New Entries in the U2 Studies Bibliography

We’ve recently updated the U2 Studies Bibliography with these six new entries:

Fast, Susan. “Music, contexts, and meaning in U2.” In Expression in Pop-Rock Music. Ed. Walter Everett. New York: Routledge, 2008, 33-57.

Galbraith, Deane. “Meeting God in the Sound: The Seductive Dimension of U2’s Future Hymns.” In The Counter-Narratives of Radical Theology and Rock ’n’ Roll: Songs of Fear and Trembling. Ed. Mike Grimshaw. New York: Palgrave Macmillan, 2014. 119-135.

Huliaras, Asteris and Nikolaos Tzifakis. “Personal Connections, Unexpected Journeys: U2 and Angelina Jolie in Bosnia.” Celebrity Studies. 6.4 (2015): 443-456.

Neufeld, Timothy D. U2: Rock ‘n’ Roll to Change the World. Lanham, MD: Rowman & Littlefield, 2017.

Williams, Michael. “One but not the same: U2 Concerts, Community and Cultural Identity.” In Identity Discourses and Communities in International Events, Festivals and Celebrations. Ed. Udo Merkel. Basingstoke: Palgrave Macmillan, 2015. 242-259.

Williams, Michael. “Politics as spectacle: U2’s 360° tour (2009-11).” In Power, Politics and International Events: Socio-cultural Analyses of Festivals and Spectacles. Ed. Udo Merkel. London: Routledge, 2014. 174-190.

Please visit the full U2 Studies Bibliography for more resources.

Stimulating Intellectual Discussion, Premiere Rock and Roll Reading

Happy to see this review of U2 Above, Across and Beyond by Peter Roche of AXS.com on June 23, 2017.

Brush up on your Bono with brainy U2 book

It’s one thing to say a favorite band has fallen off your radar after a certain point in their career. Maybe there was some peculiar album you didn’t care for, some phase where the group decided to “experiment” or “evolve.”

Sounds familiar, right?

But it’s quite another thing—a personal thing—to insist a band has lost its way. After all, it’s their way to “lose,” right? Isn’t that the nature of art?

So it is with U2, an act we couldn’t get enough of in the late ‘80s and early ‘90s—but whose last two studio albums barely blipped on our radar screens (notwithstanding all the “free album” iTunes hubbub for Songs of Innocence).

What happened?

The band members would probably tell you they grew, they matured: They evolved from the spirit-driven, punk-inspired Dublin quartet they once were into open-minded uber-rockers who recognized that the world was their stage. But we also grew, and the ‘90s and ‘00s flooded our free time with other exciting music worthy not only of rocking out to, but evaluating with critical ears.

We were in junior high when The Unforgettable Fire lit up our senses—kids without a care in the world, save the ones Bono deemed worthy of singing about. Twenty years on, we’re all married people with fancy college degrees and fulltime jobs, mortgages, and kids. So any singers and guitarists vying for what little attention we have left these days had better be on point.

Bono and the boys succeeded with 2000’s All That You Can’t Leave Behind, which proved a welcome return to the band’s jangly, intimate guitar rock of old. But they started losing me again with How to Build an Atomic Bomb (2005). So much so that I didn’t even pick up No Line on the Horizon (2009) until weeks after its release, only to discover none of it clicked with me.

Maybe you could sing the whole of War (1983) and The Joshua Tree (1987), but can’t name a single entry on Songs of Innocence (2014) outside “The Miracle of Joey Ramone.”

Still, we’d be the last to level a finger at U2 and accuse them of letting us down, right? Were you sometimes disappointed by their changes in direction? Disinterested in some of their post-millennial music? Sure. Maybe you just haven’t given their last two albums much of a chance, and that—if anything—you’re secretly pleased the band continues to test its boundaries, planting its heels in untrodden musical territory instead of revisiting the well-worn paths.

That’s the nature—the essence—of art. Love it or hate it (or both), the music of U2 has always forced listeners to reckon with it.

Plenty of reckoning was done at the 2013 U2 Conference in Cleveland, Ohio. Held in conjunction with the Rock and Roll Hall of Fame (whose Director of Education Jason Hanley participated in panel discussions), the gathering invited fans and academics alike to consider (and reconsider) the legendary Irish band’s contributions to rock, to pop culture…to global consciousness.

Conference Director (and Cedarville University Professor of Literature) Scott Calhoun encouraged conference attendees to reassess the myriad ways Bono and his band have impacted or otherwise influenced the cultural Zeitgeist with their music, their message, even their (ever-changing) image.  The results of that open challenge—presented at the conference, and now available in the aggregate on Rowman and Littlefield’s Lexington imprint—is a new book “U2: Above, Across, and Beyond.”

