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BeitragVerfasst: 15.03.2005 07:49 
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BeitragVerfasst: 15.03.2005 08:26 
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Ist das Brucies Strat? :shock:

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BeitragVerfasst: 15.03.2005 10:35 
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Schick schauen sie aus, alle beide. :D

Und meine Vorfreude aufs U2-Konzert in Wien steigert sich auch. :wink:


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BeitragVerfasst: 15.03.2005 10:38 
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Wurde nur Bono alleine "introduced" oder U2 als Band? Ich hatte gehört die ganze Band... :?:


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BeitragVerfasst: 15.03.2005 11:25 
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bachflohkrebs hat geschrieben:
Wurde nur Bono alleine "introduced" oder U2 als Band? Ich hatte gehört die ganze Band... :?:

U2 als Band wurden aufgenommen.
Hat eigentlich jemand die Rede, die Bruce dazu gehalten hat? Würde mich interessieren, wie er sich für Bonos Einführung revanchiert hat.


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BeitragVerfasst: 15.03.2005 15:06 
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Die ganze Rede hab ich nicht gefunden, aber hier ist zumindest eine gute Beschreibung. Bruce hat sich wohl für Bonos Rede von 1999 "revanchiert". :P


'Beautiful Sonic Architecture'

Bruce Springsteen inducted U2 into the Rock'n'Roll Hall of Fame last night - then joined them on stage.

Paying a generous and humorous tribute to the band in his induction speech, Springsteen described U2 as "keepers of some of the most beautiful sonic architecture in the rock-and-roll world".

He recalled being at an early U2 show in London along with Pete Townshend
of The Who and remembered "the young Bono, single-handedly pioneering the Irish mullet. U2 hungered for it all and built a sound, and they wrote the songs that demanded it."

In a moving ten minute tribute, full of warmth as well as wit, Springsteen said that U2 were "both a step forward for rock and a direct descendant of the great bands who believed if they played their best they could bring out the best in you."

"Unos, dos, tres, catorce," he said, quoting the count-down at the beginning of 'Vertigo'. "That translates as 1,2,3,14. That is the correct math for a rock'n'roll band."

A packed audience of 1500 for the 20th annual ceremony of the Rock'n' Roll Hall of Fame at New York's Waldorf Astoria hotel also saw the induction of The Pretenders led by Chrissie Hynde, soul veterans Percy Sledge and The O'Jays as well as blues-guitar great Buddy Guy.

The ceremony, which began at 7pm, was still cooking at midnight. According to our insider at the show, it turned into a unique meeting of the rock'n'roll tribe with celebrated musicians from Eric Clapton, Rod Stewart and Robbie Robertson mingling with the Hollywood A-list like Catherine Zeta-Jones and Richard Gere. There's Edge talking to Eric Clapton. And that's Bono hanging with Bruce and Robbie Robertson.

U2's friendship with Springsteen goes way back and it was Bono who inducted him into the Hall of Fame in 1999. According to our reporter at the show, Springsteen's speech was 'incredibly generous speech, you felt that there was a real affinity between the Italian-American and the Irish.'

And U2 were also on form, in words and music. No sooner had they been inducted than Bono, Edge, Larry and Adam all took the microphone with emotional speeches, recognising that their success over a quarter of a century left them in debt to many other people.

Bono remembered seminal moments in the band's past, from a 1976 practice session in Larry's kitchen, to a 1982 show in New Haven, Connecticut when Edge tried to break his nose, to a 1987 incident in the American south, when they received death threats for supporting moves to make Rev. Martin Luther King's birthday a national holiday.

Larry promised that U2 were only now getting into their stride - later telling reporters that the induction was maybe ten years too soon and he wasn't quite ready for "institutionalisation".

Also looking forward was Adam - to 25 years time when the hip hop community would be being inducted into the Hall of Fame.

Edge reminded the audience of why they were all there. "We are all guilty of taking ourselves too seriously," he said. "But the reason we are here today is that rock 'n' roll, when it is great, it is amazing, it can change
your life. It changed our lives."

