He sold the company to the German food giant Aldi in but stayed at the helm until Today, the chain has more than in 42 states and the District of Columbia. UntilJohnson and her black female coworkers did their jobs in a racially segregated computing unit at what is now Langley Research Center in Hampton, Virginia.
Their work was the focus of the Oscar-nominated film. Smith With Style ; and bedding, bath and other product collections. March 1, — Feb. He was one of the few Hollywood screen tough guys who was sued in real life for fistfights. So daring that he almost died falling from a chandelier in a fight scene, he took more exhilarating risks as he grew older, learning to fly a plane to play WWII Marine aerial commander Pappy Boyington on Baa Baa Black Sheep He launched Stanley Kubrick by starring in the antiwar masterpiece Paths of Glory and defied the Hollywood establishment to hire blacklisted screenwriter Dalton Trumbo for Spartacus, in which Douglas starred as a Roman slave-revolt leader.
After his stroke, he wrote a book, My Stroke of Luck, and kept working, making his last film at 92, the small-screen feature Empire State Building Murders, in The Academy of Motion Picture Arts and Sciences honored him in as a creative and moral force in the industry.
Her readers adored her — and the feeling appeared to be mutual. May 19, — Jan. But it was his position as a PBS news anchor and reporter for 36 years that defined much of his life, with his calm, intelligent and down-to-earth style standing in increasing contrast to some of his more personality-driven peers. But his journalism career began well before that, as he served as a reporter and editor for two newspapers in Dallas from the late s to the late s.
Along with moderating 12 presidential debates, between andLehrer covered political conventions, presidential inaugurations and many other high-profile events. As prudish G. Clifford Prout Jr. Born Henry Zuckerman, he acquired the nickname Buck as a child. Because of his ability to put bodies in the seats at arenas throughout the United States and the world, Stern transformed the NBA into a mega enterprise through a series of marketing coups, including bringing in millions of dollars from the sale of clothing, videos and other branded products.
Stern not only added seven new franchises to the league during his year tenure, but he also created the WNBA in and once said that one of his most cherished memories was seeing the Dream Team win Olympic gold. In addition, he instituted the draft lottery, which became a huge televised media event. You are leaving AARP. Please return to AARP. You'll start receiving the latest news, benefits, events, and programs related to AARP's mission to empower people to choose how they live as they age.
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Share with linkedin. Share using email. Dawn Wells, actress, 82 Oct. Pierre Cardin, fashion designer, 98 July 2, — Dec. Phil Niekro, baseball pitcher, 81 April 1, — Dec. Jones, basketball player and coach, 88 May 25, — Dec. Charley Pride, singer, 86 March 18, — Dec. David L. Lander, actor, 73 June 22, — Dec. Diego Maradona, soccer legend, 60 Oct. Sean Connery, actor, 90 Aug. Manger On McNichols is a release that has been a long time coming, a result of a collaboration with fellow Detroiter and veteran producer Sterling Toles that started over 10 years ago.
Much of the lyrics on Manger On McNichols were recorded between andwith some new lyrics added to a couple of tracks to finish the album for its release. Because of its experimental vibe, Manger On McNichols probably is more of an acquired taste and less likely to appeal to wider audiences than TPOTIC and other Boldy James projects do, but it is an intriguing listening experience that deserves attention.
Download Manger On McNichols. LSD lysergic acid diethylamideis a hallucinogenic chemical compound, first synthesized in Hip Hop artist Cambatta is known for his thought-provoking and psychedelic-inspired rhyme techniques.
This album was created throughout four years of psychedelic usage and reality-based life-changing events. This process has made the album a duality of both real and surreal interpretations. Whether you have ever experienced LSD or not, this album is sure to impact anyone receptive and perceptive enough to take a dose.
This is another Mello Music Group winner. Download Lunar Solar Duality. Royce is one of the rare emcees that gets better with age.
Does it continue the upward trajectory in terms of quality and substance? Is it on par with Layers and Book of Ryan?
The answer is YES. Some skits could have been left off, and some of the messages are questionable the anti-vaccination sentiments are controversial, to say the least — but these are minor niggles. Download The Allegory.
