, 2015-09-17 - The Guardian, Madonna at Madison Square Garden review – 'There is no other performer like her'

http://www.theguardian.com/music/2015/sep/17/madonna-at-madison-square-garden-review-rebel-heart-tour-no-other-performer-like-her

Madonna at Madison Square Garden review – 'There is no other performer like her'

Madison Square Garden, New York
In the first of two Rebel Heart tour shows at the historic venue, the pop queen brings out Amy Schumer, Game of Thrones, transgender nuns, a ukulele … and her greatest hits


Madonna kicked off her two-night stand at MSG with her Rebel Heart tour.
Photograph: Splash News/Corbis

Madonna’s album Rebel Heart was bedevilled by leaks; she fell flat on her backside at the Brit awards; and her Instagram gaffes have made Jeremy Corbyn look like a Rupert Murdoch-style media mastermind. As she arrives in Madison Square Garden on the fourth date of her 10th tour – the last under her 10-year, $120m contract with Live Nation – she should be up against it. Yet Madonna is always at her best with her back to the wall, when the killer instinct that has sustained her through over 30 years in pop rears to the surface, a visceral refusal to be beaten.

Her choice of support act on this homecoming gig – since New York is the place she remade herself – is very Madonna, all wrong on paper but in practice, right on the money. Amy Schumer takes the stage in front of a massive backdrop of Madonna’s face staring at the heavens and clutching a sword to her breast, the massive machinery of pop music concealed behind it. Swigging from a bottle of champagne, and with nothing but a microphone and a stool, the comic of the moment says that she was asked: “‘Who better than you to open up for Madonna?’” “Uh,” she rhetorically answers. “Any band?”


Amy Schumer
Photograph: Splash News/Corbis

Yet Schumer’s perfect reading of the audience, in which straight men are such a minority as to be non-existent, (“It’s like taking a warm bath in a ton of dick that doesn’t want you”) weapons-grade filth (“We’re here to rethink cum”) and description of the Kardashians as a family who “take the faces they were born with as a light suggestion” reduce the crowd to marshmallow before Madonna has even made an appearance.

Twenty-five years from her apotheosis, 1990’s Blond Ambition tour, Madonna’s vision of the pop concert – in which music is combined with dance, video and costume, in order to reconceptualise familiar hits into an overwhelming sensory bombardment – has now been copied by generations of pop stars. She’s also notorious for stuffing the setlist with new material, thwarting those who would love an oldies show. At first the signs aren’t promising: the show starts with film of Madonna writhing in a sequinned dress in a cage, while her voiceover chunters that creativity is being threatened by corporations (ironic, given that Madonna is a formidable corporation in her own right).

She then descends from the ceiling similarly banged up, while knights in armour march down the stage, which juts almost the length of the arena. It’s Madonna does Game of Thrones. The first song is Iconic, one of the dimmer bulbs from Rebel Heart, followed by Bitch I’m Madonna, a great title in search of a decent song. But when the dancers depart, and Madonna struts down the runway to strap on a flying V, the show has lift-off with Burning Up. One of her earliest records, it amounts to a manifesto (“I’ll do anything, I’m not the same, I have no shame”) and all these years later it still grabs you by the throat. Aged 57, Madonna is still palpably hungry, and her performance has an enduring rawness and truth. Unmediated and undiluted, she’s the ringmaster of her own circus, connecting with her hardcore in a totally instinctive way, regardless of the choreography, pyrotechnics and fancy costumes (created by a battery of top fashion designers – but really, who cares?).

Madonna’s striking ability to imbue songs that might seem throwaway with significance and depth is illustrated four songs in. On record, Holy Water is a mortifying extended metaphor for her, ahem, vaginal secretions. But on stage, it’s a Ken Russell fantasia in which a scene of transgender naughty nuns poledancing (including Madonna climbing some 12 feet into the air to stand on a revolving naked man, one of several moments which involve genuine physical peril) morphs into a genuinely unnerving demonic parody of the Last Supper in which Madonna ends up tied up on the table, legs akimbo.