As is the norm with a Lexington publication, Above, Across is less a fan book than it is a college-worthy appreciation of its subject.  Specifically, it is an octet of eight separate essays (or Interdisciplinary Assessments) scrutinizing various aspects of U2’s mostly-impressive oeuvre, and whose topics are thematically bound by Calhoun’s edict to thrust the transitive qualities of the band’s work under the microscope.

Put another way, these writers walked “Where the Streets Have No Name” to help find what Bono was looking for, what we listeners found, and what remains lost (whether deliberately or not) in the ether of U2-dom.

And that the authors do, with varying degrees of success—but with a common, undeniable passion for their subject.

Welshman Christopher Wales (NLA University College) tackles the group’s “Collaborative Transactions” by studying how U2 have enacted its art and interacted with its fan-base over the years in a communion of what social psychologist called “sensemaking” and “sensegiving.”  Drawing on the tumultuous (but invigorating) 1990 recording sessions for “One” at Hansa Studios in Berlin—as well as the Davis Guggenheim documentaries It Might Get Loud (2008) and From the Sky Down (2012)—Wales suggests that the whole of the band is indeed greater than the sum of its parts, that “the hats” (Bono and The Edge) and “haircuts” (Larry Mullen and Adam Clayton) carry one another through the creative process so as to realign themselves and reinvent their sound (and appearance).

In “Trans-valuing Adam Clayton” Rock Hall research assistant (and musicology Ph.D. candidate) Brian F. Wright argues why Clayton’s role in U2 is far more critical than the bassist’s naysayers would it.  While Wright agrees Clayton probably derived his propulsive, root-note style from so-called “unskilled” punks like The Ramones, Sex Pistols, and Joy Division, he argues that Clayton’s preference for simplicity is both conscious and creative.  Dissecting the bass lines for three key U2 cuts (“With or Without You,” “New Year’s Day,” and “Beautiful Day”), Wright makes a case for the “active” quality of the bassist’s rhythms and its tendency to lend movement to the songs, whether said lines be in the forefront (“New Year’s Day”) or background, as subtle support mechanism for Edge’s textural guitar meanderings (“Beautiful Day”).

Heck, Wright even provides sheet music (and tablature) for the songs, should you care to grab your four-string and have a go.  Cleveland rocks!

RMIT University lecturer (and club culture enthusiast) Ed Montano uses his “Translating Genres” article to discuss how U2 “replaced its 1980s monochromatic aura of sincerity with a 1990s multicolor façade of irony” on Achtung, Baby(1991), Zooropa (1993), and Pop (1997) by incorporating elements of the EDM (electronic dance music) so prevalent in clubs.  Pointing at songs like “Lemon,” “Mofo,” “Discotheque,” and “Daddy’s Gonna Pay for Your Crashed Car,” Montano explains how Bono and company drew from disco (Studio 54), techno, and acid house (The Hacienda) and collaborated with (or mimicked) D.J.s like Howie B. and Paul Oakenfold to bring a fresh, danceable color palette to its work.  More importantly, Montano mulls over the significance of EDM in the balance between the group’s “gender” (masculine rock versus female EDM) and the musicians’ deliberate efforts to lampoon themselves (authenticity versus inauthenticity).

In “A Transcendent Desire” scribe Arlan Elizabeth Hess (Vermont College of Fine Arts, University of Padua) gets sidetracked debating the “Irishness” of U2 by her own (however noble) attempt to counterbalance critical homophobia aimed at other emerald isle artists, like drag queen Panti Bliss (Rory O’Neill).  Hess—an expert on Irish lit and “the Troubles”—is most effective when debunking John Waters (Race of Angels) claims that Irish-ness has more to do with one’s reaction to an historic oppression (colonization) than anything else—including one’s birthplace.

“For Waters, it follows that Zoo TV was the result of centuries of exceptional Irish leadership, struggle, and adaptation,” she poses.

Hess feels Waters too easily dismisses the band’s “unique musical collaboration [and] artistic vision” when appraising U2 albums and tours—as if any other musical collective would’ve dreamt up the same music and stage shows under similar circumstances, based simply on shared “cultural inclusivity.”  Hess also touches on themes of equality, justice in her discussion, and examines Bono’s schizophrenic pulpit / performer shtick using Leszek Kolawksi’s “priest / jester” template.