Walking With Lions is a textbook example of how it should be done. In this era of unlimited music streaming and short hype circles, a lot of artists seem to more concerned with producing quantity instead of quality. Ras Kass, El Gant, and J57 clearly went the other way. Everything is done right here — from the razor-sharp lyricism to the flawless production to the sequencing of the songs to the cover-art — the total package is dope as f.
This is an excellent blend of traditional and avant-garde Hip Hop — hopefully Walking With Lions is not a one-off, if they can keep this up Jamo Gang will give Run The Jewels a run for their money. Download Walking With Lions. Why is that? Dropping an album in the last two weeks of December even KRS One has his own reasons for this specific release date is not the best move to make from a marketing and promotion point of view.
NO ONE! His voice is unique and still as powerful as it has ever been. His eloquence and articulateness are unparalleled. His rhyme-structuring is one of a kind and his lyrical content is always relevant and thought-provoking. Lyrically, few have ever been able to touch KRS One. The beats on Between Da Protests could and should have been better, though. Imagine KRS-One getting with DJ Premier or Apollo Brown for a full album, plus releasing it on a label that understands how to market and promote an album in a way befitting the status of an industry icon — that would be something.
Maybe KRS-One can go for a collaboration with a top-producer and opt for a release on a strong Hip Hop label for album number 24? Download Between Da Protests. One day they coincidentally signed up for the same slot in one of the recording studios facilitated by PEOPLE organizers.
In AprilGreg asked Jonas for the audio from the session. When Greg sent Serengeti the completed track a few weeks later, they liked it and decided to make a full-length album.
While Serengeti wrote lyrics, Greg produced some classical-and-Broadway-inspired tracks. Each time Serengeti received a new track in his inbox, instead of listening to it first, he would immediately press record and record his verses.
All the lead vocals for the tracks on this album were done this way. Not for everybody maybe, but those with an appreciation for live drums, funky and jazzy vibes, and stream-of-consciousness type flows are in for a treat. Download With Greg From Deerhoof. Homeboy Sandman is a well-respected underground emcee, who has been building an impressive body of work ever since he debuted with his Nourishment EP in His conversational style of rapping is an acquired taste — Homeboy Sandman firmly belongs to a left-field corner of Hip Hop, the same niche contemporaries like Open Mike Eagle and Quelle Chris occupy.
Because of the hype surrounding Earthgang and especially JID in recent times, this project has the potential to be a mainstream success, even if it sounds different from most things these artists have done before, individually or together. Spilligion is more eclectic, more atmospheric, more mature. It really is a perfect album for the dark times we are living through right now. For Hip Hop purists there probably is too much singing on Spilligionbut all the harmonic ensemble choruses and background vocals work out beautifully for the most part.
Also, the sublime chilled-out instrumentation, with smooth soulful beats and some great guitar and bass work to add flavor, make the genre-defying Spilligion a totally enjoyable listening experience. Spilligion is a beautiful album. Even Hip Hop traditionalists who usually avoid the artists involved would do well to go and check out this project. Download Spilligion. Curly Castro and PremRock are ShrapKnel, the formal pairing of two longtime friends and artistic collaborators.
Until this one that is. Extinction Level Event 2 signifies a return to form for Busta Rhymes, this easily is his best album since the s — on par even with his classics The ComingWhen Disaster Strikes…and E. On Extinction Level Event 2 Busta Rhymes manages to strike the exact right balance between raw underground power and smooth mainstream appeal — just like he did so successfully on his first three solo albums. Busta Rhymes is a Hip Hop icon with nothing left to prove, but with Extinction Level Event 2 he shows veterans like himself can still be relevant and come with fire anyway.
Even the cover art is more than a little bit similar. But OK — the tracks that were revamped from Nothing… are all pretty strong, so it does in no way hurt the cohesiveness of this semi new album. Contributions from Nas, Rapsody, Black Thought, Jahi, YG, and Questlove complete this juggernaut of a track — one of the best and most important songs of the year.