Madonna performs at Madison Square Garden in New York City on September 16, 2015.
Photograph: Shaun Tandon/AFP/Getty Images

Two more album tracks follow – the dodgy Devil Pray and the lovely Messiah – before the show hits its second section, set in a 50s garage where Madonna and the dancers prance to Body Shop (another number DOA on record) before gathering on a pile of tyres for a ukulele singalong to True Blue. From then on, it’s clear that the Rebel Heart tour connects today’s Madonna with the energy and boldness of her early days – there’s precious little from the many eras in between. HeartBreakCity, performed atop a spiral staircase, morphs into her mid-80s, yearning cover of Rose Royce’s Love Don’t Live Here Anymore, before she tears into Like a Virgin, given a 21st-century update, but performed solo, with all the allure and aggression with which she infused it when it was first released.

The following section has a Mexican theme, Madonna in full Day of the Dead finery, and of course performing La Isla Bonita, the only song from her past she revisits on almost every tour, along with Dress You Up, Into the Groove and Who’s That Girl? – a song, she says, about “not knowing who the fuck you are”. It’s a moving affirmation of her ongoing, instinctive relationship with her Latino audience.

The title track of Rebel Heart is performed against a morphing backdrop of fan art depicting her many image changes, though the show actually reveals how consistent she has been underneath it all, endowed with an unswerving belief in the transformative power of pop. The final straight is pure pleasure, Madonna in a flapper’s outfit, performing a jazz-era take on Music (in visuals alone – musically it still packs the robotic punch that made it irresistible 15 years ago), then going into a showstopping Material Girl, performed on an upended video screen titled 45 degrees, in which Madonna pushes the top-hatted dancers down the slope, one by one, in a reboot of the famous video.


Amy Schumer and Madonna together on stage
Photograph: Splash News/Corbis

And then there’s a moment of intimacy, Madonna perching at the end of the circular hydraulic platform with her ukulele, announcing that she is going to perform one of her favourite songs. What ensues is an unaccompanied version of Edith Piaf’s La Vie En Rose, suddenly revealing that after all these years of being dismissed as a singer, Madonna has the pipes. Her rendition bites through the inherent campness of the concept to locate something unarguably moving. Finally, Madonna brings Schumer out again during Unapologetic Bitch, spanking her and then giving her a banana as a reward. Rising to the challenge, Schumer pretends to stick it up her backside, to the delight of the audience.

Holiday, performed with the stars and stripes rampant, is a victory lap. Madonna had said: “I’m feeling pretty nostalgic tonight … I performed here 30 years ago.” Her Madison Square Garden concert seems simultaneously like the latest stage of a 32-year durational performance art piece about stardom and an affirmation that there is simply no other performer like her. Tonight, Madonna kills it.

Madonna, 2015-09-17 - billboard, Madonna Gets Surprisingly Nostalgic at First NYC Tour Stop, Then Kicks Amy Schumer's Ass

http://www.billboard.com/articles/review/6699797/madonna-rebel-heart-nyc-tour-amy-schumer-madison-square-garden

Madonna Gets Surprisingly Nostalgic at First NYC Tour Stop, Then Kicks Amy Schumer's Ass

By Joe Lynch, New York | September 17, 2015 2:49 AM EDT

For an artist who rarely looks back creatively, Madonna was in a particularly wistful mood during her Madison Square Garden concert on Wednesday (Sept. 16) night, the first of three NYC dates on her Rebel Heart Tour.

"I'm feeling very nostalgic tonight," Madonna said (twice, actually). "I played Madison Square Garden 30 years ago. That's crazy." When she trailed off for a moment, you almost thought she was lost in sentimental reverie. But as always, Madonna was laser-focused on the present, even while reminiscing. "You were there?" she asked a fan in the front row who had been talking to her. "Then I gotta give you a kiss." For the record, a Madonna-on-fan kiss is a controlled affair: She kissed her fingers and touched the fan's forehead, like a messiah gracing her faithful follower with one touch.

