pitchman

bono's brilliance, what makes him a timeless artist of our age on a par and quite possibly beyond john lennon and bob dylan, is in his manipulation of image, his mastery of not only finding what he is looking for but also in choosing the right path to reach those goals. u2 has always courted the masses, after all.

u2 has never shown any interest in narrowing their audience. rather, they have gone to great pains to be inclusive, to gain accessibility and to establish their myth, (if you will,) by sheer math. and not to belittle or discount the edge, adam or larry, but u2 is bono. u2 would have us believe u2 is bono and the edge, with a great rhythm section, but as an admirer and follower of u2 for the last 27 years it is clear bono wields the greatest influence on the acts of the band.

the fact that bono seemed to seek legacy through volume does not disqualify him from being a great artist. his poetry, his attention to detail, his imagination and forethought, his voice, his magnetism, his generosity and caring, his scholarship, his choices, they have all made u2.

if the beatles arrived and laid down the prototypes of all styles within rock and roll, (if helter skelter really was the first punk rock sound and if yellow submarine did define psychedelia and i want to hold your hand launched pop and rocky raccoon became quintessential folk ballad,) u2 proved nothing if not that they could not duplicate those prototypes whatsoever. their song craftsmanship on their first two albums is amateurish, even though it makes up for deficiencies in other ways and areas.

on war they showed growth in melody while continuing to struggle with form. sunday bloody sunday may not have been a rebel song but the confusion came from the war march feel of it. what was strange was that they seemed to be straining to master the billboard hit and when they missed that mark, their courage and sincerity came off as endearing. finally, with new year's day they were able to produce a driving hook but then came the unforgettable fire, an album called "ethereal," by the critics of the day in spite of its single, pride (in the name of love,) eschewing accessibility in favor of an earnest message to the masses.

how did u2's appeal expand so consistently in their early years? it wasn't craft. yes, edge's guitar work improved and the band was often strong. bono's voice was phenomenal even while his poetry and songwriting were still coming up to speed. but in an age of duran duran and culture club, at a time when the clash seemed to shun the mainstream along with talking heads and others, while the big bands of the day, the arena rockers, were killing themselves with formula, and john lennon was toying with media, u2 clicked on demographic segments with lyrics such as on october's tomorrow:

who's coming back? he's coming back. i believe. jesus is
coming!

this positive message along with bono's voice turned many on to the band. when he sang in latin on gloria it was like he was making church cool and for those who spent an ample amount of time in church in those days, u2 made a perfect standard bearer. reading the early biographies and considering the band's own fundamentalism and participation in the shalom group bible study, helped many to identify with them then just as the same concept works for a whole new generation of listeners in the new century.

if u2 was a professional athlete, credentials for the hall of fame would already be set. the volume of sales year over year over the last 30 years is phenomenal. when the joshua tree was the biggest record in the world back in 1987 it would have been unlikely to predict the band would be able to sustain a place of relevance and major league sales for every succeeding album. still, rattle and hum sold in 1989 even if it was panned by critics.

achtung baby is arguably the band's best effort. on that record u2 can be seen in their prime, still young and rock and roll, citizens of the world navigating the realm of rock stars in new and interesting ways, connecting their art to that of david wojnarowicz on the one video, (depicting the aids crisis as similar to the fate of buffalo driven off cliffs by hunters, doomed, hopeless and plunging to death,) writing songs from the perspective of judas after having read a similar book of poetry, recording in places like berlin at a time when the wall was crumbling in an effort to be inspired by the time and feel the energy of a great movement. achtung baby was simply a bad-ass album.

next they seemed put off or perhaps frightened by their success. it was as if they felt like they needed to find inventive ways to be inaccessible while maintaining a new found hipness. in interviews in the early '90s u2 can be heard referencing the industrial bands like nitzer ebb and skinny puppy, and their sound on 1994's zooropa was similarly influenced. bono's poetry was sharp and arresting in contrast to the sound that was at times pretty, such as on 'stay,' but mostly off putting. even 'lemon,' a song with some of the best lyrics bono ever put to paper, seems like a tug of war. beneath bono's campy falsetto, edge chants a chorus:

a man makes a picture, a moving picture, through the light projected he can
see himself up close.

the lyrics are interesting but in some ways at odds with the music.

midnight is where the day begins

and there it is. beneath the experimentation and the disco and un-cool, there is a u2 lyric as proverb. midnight is where the day begins, is a metaphor. when things are at their darkest or bleakest, things can only get brighter. (this is a theme bono revisited in his writing several times over the years, perhaps most poignantly on 'all that you can't leave behind's,' stuck in a moment.)

next came 'pop.' in spite of the name and the modern techniques used in the studio, (looping, pedal effects, etc.) the lyrics proved bono's continuing progression. please is in fact a plea by bono to both sides involved in "the troubles," in northern ireland, to please get up off their knees and resolve their differences. leaving aside the album's opener, discotheque, (and perhaps miami,) 'pop,' is a heavy record.

as the new century arrived u2 finally decided to return to the mainstream with 'all that you can't leave behind.' dedicated u2 fans liked 'pop,' so for them the idea of a mainstream record was not necessarily welcome. however, the substance was there as usual. u2 had not only mastered the pop hook, they figured out how to pair it with insightful, meaningful lyrics and a brand of positivity uncommon to rock and roll. beautiful day is as anthemic as any of their early songs, (sunday bloody sunday, new years day,) but instead of being a tragedy or a struggle peculiar to one country, beautiful day is so universally accessible it ends up sounding like the national anthem for the planet.

u2 did not seem all that rock and roll on 'all that you can't leave behind.' they were nice, older rock stars, but the music kicked ass. it was listenable, catchy, at times driving and at other times artsy, ultimately it defied any critic who might pigeonhole u2 as irrelevant by virtue of their age or craftsmanship. nearly 10 years after it stands as the height of their careers even if 'achtung baby,' is preferred.

'how to dismantle an atomic bomb,' came next and while sales dipped, the dip was made slight by u2's affiliation with the apple corporation. u2's brand was advertised alongside apple's in a million-dollar media blitz in yet another example of the band's trailblazing nature. in years gone by such an affiliation would have been seen as some sort of sellout but u2 appeared by the ads to be endorsing apple and yet, they appeared in the ads for free. in other words, their compensation was in advertising, which was slick.

the affiliation for its part was typical u2. they chose apple carefully, for their ethos perhaps more than for their product. this affiliation was not unlike u2's affiliation with amnesty international in the '80s. both partnerships padded their fan base. from the advertising perspective, vertigo's "uno, dos, tres, catorce!", became the most memorable line from an ad campaign in the new millennium.

and now that 'no line on the horizon,' has disappointing sales numbers, it is obvious u2's arc is in decline. it's nothing to be ashamed of. the rolling stones's arc too, declined. what is actually more interesting is how long the band was able to stave off decreased sales, how long they were able to be relevant.

the band's extracurricular activities may not be for the purpose of promoting album sales or even keeping the band relevant in what has to be considered mid-life for men and more like the ancient years for a rock band, but they have played a role. bono was time magazine's man of the year in 2005, (along with bill and melinda gates.) his involvement with the one organization, data, and other organizations engaged in charitable work over the years has steeled his reputation as the earnest rock star who puts his time and effort where his mouth is and gains unprecedented results.

to discount u2 or bono is foolish. his place, like theirs, in the pantheon of rock's elite is guaranteed. as an individual of great accomplishment, bono's personal legacy is similarly secure.