DJ Lord finished the song with a dope beat switch and good old-fashioned scratching. What Beetlez? What we get here is a selection of dope boom-bap beats, a lot of good old-fashioned turntablism, and nostalgia-inducing sampling — Cut Beetlez is one more example of the fact it is European producers who are carrying the torch for traditional-sounding Hip Hop right now.
Download What Beetlez? Preservation recruited an impressive roster of emcees to do justice to his beats, most of whom he did production work for in the past — including Roc Marciano, Your Old Droog, Ka, A.
Download Eastern Medicine, Western Illness. Recognize Ali is one of the most prolific emcees in the game these days. Recognition arguably is the best of the three, better than the decent but kind of one-note Duelling Experts album, and musically and lyrically deeper and more interesting than the excellent but more straightforwardly boom-bap content of Guerilla Dynasty.
Sluggah, and Tone Spliff — but despite the number of different people crafting the beats, the album manages to sound entirely cohesive. Recognition is one of the best underground Hip Hop albums of the year. Purple Moonlight Pages is the first album by R. Ferreira, the new moniker of the artist formerly known as Milo. Little over a year ago Milo officially retired that stage name to continue as R. The name-change also seems to come with a bit of an artistic change, and whether that change works for you or not is — as always — a matter of taste.
Purple Moonlight Pages offers a slice of delicious poetic jazz-rap, produced and expertly engineered by The Jefferson Park Boys the production team consisting of beatmaker Kenny Segal, and musicians Mike Parvizi and Aaron Carmack.
The album feels more accessible than R. As Bruce strummed those notes, all color returned to the world. But its companion segment about Bruce's mom was a reminder that time hadn't paused since the original Broadway run. Bruce's mother, Adele, is now 95 and a decade in to Alzheimer's Disease. She can no longer talk, but she makes a particular noise when she sees Bruce that lets him know she recognizes him.
She can no longer walk, but she rocks and leans toward him as if she can still dance. It must have been a harder piece to recite than in the previous run, but he did it with composure and grace, leading into "The Wish" with a simple and direct "I love her.
Bruce's nod to the E Street Band always generated the most enthusiasm among theatre-goers, but with Little Steven in the house he'd made a very noticeable entrance before the house lights dimmedthe applause was thunderous. Photograph by Ken Rosen Until this point in the show, the "setlist" if we can call it that was still the same as in the original run, but when Patti Scialfa took the stage, Bruce took us off-road.
The pair still performed two duets together, and an unintentionally abridged "Tougher Than the Rest" "Oops, I think forgot the last verse," he realized in time to circle back to it was still the first. But where they used to perform "Brilliant Disguise" together, they now performed "Fire," setting it up with an acknowledgement of their 30th wedding anniversary. Now, I'm "one of those ones," as a friend put it yesterday: I admit to growing more than a bit uncomfortable with the lyrics of "Fire" over the years, for the same reason that a song like "Baby, It's Cold Outside" has aged poorly.
No means no. But "Fire" worked perfectly in this spot, because it was performed as a duet. Much like "Brilliant Disguise" which it replaced in the show"Fire" transforms when sung by two people instead of one, in this case becoming a song about the undeniable chemistry that brings them together despite all efforts to hide their desire.
I still missed "Brilliant Disguise. The surprises continued with the displacement of "The Ghost of Tom Joad" in favor of "American Skin 41 Shots ," the only one of the evening's substitutions I actually suspected might be coming, given the events of the last year. Photograph by Eason Jordan. From there, the show returned to its previous setlist, with "The Rising" still speaking for itself, and "Dancing in the Dark" still serving as a reminder to find our joys where we can.
This has been my favorite Springsteen song since the first time I've heard it, and I've heard it many times in many arrangements. But never like this. Bruce summoned his warmest, purest, most passionate vocals of the night, with an arrangement that seemed like it couldn't have possibly been acoustic though, of course, it was.
I knew that "Born to Run" was coming next to close the show. Or at least, I thought I did. But Bruce had one last surprise in store for us, and I was completely unprepared for it. I think he might have been unprepared for it, too. In his final spoken piece of the night, Springsteen expressed how thankful he was for the opportunity to perform his show again this summer, because it affords him the opportunity to visit with his father Album) on a nightly basis.