English professor Fred Johnson (Whitworth University) plays archeologist in U2’s “Transmedia Storyworld” by excavating the bits and pieces of ephemera (albums, movies, books) U2 have produced over the last three decades.  Not a morsel was arbitrarily dispatched, argues Johnson—for while the songs and photos may have derived from an organic, genuinely artistic source, the members of U2 enjoy final say on what goes out into the world.  In other words, the band has created its own story—its own wunderkammer—(and continues to do so), carefully selecting which stuff (and how much of it) is put out into the world for mass consumption, depending on what its goals are at the time.

“The glittery trapping of the Zoo TV tour was clearly put on, an obvious performance,” surmises Johnson.  “Yet they were a performance that the simulacrum band of the ‘80s would never have approved.”

In “Transmitting Memories” Flinders University senior lecturer Steve Taylor sifts through Bono’s in-concert “lyrical departures” from the recorded versions of key tracks to arrive at an understanding of how the band memorializes people, places, and events during performances—thereby manufacturing unique new moments for the ticketholders in attendance.  Spring-boarding from his discovery of a shout-out to the thirteen-years-dead Frank Sinatra in a live version of “Until the End of the World,” Taylor comments upon Bono’s many mentions of past concerts, prior locations…and dead people (Eunice Shriver, Greg Carroll, buried miners in New Zealand) from the stage, and how these seemingly unscripted one-liners establish both an oral history of the band and a “collective memory” for concert audiences.

“What would motivate such changes?” Taylor ponders.

Calendrical repetition, verbal repetition, and gestural repetition conspire upon U2’s gargantuan stages, weaving a ritualistic tapestry the band tosses over audiences like a playful papa blinding a laughing toddler with her “woobie.”  There’s more than meets the eye when Bono waves at Larry behind the drums, thrusts a finger in the air, or points his microphone at fans in the front row.  These are “concert-rical” connections that make each show special and enhance the universal appeal of each tour after the fact.

Remember Bono’s white flag at Red Rocks (Under a Blood Red Sky), or how he danced with a girl from the audience at Live Aid?  These small, spontaneous gestures mean a lot in the long run, says Taylor, establishing a fascinating “fixity” to how we recollect what the band has done.

We first saw U2 at Cleveland Municipal Stadium in October 1987 (on the third leg of The Joshua Tree tour). And it wasa transformative and magical concert—rife with ritual, studded with signature moments and yes, brimming with bricolage “now part of the toolbox of found objects that the band can employ in the future,” as Hamilton puts it.  The show did feel intimate, but we’re guessing that had more to do with our companions (and the booze) than anything the band was doing visually (we’re assuming it was U2; we couldn’t actually see Bono [and his broken arm] from the nosebleeds, and this was before the age of the Jumbo Tron).  They could’ve piped in a recording from some a previous show on the tour and thrown a lookalike band up there, and we wouldn’t have been the wiser.

But that’s just nitpicking—and from some thirty year on, no less.  We take Hamilton’s meaning, and will make it a point to pick up “U2 360 at The Rose Bowl” DVD as suggested.

Above, Across, and Beyond may tickle a few nostalgia tendrils, but it’s neither fanzine nor officially-sanctioned scrapbook.  This is heady stuff written by individuals who’ve given serious thought to U2’s “missteps, disappointments, failures…and ordinary problems.”  There are no glossy pictures of the group, young or old (there are no photos at all).  But there is ample (and stimulating) intellectual discussion of the Irish band’s “proclivity for change” in a world that doesn’t always welcome it.  And each of the eight articles (none longer than thirty pages) makes for an easy-to-digest, hour-long patch of premiere rock and roll reading.

“U2:  Above, Across, and Beyond—Interdisciplinary Assessments” on Amazon or order directly from the publisher by clicking here, then catch U2 on their Joshua Tree 30th Anniversary Tour.

U2 and Music Theory Series Debuted on @U2.com

Professor Christopher Endrinal, Florida Gulf Coast University, writes about U2 and music theory in “Theorectically Speaking,” a new series on @U2.

Theoretically SpeakingHave you ever been listening to a familiar song and suddenly noticed something new about it? This happens to me all the time, especially with U2’s music. If I hear something new or particularly interesting, my music theory training instinctively kicks in and compels me to dive deeper. That’s what this series, “Theoretically Speaking…”, is all about: an exploration of U2’s music through the lens of music theory.