And, with lots of U2 management people in the audience, the band took time to namecheck key individuals like Ann Louise Kelly, Sheila Roache and Ellen Darste for their part in the band's success.

"This is a bit of an Irish wedding," Bono said. "Beautiful girls in beautiful frocks, fights in the bathroom, lawyers with bloody noses."

The affinity between U2 and Springsteen was never more evident than when Springsteen strapped on his guitar and joined in the vocals as U2 performed 'I Still Haven't Found What I'm Looking For', one of a rapturously received set of songs. With Bono dancing into the audience and spraying champagne during 'Until the End of the World', they also played 'Pride' and finished with 'Vertigo'.

'The set was a blast,' said our insider. 'Everyone was thinking about how good the tour is going to be!'

As a special celebration of the Rock Hall's 20th birthday, Eric Clapton and the Band's Robbie Robertson flanked Bo Diddley and Jerry Lee Lewis joined in for 'Whole Lotta Shakin' Goin' On'.

And we can't fail to mention the induction by guitarist Steven Van Zandt of Premier Talent founder Frank Barsalona, who has worked with nearly every major rock act of the past four decades - including U2. He made special
mention of Barbara Skydel, in his speech, another person who goes way back with U2.
"When I started Premier Talent, the whole industry was fighting against rock'n'roll, and the question was, will it survive?," Barsalona said. "The rock'n' roll spirit can never be killed."

.....front U2.com.....


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BeitragVerfasst: 15.03.2005 19:13 
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Zitat:
U2 in der Ruhmeshalle des Rock


Bono
U2-Sänger Bono strebt den Nobelpreis nicht an.


New York - Der irische Rocksänger Bono träumt ungeachtet seines hoch geloben Einsatzes für die Ärmsten der Welt nicht von einem Nobelpreis. «Rockstar zu sein, ist doch schon das Beste vom Besten», scherzte der 44-Jährige bei der Aufnahme seiner Band U2 in die «Rock and Roll Hall of Fame».
Reporter hatten von dem bestens gelaunten Star mit der unvermeidlichen blauen Sonnenbrille am Rande der Rockparty im New Yorker Waldorf-Astoria- Hotel wissen wollen, was er vom Friedensnobelpreis halte.

Statt Bono antwortete US-Rocker Bruce Springsteen auf die Frage, ob der U2-Leadsänger wirklich für den Posten des Weltbank-Präsidenten kandidieren würde. «Gib Deinen Job bloß nicht auf, mein Freund», rief Springsteen dem Rockerkollegen zu. «Du bist viel zu gut darin.»

Springsteen, der Bono schulterklopfend einen «verrückten Iren» nannte, sang eine Lobeshymne auf U2. Die irischen Musiker, die es von einer Straßenband in Dublin zu einer der bedeutendsten Rockgruppe brachten, seien «die Bewahrer einiger der schönsten akustischen Bauten der Rock'n'Roll-Welt».

Ein ähnlich hohes Lob wurde auf der Bühne der 20. Rock-Party im Waldorf-Astoria Percy Sledge zuteil, bei dessen Superhit «When a Man Loves a Woman» romantische Schmusestimmung aufkam. Das sei «eine der allerbesten Darbietungen, die ich je gehört habe», schmeichelte Rod Stewart dem Südstaaten-Soulstar. «Und ich bin sicher, das geht hier jedem ganz genauso.»

Neben U2 und Sledge wurden auch die Pretenders, der Blues- Gitarrist Buddy Guy und die O'Jays lautstark und feuchtfröhlich in die Ruhmeshalle des Rock'n'Roll aufgenommen. Bono verglich die Stimmung mit der bei einer irischen Hochzeit. «Schöne Mädchen, schöne Klamotten und Kämpfe auf dem Klo.»

Ähnlich wie U2 waren die Pretenders nach der Punk-Rock-Hysterie Ende der 70er Jahre zu einer der international angesagtesten Rockbands geworden. Die Leadsängerin und Gitarristin Chrissie Hynde widmete die Pretender-Hits «Brass in Pocket» und «Back on the Chain Gang» den Bandmitbegründern James Honeyman-Scott und Pete Farndon, die Anfang der 80er Jahre an ihrer Drogensucht zu Grunde gingen. «Ohne sie wären wir heute nicht hier», rief Hynde in den Saal.