That was his favorite part of the original run, he admitted — the nightly visitations with his ghosts. Not just his father, but with Clarence as well.
At this point, already teary-eyed, Springsteen's voice broke. As he named his ghosts — his father, Clarence, Danny, Walter, Bart, family members dead and gone — Bruce openly wept, sniffing and wiping his eyes.
He concluded the piece with a simple but husky "I miss them," and we held our collective breaths those of us who weren't audibly sobbingwilling Bruce the strength to get the words out. And it occurred to me in that moment that while we'd often heard and seen Bruce speak and sing about his loss, we'd rarely seen him reveal his grief. On that stage last night, a human being surrendered to his grief in full public view, and it was the bravest thing I've ever seen anyone do on stage.
And then he performed the final song the night: Letter to You' s "I'll See You in My Dreams," which gave the show the emotional capstone it had always deserved. Photograph by Ken Rosen. The new finale was a breathtaking way to end an unforgettable evening, marred only by the awkward references to Bruce's "magic trick" and favorite tree that now had no antecedents, due to his heavy revisions for the new staging.
Based on opening night, Bruce's reappraisal of his Springsteen on Broadway book proves to be both the highlight and the challenge of this revival. Every one of the new and revised scripted segments were outstanding on their own. But the problem is that Springsteen on Broadway was written at a particular time, in a particular voice… and the author has lived more since then. The shift in voice and style often took me out of the moment, where the original held my rapt and full attention throughout.
At times, it seemed like the show should have been titled, Bruce Springsteen Performs Selections from Springsteen on Broadway. But even that, alone, would rightfully be cause for celebration, as Springsteen leads the way in relighting the lamps on Broadway after 15 dark months as the New York Times reports today: "On Saturday, Springsteen on Broadway became the first full-length show to take the stage since the Covid pandemic forced performances to shut down in March As of its opening night, how does the new edition compare to the original Springsteen on Broadway?
Less cohesive and rougher around the edges, but also far more emotionally powerful. As a work of art, the revival doesn't hold a candle to the original; as a rite of communion, it completely transcends it. See details and good luck to those who enter. Mike Saunders has been taking a deep dive into that Album).
In Part 1 Mike covered the six-year interval between the '75 Hammersmith shows and the band's '81 return, the rumors and near misses as U. In Part 2 he explored the reschedulings that kept them waiting even longer. In Part 3'steen is seen, as the papers would have it: the wait is over and the concerts begin. In today's final installment, we wrap with London finally ready for Bruce's return, the Birmingham finale, encounters with Pete Townshend and U2, and more.
They were married between the '81 tour's European and final North American legs, 40 years ago today, with a little wedding combo called the E Street Band on hand to entertain guests. Four decades later Max continues entertaining, with a post-lockdown series of his Jukebox shows that began last week in NYC — Brandon Shaw was there and reports for Backstreets.
Overlooking the Hudson, the venue made for a perfect return for the newly year-old drummer. Back with his Max Weinberg's Jukeboxit was a crowd participation evening as the bandleader drew on crowd requests from a scrolling list on video screens above the stage. The Strangeloves' "I Want Candy" kicked the night off before a decades-spanning selection of covers including Bryan Adams' "Summer of '69," Tommy Tutone's "," Bob Seger's "Night Moves," Creedence epic "Proud Mary," and others with Max's steady drumming ricocheting beautifully around the unique venue.
Following a brief rehearsal with the band his E Street experience has taught him well! Max and his band brought "Dead Flowers" to life, the highlight of the evening.
In a relaxed mood and clearly glad to be performing again, Weinberg quipped, "I never thought I'd be a retired Jew living in Florida! The concert was a balm for so many of us who've missed music made live and on the fly; it's also hard to sit in a performance space like this and not crave the full E Street Band in the not-too-distant future — which I was able to ask Max about before the show.