Nostalgia aside, Madonna's restless creative spirit is on full display on the Rebel Heart Tour. Refusing to coast by playing faithful, familiar live renditions of her hits, Madge recast a number of her classics in different musical molds, with mostly positive results.

Strapping on a guitar, she skuzzed up "Burning Up" to hard rock heights and turned "True Blue" into a ukulele sing-along. For "Like a Virgin," she lost the original instrumentation, her backup dancers and most of her clothes while turning her breakthrough hit into a sparse, Pharrell-esque jam.

In a lengthy nod to her Spanish-speaking audience, Madonna delivered a Latin-tinged medley of "Dress You Up," "Into the Groove" and "Lucky Star." The maracas might have been a little much, but the crisp Spanish guitar successfully made the songs sound newly organic. And while there weren't as many French speakers in attendance at MSG, Madonna nodded to her Gallic fans with a surprisingly full-voiced version of Edith Piaf's "La Vie En Rose." (Was it as good as Lady Gaga's recent live "La Vie en Rose" cover? That's a topic for opposing fan groups to viciously discuss in the comments section.)

Later in the show, Madonna began "Music" as a Jazz Age ballad before kicking the No. 1 hit into banger mode. The presence of "Music" was an effective reminder that while some compulsive naysayers tsk the Queen of Pop for trend chasing with Diplo, she brought techno to the pop mainstream years before EDM was a ubiquitous term.

As always, Madonna will never be everything to everyone. Some were undoubtedly let down to see her make it through the "Vogue" spoken word section during "Holy Water" without segueing into the full song -- and to see the lights come up without any "Like a Prayer."

But the classic tracks Madonna did pull out were judiciously selected, with attention paid to material rarely performed on her live tours. An acoustic "Who's That Girl?" (not seen on a Madonna tour in nearly 30 years), a pumping "Deeper and Deeper" (absent from her setlist for 11 years) and "Love Don't Live Here Anymore" (which segued out of new song "HeartBreak City") were all resurrected to huge applause.

Speaking of resurrection, Catholic themes occupied a sizable portion of her stage show, as you would expect -- but always with the Ciccone wink. There was a bacchanalian Last Supper, nuns gyrating on stripper polls and famous faces from Renaissance religious paintings projected onscreen during the aforementioned "Vogue" roll call.

Aside from the stunning Minotaur-filled "Living for Love," the most effective new song in her Rebel Heart Tour arsenal was "Body Shop." While the song was light to the point of forgettable on the album, its low-key, affable sound worked to the choreography's advantage as Madonna teased and flirted her way through a stage filled with tires, muscle cars and muscle men.

"My grandma always said, 'If it's got tits or tires, it's going to give you trouble,'" Madonna said in a faux Southern accent after the song. "Sorry, I know I'm not as funny as Amy Schumer, but I'm trying."

Schumer, incidentally, killed her opening set (last night was her first of three opening slots for Madonna in NYC). Repeatedly mocking the flowering falsehood that it's a new Golden Era for women in Hollywood while still making jokes about the First Lady taking a hot load, Schumer's ability to pivot between the bawdy and the incisive proved the perfect fit for a Madonna opener.

"I thought I was gonna bomb so hard for months," Schumer said when her set was over. "This is the best feeling ever."

That feeling might've been one-upped (or quashed?) later on in the evening when Madonna brought Amy out during "Unapologetic Bitch," bent her over and literally kicked her ass (in addition to pretending to penetrate it). Schumer was ecstatic and surprisingly rhythmic while dancing with Madonna onstage, but the Queen couldn't let her go without some hazing.

Before Schumer left the stage, Madonna put a sock puppet on Amy's hand and made it tell her, "Hi Amy -- I'm a sock, bitch!" Waiting a few beats for an actual joke to follow, Schumer exploded into confused laughter when it became clear that was pretty much all Madge had to offer with the skit. Madonna might be good at changing creative lanes, but her attempt at improv was like switching lanes by means of rolling out of a moving car.