Auch Blues-Veteran Guy erntete den Jubel der Prominenten aus der Showbranche, die mit der Party zugleich den 50. Jahrestag der «Rock and Roll Hall of Fame» feierten. Der Musiker, der bereits seit Anfang der 60er Jahre zur Spitze der Chicago-Blues-Szene gehört, wurde von B.B. King und Eric Clapton begleitet. Die O'Jays heizten die Stimmung mit ihren Soulbeat-Hits «Love Train» und «For the Love of Money» an.



© dpa - Meldung vom 15.03.2005 16:48 Uhr

http://portale.web.de/Schlagzeilen/?msg_id=5728591


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BeitragVerfasst: 15.03.2005 20:34 
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Hier ist ein link zu BBC News .
Dort findet Ihr neben einem Bericht auch ein Video, wenn Ihr oben rechts klickt! Ganz am Anfang spricht Bruce kurz...


http://news.bbc.co.uk/1/hi/entertainmen ... 49877.stm#


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BeitragVerfasst: 16.03.2005 19:17 
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hier ist die ganze Rede:

Uno, dos, tres, catorce. That translates as one, two, three, fourteen. That is the correct math for a rock and roll band. For in art and love and rock and roll, the whole had better equal much more than the sum of its parts, or else you're just rubbing two sticks together searching for fire. A great rock band searches for the same kind of combustible force that fueled the expansion of the universe after the big bang. You want the earth to shake and spit fire, you want the sky to split apart and for God to pour out. It’s embarrassing to want so much and to expect so much from music, except sometimes it happens: the Sun Sessions, Highway 61, Sgt. Peppers, the Band, Robert Johnson, Exile on Main Street, Born to Run... whoops, I meant to leave that one out... uh... the Sex Pistols, Aretha Franklin, the Clash, James Brown; the proud and public enemies it takes a nation of millions to hold back. This is music meant to take on not only the powers that be but on a good day, the universe and God himself, if he was listening. It's man's accountability, and U2 belongs on this list.

It was the early '80s. I went with Pete Townshend, who always wanted to catch the first whiff of those about to unseat us, to a club in London. There they were: a young Bono (single-handedly pioneering the Irish mullet), the Edge (what kind of name was that?), Adam and Larry -- I was listening to the last band of whom I would be able to name all of its members. They had an exciting show and a big, beautiful sound. They lifted the roof. We met afterwards and they were nice young men. They were Irish. Irish. Now, this would play an enormous part in their success in the States. For what the English occasionally have the refined sensibilities to overcome, we Irish and Italians have no such problem. We come through the door fists and hearts first. U2, with the dark, chiming sound of heaven at their command which, of course, is the sound of unrequited love and longing -- their greatest theme. Their search for God intact, this was a band that wanted to lay claim to not only this world but had their eyes on the next one, too. Now, they’re a real band; each member plays a vital part. I believe they actually practice some form of democracy -- toxic poison in a bands head. In Iraq, maybe. In rock, no. Yet, they survive. They have harnessed the time bomb that exists in the heart of every great rock and roll band that usually explodes, as we see regularly from this stage. But they seemed to have innately understood the primary rule of rock band job security: “Hey, asshole, the other guy is more important than you think he is!” They are both a step forward and direct descendants of the great bands who believed rock music could shake things up in the world, dared to have faith in their audience, who believed if they played their best it would bring out the best in you. They believed in pop stardom and the big time. Now this requires foolishness and a calculating mind. It also requires a deeply held faith in the work you're doing and in its powers to transform. U2 hungered for it all and built a sound, and they wrote the songs that demanded it. They’re keepers of some of the most beautiful sonic architecture in rock and roll.