If asked, he will serve. How did you pass time during the pandemic? Certainly it's been an awful time for the world, but we're seeing some daylight ahead. Since the age of seven I've pretty much always worked, so the last 15 months have been a bit like retirement. My wife Becky and I really caught up on our reading, and fortunately for me she's an incredible cook!
I also played drums to my favorite Beatles and Stones songs, most days. What excites you most about this round of upcoming shows? Besides the obvious, being able to perform again: as I'm not a songwriter, I've always enjoyed playing the Top 40 classics that I grew up with, seeing people dance and having a good time.
What's your favorite track off of Letter to You? A fabulous experience, making that record. I think "Ghosts" is the one I'd pick, for the B-section going into the bridge and Bruce's vocal. But then again there's "Janey," "Priest Letter to You was a highlight of the lockdown for so many of us. What stands out from that experience for you? All of us recording together at once again, that was so great.
And sitting between Bruce and Steve, as they played musical ping-pong with ideas. Do you think material from Western Stars makes it into the set next time around?
What songs from that record would you most like to perform live? They're all great, so I try to do my best on each single one. It's pretty simple: Bruce calls 'em, we play 'em E Street tour next year? I'm happy to serve if asked! Visit maxweinberg. A post shared by Backstreets Magazine backstreetsmag. See jujamcyn. Many of you have asked. There were many complications to overcome.
Regulations- national, state, city, theater, etc-changing constantly. Happy ending for the fans. Custom-sized to fit eight concert releases — all five radio broadcasts, plus The Summit in Houston and second shows at both the Capitol Theatre and Winterland — the box traps and keeps eight digipaks, totaling 24 CDs. It's a hefty chunk of amazing audio from Good thing they printed VOL.
Already, Darkness tour documents in the Archive series have outgrown that container thanks to today's new entry, Berkeley, July 1, Straight out of the gate, this one generates excitement as a performance that fans have never heard in full from a beloved era. Though a portion of it made the rounds among collectors — a soundboard, no less, but only about half the show — and an audience tape exists from the prior night at the same venue, a complete recording from Berkeley 2 has simply never circulated.
Until the appearance of today's track set, we hadn't even been sure of the entire setlist. Much attention has been paid to the five broadcasts and rightly so: they are, without exception, phenomenal and even legendary performances. These recordings, each now an official Live Archive release, converted many a fan and cemented Springsteen and the E Street Band's live reputation as well as the Darkness tour's rep as a live peak. Few would begrudge the space they've occupied in the Archive series, even if we'd already heard fine recordings countless times.
A professional, top-notch release is an honor each deserves. Word of Springsteen's live act was still spreading, particularly outside of the Northeast hotbed — none of the aforementioned broadcasts had occurred yet — and the band was playing small theatres, with crowd size ranging from 2, to 5, Following a swing through the Pacific Northwest, including a hop over the border to Vancouver, B.
This early in the tour Bruce hadn't even graffiti'd his billboard on the Sunset Strip yet, that was a few days awaythe setlist was still in its Model A stages. In fact, only one song differentiates this July 1 setlist from June 30 in Berkeley — though it's a notable one, with "Because the Night" replacing "Tenth Avenue Freeze-out" in the encore. Despite that switch, this is really the first Archive release to present the early-'78 setlist, hitting the ground running with "Badlands" no "Good Rockin' Tonight," no "Rave On," "Oh Boy!
A week later, as the first broadcast went out from The Roxy in Los Angeles, the set would loosen up and further evolve, but here we welcome the early iteration Giving Love - The Voices Of East Harlem - The Voices Of East Harlem (Vinyl the show, including… let's get right to it… "The Promise. The Darkness on the Edge of Town outtake and quasi-sequel to "Thunder Road" didn't make the album, but it was a fan favorite thanks to performances in '76 and '77 and remains a crucial cut in the Springsteen catalog.
Bruce played it more often than not in the first couple months of the Darkness tour, including both nights in Berkeley. In crystal clear sound, this solo arrangement of "The Promise" is without question the crown jewel of today's release.