When the show came to a triumphant close with "Holiday," New York's favorite adopted daughter marched around in an American flag cape while her dancers -- dressed for a Gatsby-style rager at this point -- paraded about with jubilant relief. It was clear they felt the rush of owning Madison Square Garden and relished it. Madonna, on the other hand, kept her composure. Clearly, failure to dominate MSG on Wednesday night was never an option for her -- just like failure to dominate New York City was never an option for Madonna more than 30 years ago.

U2, 2015-02-23 - U2.com, U2 - Every Breaking Wave

http://www.u2.com/news/title/you-go-your-way/

'You Go Your Way...'

Premiering today, four and a half minute edit of a thirteen-minute short film by Belfast-born director Aoife McArdle, accompanying the release of 'Every Breaking Wave', second single from Songs of Innocence.

U2 - Every Breaking Wave

Aoife's complete film, recently premiered with The Creators Project, was described by filmmaker Spike Jonze as 'a perfect little gem of a romance movie'.

Read more and watch the whole film.

Every Breaking Wave, produced by Danger Mouse, Ryan Tedder and Declan Gaffney, was recorded in California and New York.

@JaredLeto & @30SecondsToMars, 2011-12-13 - Guiness World Record Holders!

http://www.yesthisisacult.com/jaredleto-30secondstomars-guiness-world-record-holders/

@JaredLeto & @30SecondstoMars: Guiness World Record Holders!

Jared Leto his fellow 30 Seconds to Mars rockers, Tomo Milicevic andShannon Leto, salute the crowd at the final show of their tour at Hammerstein Ballroom on Friday (December 9) in New York City.

The 39-year-old rocker and his band mates set the Guinness World Record for “Longest Concert Tour by a Rock Band”! The band has performed for two years at over three hundred shows.

The group even got a certificate from the Guinness folks!

“Thank you for the dreams. Thank you for the memories. And thank you for sharing this unforgettable adventure with us. It was the journey of a lifetime and we are so grateful to you all for that,”Jared wrote on his website.

Credit: Just Jared

Posted by yesthisisacult, December 13, 2011 9:53 PM

30 Seconds To Mars, 2011-12-13 - BLITZ (in portuguese), 30 Seconds To Mars batem recorde mundial

http://blitz.sapo.pt/30-seconds-to-mars-batem-recorde-mundial=f78255#ixzz1gSMP8biY

30 Seconds to Mars batem recorde mundial

Banda de Jared Leto é responsável pela digressão de promoção a um álbum mais longa de sempre.

Os norte-americanos 30 Seconds to Mars bateram um recorde mundial: são responsáveis pela digressão de promoção a um álbum (neste caso, o disco This Is War , de 2009) mais longa de sempre. A banda liderada por Jared Leto deu 300 concertos em apenas dois anos.

A banda tocou o 300º concerto no Hammerstein Ballroom, em Nova Iorque, no dia 7 de dezembro e Jared Leto agradeceu aos fãs no seu blogue da seguinte forma: "Ao longo de dois anos andámos em viagem por este milagroso planeta (...). E aprendemos sobre este mundo e sobre nós próprios através de todos vocês".

"Obrigado pelos sonhos. Obrigado pelas memórias. E obrigado por partilharem esta aventura inesquecível connosco. Foi a viagem de uma vida e estamos muito gratos a todos vocês por isso", concluiu.

Notícia escrita por MRV Terça, 13 de Dezembro de 2011 às 16:26

Jared Leto (30 Seconds To Mars), 2011-12-10 - A thank You

http://jaredleto.com/thisiswhoireallyam/2011/12/10/a-thank-you/

Jared Leto

For over two years we have traveled this miraculous planet. Pushing relentlessly over mountains and seas, exploring this earth in the most unique of ways. All the while learning about this world, and ourselves, through all of you.

Thank you for the dreams. Thank you for the memories. And thank you for sharing this unforgettable adventure with us. It was the journey of a lifetime and we are so grateful to you all for that.

Please remember

Be brave
Fight for what you believe in
And make your dreams
Your reality.