The Edge, the Edge, the Edge, the Edge. He is a rare and true guitar original and one of the subtlest guitar heroes of all time. He's dedicated to ensemble playing and he subsumes his guitar ego in the group. But do not be fooled. Take Jimi Hendrix, Chuck Berry, Neil Young, Pete Townshend -- guitarists who defined the sound of their band and their times. If you play like them, you sound like them. If you are playing those rhythmic two-note sustained fourths, drenched in echo, you are going to sound like the Edge, my son. Go back to the drawing board and chances are you won’t have much luck. There are only a handful of guitar stylists who can create a world with their instruments, and he's one of them. The Edge's guitar playing creates enormous space and vast landscapes. It is a thrilling and a heartbreaking sound that hangs over you like the unsettled sky. In the turf it stakes out, it is inherently spiritual, it is grace and it is a gift.

Now, all of this has to be held down by something. The deep sureness of Adam Clayton's bass and the rhythms of Larry Mullen's elegant drumming hold the band down while propelling it forward. It's in U2's great rhythm section that the band finds its sexuality and its dangerousness. Listen to "Desire," she moves in "Mysterious Ways," the pulse of "With or Without You." Together Larry and Adam create the element that suggests the ecstatic possibilities of that other kingdom -- the one below the earth and below the belt -- that no great rock band can lay claim to the title without. Now, Adam always strikes me as the professorial one, the sophisticated member. He creates not only the musical but physical stability on his side of the stage. The tone and depth of his bass playing has allowed the band to move from rock to dance music and beyond. One of the first things I noticed about U2 was that underneath the guitar and the bass, they have these very modern rhythms going on. Rather than a straight 2 and 4, Larry often plays with a lot of syncopation, and that connects the band to modern dance textures. The drums often sounded high and tight and he was swinging down there, and this gave the band a unique profile and allowed their rock textures to soar above on a bed of his rhythm. Now Larry, of course, besides being an incredible drummer, bears the burden of being the band's requisite "good-looking member," something we somehow overlooked in the E Street Band. We have to settle for "charismatic." Girls love on Larry Mullen. I have a female assistant that would like to sit on Larry’s drum stool. A male one, too. We all have our crosses to bear.

Bono, where do I begin? Jeans designer, soon-to-be World Bank operator, just plain operator, seller of the Brooklyn Bridge -- oh hold up, he played under the Brooklyn Bridge, that's right. Soon-to-be mastermind operator of the Bono Burger franchise, where more than one million stories will be told by a crazy Irishman. Now I realize that it’s a dirty job and somebody has to do it. But don't quit your day job yet, my friend, you're pretty good at it. And a sound this big needs somebody to ride herd over it, and ride herd over it he does. His voice, big-hearted and open, thoroughly decent no matter how hard he tries. Now he's a great frontman. Against the odds, he is not your mom's standard skinny, ex-junkie archetype. He has the physique of a rugby player... well, an ex-rugby player. Shamen, shyster, one of the greatest and most endearingly naked messianic complexes in rock and roll. God bless you, man! It takes one to know one, of course. You see, every good Irish and Italian-Irish front-man knows that before James Brown there was Jesus. So hold the McDonald arches on the stage set, boys, we are not ironists. We are creations of the heart and of the earth and of the stations of the cross. There's no getting out of it. He is gifted with an operatic voice and a beautiful falsetto rare among strong rock singers. But most important, his is a voice shot through with self-doubt. That's what makes that big sound work. It is this element of Bono's talent, along with his beautiful lyric writing, that gives the often-celestial music of U2 its fragility and its realness. It is the questioning, the constant questioning in Bono's voice, where the band stakes its claim to its humanity and declares its commonality with us. Now Bono’s voice often sounds like it's shouting not over top of the band but from deep within it: "Here we are, Lord, this mess, in your image." He delivers all of this with great drama and an occasional smirk that says, “Kiss me, I’m Irish.” He’s one of the great front-men of the past 20 years. He is also one of the only musicians to devote his personal faith and the ideals of his band into the real world in a way that remains true to rock's earliest implications of freedom and connection and the possibility of something better.