The piano practically sparkles, and even at its softest, every nuance of Springsteen's yearning vocal is right in your ear. Well now my daddy taught me how to Giving Love - The Voices Of East Harlem - The Voices Of East Harlem (Vinyl quiet And how to make my peace with the past And I learned real good to tighten up inside And I don't say nothin' unless I'm asked. Within a month, the song would drop out of the set completely, not to return for 21 years.
They're exclusive to And as Bruce sings of being "far away from home" — here where Douglas Springsteen and rest of his family resettled less than a decade before — and learning "to walk among the remains," you'll feel what a treasure it is not only to have "The Promise" '78 in the Archive series at last, but this specific rendition. Though this set marks a debut for the concert as a whole, selections from it have been part of the historical record. Writing for Rolling Stone the August 24, cover story, RSDave Marsh described Springsteen staying "up all night mixing tapes recorded at his last concert," which is this very show:.
There are two mixes of an eight-minute rendition of "Prove It All Night" that shatters the LP version, and one mix of an unnamed, shorter instrumental, often called "Paradise by the 'C,'" which opens the second half of his concerts. Even on a small cassette player, it's clear that something considerable is going on.
Marsh also notes: "in a couple of the songs that did not make it onto Darkness, particularly 'The Promise' and 'Independence Day,' he has chronicled his preoccupation with fathers as thoroughly as did John Steinbeck in East of Edenthe film that inspired 'Adam [Raised a Cain].
Brother Dave is right about "Prove It" — in fact, this very recording of the song was seriously considered for an official release as a inch. The tape boxes reveal that Jimmy Iovine was brought in to engineer the live recording, and a new Plangent Process transfer gives us the best playback possible.
A track sheet for the tapes shows tracks 23 and 24 designated to the audience itself, left and right, and with that venue ambience balanced just right in the soundscape of Jon Altschiller's mix, this is simply a fantastic listen.
Dig those dynamics in "Spirit in the Night," after "we closed our eyes and said goodbye" — silent enough to hear isolated whoops in the crowd, then a quick crescendo to a wild, wild night as the band kicks back in and Clarence Clemons unleashes torrents of saxophone. With "Because the Night," spurred by the success of Patti Smith's single, finding its place in the show after just one earlier tour performance, it's got in-progress lyrics for your brain and a minute-and-a-half of hot guitar for your ears, before a novel, abrupt finish.
The shiver-inducing intimacy of the "Promise" vocal, something almost magical, materializes throughout the show: in "Racing in the Street," in "Growin' Up," even in "Fire. Marsh was right, "something considerable is going on" here for sure. And after Bruce lets loose his familiar cry in "Quarter to Three" at the end of the night — "I'm just a prisoner… of rock 'n' roll! Guilty as charged. Which is why we'll happily fill up another box with these babies as long as they keep putting them out.
He's got a new dirty joke to tell in that deep, rumbling voice that may or may not have been his true sound. I'm not one to mark the anniversary of someone's passing. It's usually a dark place to go and can fill the day with pain and sorrow. We who are left behind can only mourn, regret, and get lost in what could have been.
As Yeats said, "The world's more full of weeping than you can understand. And, to borrow a phrase, Clarence did not believe that death was the end. He truly believed in that beautiful reward.
So this is not a lamentation. The time for tears has passed. Instead this is an elegy to someone wondrous. A song to a giant. A celebration of the spirit of our friend who has gone on ahead of us carrying the light. Showing each of us the path out of the darkening trees and down to the river.
This is my favorite chapter from our book. It came from several relaxed — you could say languid — conversations that found us aggressively conserving energy and discussing what music meant to him. Two lighting trusses were used to illuminate the audience, consisting of ACL wash fixtures for "little pools of light", eight fixtures to initially brighten the venue, and ultraviolet wash light. The video screens produced enough backlight that few other fixtures were needed for the opening two songs of concerts.
The lighting system was controlled with an Avolites QM console. The North American arena shows, many of which featured in-the-round seatingused 72 Clair Brothers S4 Series II speakers, in positions of stage left and rightrear fill stage left and right, and left and right sidefill. For the European arena shows, the number of S4 Series II speakers was reduced to 56, as rear fill and sidefill audio were not required.