His debut article is Rhythmic Representations of Uncertainty in ‘Zooropa.‘” 

U2 Tattoo Project’s “Ink, Icons, Identity” exhibit to open Aug. 15, 2016

From Professors Beth Nabi, University of North Florida, Jacksonville, and Christopher LeClere, Flager College:

The U2 Tattoo Project is excited to announce our first exhibit, “Ink, Icons, Identity: Exploring U2’s Brand Through Fan Tattoos,” running Aug. 15–26, 2016, in Jacksonville, Fla., at the University of North Florida Gallery of Art.

The exhibit will feature photos and multimedia displays of fans’ U2-related tattoos alongside some of the original artifacts that inspired these tattoos in an exploration of the transition from ephemeral marketing to permanent body modifications. Lectures and panels are being planned to accompany the exhibit, as well as a special fan gathering at the gallery Saturday, Aug. 20.

Look for more details in the coming weeks. Follow news and updates about the U2 Tattoo Project. 

New Study: Emotions in U2 Fan Videos

From this Media Release:

Music fans’ emotions could be used to help them find new songs online, according to research at the University of Strathclyde.

A study of 150 music videos made by U2 fans uncovered a range of methods, both visual and musical, used to convey emotion, through location, style of music and video content.

Dr Diane Pennington, a Lecturer in Strathclyde’s Department of Computer and Information Sciences, carried out the research. She said: “Although music holds no emotion in itself, it can elicit very deep emotions in listeners and performers.”

The videos were covers of U2’s Song For Someone, from their 2014 album Songs Of Innocence. They were made and posted on video streaming website YouTube, after the band invited their fans to create their own clips, which would “make (it) your song.”

The research found that the videos, and viewers’ responses to them, were highly individual but often also social, with shared emotions creating a sense of community.

It also found that such emotions could help to inform searches, recommendations and playlists in online music providers.

Dr Pennington said: “The emotion music evokes is the main reason people listen to it and many would like to be able to search for music videos that meet an emotional need, such as a desire to be cheered up.

“However, information retrieval systems, such as those used in video streaming sites, don’t currently support this well. To advance these systems, new systems need to be envisioned that go beyond traditional keyword-based or subject-based queries and process information requirements in new ways.

“I chose the Song For Someone clips as a case study after U2 called for fans to make them. This was because it would be a rich source of information and because, for their fans, U2’s songs and concerts are highly emotional; this is reflected in the content of the Song For Someone clips and the reactions they produced.

“Many of the cover versions were personalised by people recording their own versions in their houses or bedrooms, or including images of their loved ones. Others signified their devotion to U2 by using their original version to accompany the clip or by including U2 paraphernalia, such as t-shirts, posters and photos.

“Emotions are difficult to define tangibly and describing them in a way which could benefit information retrieval presents a challenge. However, this research could inform commercial music service providers on how they might include emotional factors in their recommendations and automatically created playlists.

“Allowing retrieval system users to search, browse and retrieve by positive emotions could also have a contribution to make to music therapy.”

Dr Pennington’s research has been published in the Journal of Documentation (doi.org/10.1108/JD-07-2015-0086)

 

Book Review: U2 Above, Across, and Beyond: Interdisciplinary Assessments

“This is heady stuff written by individuals who’ve given serious thought to U2’s ‘missteps, disappointments, failures…and ordinary problems.’ … [t]here is ample (and stimulating) intellectual discussion of the Irish band’s ‘proclivity for change’ in a world that doesn’t always welcome it. And each of the eight articles (none longer than thirty pages) makes for an easy-to-digest, hour-long patch of premiere rock and roll reading.” — Peter Roche, Cleveland Music Examiner

Read the full review here.

“U2 and The Beatles” Session at the PCA/ACA National Conference 2016

If you’ll be at the PCA/ACA national conference in Seattle March 22-25, 2016, you might want to catch “’Taking on the Shape of Someone Else’s Pain’: U2 and Irish Postmemory” by Jason Cash of Southwestern Oklahoma State University, on Tuesday, March 22, 1:15 p.m.2:45 p.m. 

From the description page:

Two songs on U2’s 2014 album Songs of Innocence, “Raised by Wolves” and “The Troubles,” return directly and indirectly to the band’s signficant engagement with Irish politics and violence. These songs explore the complex experience of historical trauma both as an observer and as a people steeped in a storytelling culture that celebrates and condemns militaristic nationalism, often at the same time. Using Marianne Hirsch’s concept of postmemory, a term she has used to describe the transmission of memories from survivors of the Holocaust to their children, this paper will argue that U2’s challenge and rejection of this process in popular media ensures that postmemory will continue. This paradox sheds light on the difficulty and the importance of reassessing inherited narratives continuously, a project with particular resonance for a band as self-aware as U2 and for a nation whose identity is as defined by storytelling as Ireland.