Now the band's beautiful songwriting -- "Pride (In The Name of Love)," "Sunday Bloody Sunday," "I Still Haven’t Found What I’m Looking For," "One," "Where the Streets Have No Name," "Beautiful Day" -- reminds us of the stakes that the band always plays for. It's an incredible songbook. In their music, you hear the spirituality as home and as quest. How do you find God unless he's in your heart, in your desire, in your feet? I believe this is a big part of what's kept their band together all of these years. See, bands get formed by accident, but they don’t survive by accident. It takes will, intent, a sense of shared purpose and a tolerance for your friends' fallibilities and they of yours. And that only evens the odds. U2 has not only evened the odds but they've beaten them by continuing to do their finest work and remaining at the top of their game and the charts for 25 years. I feel a great affinity for these guys as people as well as musicians.

Well, there I was sitting down on the couch in my pajamas with my eldest son. He was watching TV. I was doing one of my favorite things: I was tallying up all the money I passed up in endorsements over the years and thinking of all the fun I could have had with it. Suddenly I hear "Uno, dos, tres, catorce!" I look up. But instead of the silhouettes of the hippie-wannabes bouncing around in the iPod commercial, I see my boys! Oh my God! They sold out! Now, what I know about the iPod is this: it is a device that plays music. Of course, their new song sounded great, my guys are doing great, but methinks I hear the footsteps of my old tape operator of Jimmy Iovine somewhere. Wily, smart. Now, personally, I live an insanely expensive lifestyle that my wife barely tolerates. I burn money, and that calls for huge amounts of cash flow. But, I also have a ludicrous image of myself that keeps me from truly cashing in. You can see my problem. Woe is me. So the next morning, I call up Jon Landau (or as I refer to him, "the American Paul McGuinness"), and I say, "Did you see that iPod thing?" and he says, "Yes." And he says, "And I hear they didn’t take any money." And I said, "They didn’t take any money?" and he says, "No." I said, "Smart, wily Irish guys. Anybody – anybody – can do an ad and take the money. But to do the ad and not take the money... that’s smart. That’s wily." I say, "Jon, I want you to call up Bill Gates or whoever is behind this thing and float this: a red, white and blue iPod signed by Bruce 'The Boss' Springsteen. Now remember, no matter how much money he offers, don’t take it!" At any rate, after that evening for the next month or so, I hear emanating from my lovely 14-year-old son's room, day after day, down the hall calling out in a voice that has recently dropped very low: uno, dos, tres, catorce. The correct math for rock and roll. Thank you, boys.


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BeitragVerfasst: 16.03.2005 20:27 
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Hat "The Edge" eigentlich auch einen richtigen Namen oder kam er als "The Edge" auf die Welt?
Ist der richtige Name bekannt?


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BeitragVerfasst: 16.03.2005 20:31 
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Hab mich auch schon immer gefragt, was "Die Kante" für ein Name sein soll???

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BeitragVerfasst: 16.03.2005 20:40 
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Fab hat geschrieben:
Hab mich auch schon immer gefragt, was "Die Kante" für ein Name sein soll???


Vielleicht ist "The Edge" mit "Die Schneide" besser übersetzt?
"The Razor´s Edge" - Des Messers Schneide


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BeitragVerfasst: 16.03.2005 21:11 
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The Edge heisst David Howell Evans (Geb. 08. August 1961 in Barking, London)

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BeitragVerfasst: 16.03.2005 21:37 
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...und bis heute weiß keiner so wirklich genau, wie der spitzname entstanden ist.


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BeitragVerfasst: 16.03.2005 21:39 
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Das hab ich gefunden , hinsichtlich des Spitznamens:

...Den Spitznamen "The Edge" (häufig auch ohne "The" verwendet) erhält der frischgebackene Gitarrist von Bono in der Nord-Dubliner Clique, die sich "Lypton Village" oder "The Village" nennt. Es gibt mehrere unbestätigte Theorien über den Ursprung des Spitznamens: Die Eigenschaft, sich eher am Rand aufzuhalten und von dort abzuschätzen, was vor sich geht, sein scharfer Verstand oder seine kantige Kopfform - nur drei Spekulationen seien hier genannt...


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