Bass was provided by six Servo Drive Bass Tech 7 subwoofers. The production equipment was transported on 11 trucks supplied by Upstaging Trucking. The video projection system consisted of four Vidiwalls, four byfoot 4.
Williams faced difficulties in designing the outdoor lighting system, as the stage did not have a roof. He settled on using the venues' house spotlights and strategically placing lights in the structure behind the band. Lighting was also provided by 11 Trabants; two were suspended from cranes while the others were supported by a hydraulic system. The audio system for the larger stage used speaker enclosures containing inch 46 cm woofersinch 25 cm mid-range driversand high-frequency drivers.
U2 were Clair Brothers' first client to use the company's nascent "flying" PA system, which designers were able to position behind the staging area. The front of house position featured three mixing stations, each with channel capabilities. The stage monitor system used 60 speakers, which were mixed from two separate positions, each with two consoles providing channel capacities.
On stage, 26 microphones were used. The North American stadium leg employed a person production crew and person staging crew that travelled on 12 buses and a passenger chartered jet known as the Zoo Plane. The concerts were powered by four generators and 3 miles 4. Stage construction required more than local labourers, 12 forklifts, and a foot-tall 37 mshort-ton 36 t crane.
The outdoor stage used for the legs of the tour was smaller due to budget concerns, and it discarded the Trabants hung from cranes, instead featuring three cars hanging behind the drum kit. Comprising cubes, the three Digiwalls varied in orientation: 14 cubes high by 6 cubes wide, 9 high by 5 wide, and 7 high by 7 wide. The layout allowed for sightlines of degrees within stadiums.
To help focus the sound, the engineers installed a semicircle of Clair Brothers' P4 cabinets, comprising four arrays of six cabinets each, around the perimeter of the stage. Additional P4 speakers were placed on their sides on the edge of the B-stage. Underneath Bono's position at the front of the main stage were 16 Servo Drive sub-bass units. The concert at Roundhay Park in Leeds was supplemented by time-delayed speaker towers from SSE Hire due to the venue's elongated shape, making it the only show on the tour to use delay speakers.
Rehearsals for the tour began in December at The Factory in Dublin. They considered using additional musicians, but their sentimental attachment to a four-piece prevailed. The tour was announced on 11 Februaryless than three weeks before opening night. The opening leg consisted of 32 arena shows in 31 North American cities, from 29 February to 23 April.
Ticket sale arrangements varied from city to city, but in each case, a ticket limit per purchase was enforced. On LP February, the band departed Dublin for the US to prepare for the tour.
By opening night, the album had already sold three million copies in the US and seven million worldwide. Details of the second leg of the tour were first released on 30 April with the announcement of four UK arena shows. McGuinness had planned larger outdoor concerts in Berlin, Turin, Poland, and Vienna to help the tour break even, but only the Vienna concert occurred. Plans for stadium shows were first mentioned by Iredale in March but not confirmed until the 23 April announcement of the "Outside Broadcast" leg in North America.
It was accompanied by details of two concerts, for which tickets went on sale LP days later. The "Zooropa" leg was announced in late Novemberand tickets for the British concerts were put on sale on 28 November. In early Augustafter the Sydney Cricket Ground Trust rejected the band's application to perform at the Sydney Football Stadium in November, Bono publicly questioned the city's viability as a candidate to host the Summer Olympics ; the trust's decision was made despite allowing concerts by Madonna and Michael Jackson to be held at Sydney Cricket Ground in November.
McGuinness faxed all 29 members of the Sydney Olympics Bid Committee to inform them of the situation. This sometimes caused promoters to raise ticket prices above usual levels, which in turn sometimes resulted in less than full houses. During the time between the support acts and U2's performance, a disc jockey played records for the audience.
For the legs, Irish rock journalist and radio presenter BP Fallon filled the role. Originally hired to write the Zoo TV tour programme,  he played music inside a Trabant on the B-stage, while providing commentary and wearing a cape and top hat. It was constantly evolving and changing and taking on new ideas as it went We changed it consciously for each new area of the world.