-JL

Provehito In Altum
2011

By @JaredLeto (30 Seconds To Mars) in "Notes From The Outernet"

30 Seconds To Mars, 2011-12-08 - MTV, 30 STM Make History At Triumphant Show

http://www.mtv.com/news/articles/1675610/30-seconds-mars-record-breaking-show.jhtml

Dec 8 2011 1:28 PM EST 16,430

30 Seconds To Mars Make History At Triumphant Show

Band entered the Guinness Book of World Records on Wednesday night at New York's Hammerstein Ballroom.

By James Montgomery (@positivnegativ


NEW YORK — For a band that, over the past three years, has been no stranger to adversity — everything from battles with their label to scraps with censors and the occasional stage collapse — 30 Seconds to Mars had probably never had to deal with the kind of trouble that occurred during the encore of their record-setting show Wednesday night in New York.


During the crashing crescendo of "Kings and Queens," a female fan was crushed against a barricade and required immediate medical assistance. "Queens" was the final song of the band's set, which was preceded by a lengthy presentation from the folks at Guinness World Records, who honored 30STM for Most Shows Played During An Album Cycle (309 was Guinness' count). Jared Leto invited fans to join them onstage for the finale. Spirits were high inside the Hammerstein Ballroom, and as "Queens" unfolded, they only got higher ... until Leto stopped the song and asked for medics to tend to the injured fan. After 20 solemn minutes, EMTs carried her away on a stretcher.

"As soon as she got oxygen, she sat up and is doing OK," 30STM's management told MTV News after the show. After getting the all-clear, 30 Seconds to Mars undauntedly finished the song and the night ended with the crowd triumphantly chanting its "woah-oh-oh" hook while streamers fell from the ceiling.

And not to downplay the severity of the situation, but it helped illustrate everything that made 30 Seconds to Mars' record-setting run with This Is War so unique. Their ability to overcome obstacles, their willingness to push on, and the otherworldly bond they share with their fans — displayed best when drummer Shannon Leto left the stage to assist the EMTs.

The band had already played more than 300 shows, and yet, they still pushed hard on Wednesday, imbuing songs like "Search and Destroy" and "Night of the Hunter" with walloping guitars, anthemic sing-along choruses and washes of spooky synths. Jared sprinted up and down the catwalk stage (not easy to do in a huge black cloak), shined a massive spotlight into the crowd to illuminate fans' faces, and even performed a few acoustic numbers mid-set. Shannon pounded his kit as sweat flew, and guitarist Tomo Milicevic crunched chords and charmed ethereal soundscapes out of his ax. It could have been show number one, not the final gig of a two-year trek.

Of course, 30STM's fans matched, if not doubled, the band's enthusiasm. There were signs in the audience touting the Detroit chapter of the Echelon, and at one point, Leto brought a fan onstage who had traveled all the way from Maryland. Every chorus was sung back to the band loudly, each massive chant repeated at top volume, and the opening chords of each new song greeted with squeals of delight. Fans reached skyward as confetti fell, and ooh-ed and aah-ed as lasers shot from the stage. This was definitely a celebration, in just about every conceivable way.

Not surprisingly, the band seemed genuinely touched and a tad nostalgic. Jared told fans that the Guinness award was theirs, too, shouting, "I want everyone in here to carry this with them for the rest of their lives," as he thrust the certificate above his head.

As if their record-setting tour didn't already tip you off to it, the rather frightening delay proved that 30STM are a band seemingly at their best when forced to push on. And on. And on.

Did you attend any stops on 30STM's record-setting tour? Share your reviews in the comments below!

Jared Leto (30 Seconds To Mars), 2011-12-07

"I wanna tell you something. You've done something really magical, and I don't want you to take this too lightly. You have, through your belief, through your will, through your passion, through your love… you have made reality from a dream. And I want everyone in here to carry this with them for the rest of their lives, ok? This is an example to all of you, all of you out there who wanna do something different with their lives, who wanna do something special, who wanna contribute, who wanna do something meaningful; dreams are possible. You can do what you dream. So after tonight, tomorrow let's all promise we're gonna live the first day of our new lives you understand? Let's promise each other we will be brave we will fight for what we believe in and we will live dreams. Thank you so much for, everything."