Cash’s presentation is the only one on U2, while there are three more on The Beatles. The full panel presentations are listed here.

Conference: Bridging Gaps: What are the media, publicists, and celebrities selling?

This conference of The Centre for Media and Celebrity Studies in Barcelona, Spain, July 3 – 5, 2016, might be of interest to scholars working in the field of U2 studies.

The deadline for presentation proposals has passed and there’s no program posted yet to see if Bono or U2 will be a topic of conversation, but if they are, it could likely be at a roundtable discussion at the conference on “Celebrity Activism” with Dr. Nathan Farrell and Dr. Jackie Raphael on July 4, 2016

See the conference website for more information and to watch for a program to be posted.

Call for Chapters — Mysterious Ways: U2 and Religion — Bloomsbury Press

Call for Chapters

Mysterious Ways: U2 and Religion

Bloomsbury Studies in Religion and Popular Music

Edited by Scott Calhoun

I invite proposals for chapters in an edited collection with an interdisciplinary focus on U2 and religion for Bloomsbury’s series on Religion and Popular Music. U2’s art, inclusive of its songs, videos, live concerts, concert films, graphic design, live staging and production design, performance visuals, material artifacts, and activism, has long sought to investigate and present the human experience as also a religious endeavor, with metaphysical and physical concerns, and as such U2’s art is various, extensive, and culturally engaged.

As editor, I’m especially interested in new examinations which broaden and deepen the understanding of U2’s interest in issues of religion, ethics, and spiritually informed identities and practices.

New examinations of U2 and religion might start by pursuing an unconventional line of inquiry into U2 and religion topics. For example, new examinations might start by considering U2 as comprised of artists working in an Anglo-Irish, post-colonial milieu, who, though influenced by close-to-home religious contexts and popular music traditions, sought other cultural experiences and understandings found in intersections of religion and popular music, such as in Caribbean, African-American, North African, and Arabic contexts. (The suggested relationship between Celtic Sean-nós and North African musical traditions as possibly influencing U2, for example, might complicate and enrich an understanding of religion and music in U2’s art.) New examinations might also look at how U2 has employed sectarian and nonsectarian themes to popular success with sectarian and nonsectarian audiences. New examinations might take a musicological interest in examining U2’s songs as joining or disrupting established religious musical traditions. New examinations might focus on understanding and/or critiquing fandom rhetorics and behaviors that approach U2 as a religion. Or, perhaps, new examinations might pursue how and why U2 has framed issues central to both traditional and nontraditional religions by employing or redefining language, forms, and images often identified with a specific religion.

Traditional lines of inquiry can still produce new examinations of U2 and religion of course, and are therefore most welcome.

Religion, when considering U2 for this Bloomsbury volume, should be broadly understood as meaning a system of beliefs, ceremonies, and prescriptions used for worshiping a/the transcendent divine and maintaining a connection with it, which also directs the adherent’s actions in the world.

Studies coming out of, but not limited to, interests in folk, popular, rock, classical, and sacred music traditions, as pertaining to U2, are welcome.

Studies coming out of, but not limited to, disciplinary interests in art, anthropology, cultural studies, communication studies, fan cultures, literature, material cultures, philosophy, psychology, musicology and music performance, religion, rhetorics, sociology, theater, and theology (as broadly understood), as pertaining to U2, are welcome.

Recent essay collections in U2 Studies with some essays on religious topics are Exploring U2 and U2 Above, Across, and Beyond, both edited by Scott Calhoun. Additional scholarly and bio-critical works on U2 are listed on the U2 Studies Bibliography.

A description of the Bloomsbury Studies in Religion in Popular Music series with other titles is here.

Complete proposals are due by February 1, 2016, and will include an abstract of about 400 words and a current CV, which should include institutional affiliation or independent scholar status, a record of presentations and publications, and contact details. Proposals should be sent to calhouns@cedarville.edu

Notification of acceptance for the collection will be sent by February 15, 2016.

Chapter submissions of 6000-7000 words, including references, are due by October 1, 2016, with anticipated publication of the volume in late 2017.

I invite inquiries about potential chapter proposals at calhouns@cedarville.edu

Scott Calhoun
Professor of English, Cedarville University
Director, the U2 Conference

Contributor:
Scott Calhoun
Contact:
calhouns@cedarville.edu

The U2 Conference logo and site design by Beth Nabi.