Beginning with the 24 May show, Fallon played the song "Television, the Drug of the Nation" by hip-hop group the Disposable Heroes of Hiphoprisy just before the lights were turned off and U2 took the stage. After the lights were turned off, one of several video introductions was played on-screen to accompany the group taking the stage.
A different introduction, created by Ned O'Hanlon and Maurice Linnane of Dreamchaser video productions, was used on the legs. A visual of the flag of Europe was displayed, which then crumbled after one of the stars fell off.
The concerts began with a fixed sequence of six to eight consecutive Achtung Baby songs, a further sign that they were no longer the U2 of the s. Some of these included "Taste is the enemy of art", "Religion is a club", "Ignorance is bliss", "Watch more TV", "Believe" with letters fading out to leave "lie", and "Everything you know is wrong".
In a Zoo Radio interview, the Edge described the visual material that accompanied the first three songs: . Satellite TV pictures, the weather, shopping channel, cubic zirconium diamond rings, religious channels, soap operas After appearing outside the venue of the band's final dress rehearsal in a belly-dancing outfit, the crew invited her inside to dance with Bono to lighten the mood.
The group liked their interaction and that it made reference to the belly dancer in the song's music video, and she accepted an invitation to join the tour. The group played many Achtung Baby songs very similarly to the way they had appeared on record. This practice has continued on their subsequent tours.
Zoo TV was one of the first large-scale concerts to feature a B-stage, where performances were intended "to be the antidote to Zoo TV". For "Bullet the Blue Sky", the video screens displayed burning crosses and swastikas. Beginning with the "Outside Broadcast" leg, footage from the tour's "video confessional booth" was displayed on the video screens during the intermission.
The video crew would then edit together the confessional footage to broadcast later that evening before the encore. Performances of " Desire " were accompanied by images of Richard NixonMargaret ThatcherPaul Gascoigneand Jimmy Swaggartand were meant as a criticism of greed;  cash rained the stage and Bono portrayed Mirror Ball Man as an interpretation of the greedy preacher described in the song's lyrics.
Though Bono never reached the President, Bush did acknowledge the calls during a press conference. The following setlists are representative of the tour's average setlist, according to Setlist. Wearing white radiation suitsthe band members landed on the beach at Sellafield in rubber dinghies and placed a 3-kilometre-long 1.
At the first "Outside Broadcast" show on 12 August at Giants Stadium, Lou Reed performed "Satellite of Love" with the band;  he and Bono dueted using their contrasting vocal styles. When we played Wembley, Salman showed up in person and the stadium erupted. You [could] tell from Larry's face that we weren't expecting it.
Salman was a regular visitor after that. He had a backstage pass and he used it as often as possible. For a man who was supposed to be in hiding, it was remarkably easy to see him around the place. Bono assumed a number of costumed alter egos during Zoo TV performances. During performances of "Bullet the Blue Sky" and "Running to Stand Still", he also appeared on stage wearing a military utility vest and cap, and a microphone headset.
As this character, he ranted and raved in an act he said was set in the Vietnam War. To escape their reputation for being overly serious and self-righteous, U2 decided to alter their image by being more facetious. Which is what set us up for Zoo TV. We decided to have some fun being other people, or at least other versions of ourselves. Bono conceived his "Fly" persona during the writing of the song of the same name. The character began with Bono wearing an oversized pair of blaxploitation sunglasses, given to him by wardrobe manager Fintan Fitzgerald, to lighten the mood in the studio.
Bono began each concert as The Fly and continued to play the character for most of the first half of the concert. In contrast to his earnest stage persona of the s, as The Fly, Bono strutted around the stage with "swagger and style", exhibiting mannerisms of an egotistical rock star. He had the confidence and charm to pick up a mirror and look at himself and give the glass a big kiss. He loved cash and in his mind success was God's blessing.
If he's made money, he can't have made any mistakes. Mirror Ball Man appeared during the show's encore and made nightly prank calls, often to the White House. This details will be used by our support team to contact you. You can now pay for your order.
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