By @JaredLeto (30 Seconds to Mars)

Live Earth, 2007-07-07

Well. As you probably know on the 7th of July of 2007 it happened the 24 hours Live Earth.
It was an amazing show that was held all over the world in about 10000 different places. This Live Earth was made by Kevin Wall, Al Gore and the Alliance for Climate Protection to try to make people know (if they don't know already) how to save our planet not only to our future generations but to our generation.

For me the best bands was in New Jersey, NY Bon Jovi, in London Madonna, in Tokyo Linkin Park, in Sydney Crowded House and in Hamburg Shakira.

I didn't see Metallica, Snow Patrol, The Police, Foo Fighters, Roger Waters, Duran Duran, Fall Out Boy, AFI, David Gray. I also loved Kelly Clarkson in NJ, Genesis in London, Sarah Brightman in China, Enrique Iglesias in Germany, Black Eyed Peas in London.

It was a huge success. The show was seen for more than 2 billion people all over the world. The main shows were in New York, London, Johannesburg, Rio de Janeiro, Shanghai, Tokyo, Sydney, Hamburg and many other places.

http://www.liveearth.org/?p=230

"More Than 30 Million Live Earth Videos Streamed on MSN by 8 Million People – The Largest Online Audience Ever for an Online Concert.

Millions Inspired to “Answer the Call” with Web and SMS Pledges.
Made in 178 Countries and 35 Territories.

Approximately One Million People Participated in More Than 10,000 Friends of Live Earth Events in 131 Countries – the Largest Grassroots Organizing Program in History.

LOS ANGELES (July 9, 2007) – Live Earth organizers today announced that the 7-continent, 24 hour music extravaganza on July 7th was the largest global entertainment event in history..."

Well, here it goes the story of Live Earth from the official site.

http://www.liveearth.org/

Live Earth is a 24-hour, 7-continent concert series taking place on 7/7/07 that will bring together more than 100 music artists and 2 billion people to trigger a global movement to solve the climate crisis.

Live Earth will reach this worldwide audience through an unprecedented global media architecture covering all media platforms - TV, radio, Internet and wireless channels.

Live Earth marks the beginning of a multi-year campaign led by the Alliance for Climate Protection, The Climate Group and other international organizations to drive individuals, corporations and governments to take action to solve global warming. Former U.S. Vice President Al Gore is the Chair of the Alliance and Partner of Live Earth.

Live Earth was founded by Kevin Wall, the Worldwide Executive Producer of Live 8, an event that brought together one of the largest audiences in history to combat poverty. Wall formed a partnership with Al Gore and the Alliance for Climate Protection to ensure that Live Earth inspires behavioral changes long after 7/7/07.

Live Earth will stage official concerts at Giants Stadium in New York; Wembley Stadium in London; Aussie Stadium in Sydney; Copacabana Beach in Rio de Janeiro; the Coca-Cola Dome in Johannesburg; Makuhari Messe in Tokyo; the Oriental Pearl Tower in Shanghai; and HSH Nordbank Arena in Hamburg.

Live Earth concerts will be broadcast to a live worldwide audience by MSN at www.LiveEarth.MSN.com.

With support from the U.S. Green Building Council, creators of the LEED Green Building Rating System, Live Earth will implement new Green Event Guidelines. All Live Earth venues will be designed and constructed by a team of sustainability engineers who will address the environmental and energy management challenges of each concert site, as well as the operations of sponsors, partners and other Live Earth affiliates. Each venue will not only be designed to maintain a minimum environmental impact, but will showcase the latest state-of-the-art energy efficiency, on-site power generation, and sustainable facilities management practices.

Live Earth is a project of the SOS campaign, which is using a powerful multimedia platform - films, television, radio, Internet, books, wireless and others - to move people to combat the climate crisis.