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Buitenverblijf voor de Dutch Treat Zo Lang DeNis In Quarantaine Zit! deel4

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goeiemorgen allemaal, ben onderweg maar kan het niet ff laten om te kijken hoe het iedereen is vergaan!. WAANZINNIG dat iedereen gekregen heeft wat ie graagwilde hebben, ongelooflijk!!

Wordt een mooie zomer:-))


Ben snel weer verder!

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begrijp ik nu goed dat je je code bent kwijtgeraakt tijdens presale milan paul???

wat zijn die (sommige dan) vliegtickets toch lekker goedkoop!

anders haal je het echt niet in je hoofd om concerten in het buitenland te doen...

nah, misschien eentje....wink.gif

een slaapplek moet toch te vinden zijn paul....

en bestaat toch ook één of andere site waar je bij iemand op de bank kunt slapen??


http://www.couchsurfing.com/ misschien is dit wat voor je???happy.gif



presale ging perfecto, maar dat U2.com magnificent is?? ben ik voorzichtig mee..roll.gif


jess, neem het willy niet kwalijk......punt


succes voor de mensen die vandaag voor de presale gaan!!!! go for it!!!! banana.gif


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U2 sells out! (Pollstar) U2's European fans were buying tickets as fast as promoters could sell them; turning Goteborg, Milan and Amsterdam into completesell-outs. Sales were so strong each city got an extra date for the band's 360° tour. And, like the original dates, the additional shows sold faster thancorporations hitting Congress for bailout bucks. Take Goteborg, Sweden, for example. The original July 31 date at the city's Ullevi Stadium sold 56,000tickets within 30 minutes resulting, prompting a second show - August 1 - to go up and sell out before the day's end. Amsterdam, Netherlands, did a littlebetter by selling 60,000 tickets for U2's July 20 gig at the Arena within 15 minutes of going on sale. That's 4,000 tickets sold per minute, workingout to just almost 67 tickets per second. A newly added second show - July 21 - is also sold out. And Milan, Italy? 80,000 sold for July 7, while the addedshow scheduled for July 8 will go on sale this Friday. Then there's the band's hometown gig in Dublin at Croke Park. Tickets for the July 24 stophaven't even gone on sale yet, but the ticket sales in Sweden, Italy and The Netherlands prompted Live Nation and the band to slot at least one additionalDublin show, now scheduled for July 25. Both Dublin shows will go on sale this weekend. What's next? Paris, Nice, Chorzow, London, Glasgow, Sheffield andCardiff go on sale this week, and if the past weekend is any indication, this time next week we'll be reporting on additional shows in those cities. Staytuned.




tis een beetje lastig lezen......amsterdam, 67 tickets per seconde....wow.....

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Bono buys TODAY a round (MSNBC)


While in Dublin working on our show from Ireland, our staff had a

chance to share a drink with one of the biggest rock stars in the world.


Bono bought a round of Black Velvets (Guinness and champagne) while

telling us about Ireland and the band's new album.


He just happened to be passing through our hotel and while I think

most of our conversation was off the record, I hope it is fair to

share that his favorite song to perform live from "No Line on the

Horizon" is "Breathe."


Thank you, Bono for the warm welcome and proof that Ireland is a

magical place where anything seems possible.


"The people we meet will not be drowned out."

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U2 in Their Own Words (Rolling Stone)




Bono and Co. on the band's lifespan, their aborted Rick Rubin sessions

and the legacy of "Pop"




As they reclaim their position as the world's biggest band, U2 open up

about their internal bond and how Pop led them to their new Horizon.

Here are key outtakes from our cover-story interviews with Bono, the

Edge, Adam Clayton and Larry Mullen Jr., who also discuss their

aborted Rick Rubin sessions and how long U2 will go on.


On the band's lifespan:


Adam Clayton: My thinking has changed over the years, and I now think

if you are an artistic entity like U2 is and you have created these

songs, there's no rulebook that says you can't ever perform those

songs again at some point in your life. In my opinion, if you've

written a song, it's valid for you to perform it however many times

you want, wherever you want to. And if people want to turn up and pay

money to experience it with you then, you know, that's very nice.

Music and song writing are about communication. So it's something that

you do with other people. You commune. So I don't really think there's

a point when you should stop doing it. I mean it may be, it may be

allegedly embarrassing for some people to see you up there performing

songs when you're dribbling. But if they're your songs, you're

entitled to it.


The Edge: We're all changing. We're all growing up and we're all going

through what you go through when you have families, when you have a

big house and a dog, whatever. It's not like we're all living in the

same flat anymore. But I think we all know that there's something kind

of touched about the way the four of us interact musically.


We've weathered so much stuff over the years that could well have

broken up a group and we're still here. I think it's down to a number

of factors. First off there's genuine friendship and regard personally

between the four members of the band. We hang out together. We enjoy

each other's company. We see each other on our break times as well as

when we're working. It's not like I'm rushing to get out of the studio

to see my friends. I'm in the studio with my friends. That's sort of

unique. I think we all fully appreciate how special it is, how unique

it is to still be making great music after so many years. We don't

want to fuck up. It's too precious.


When anyone has a bad day and they want to leave the band or throw

someone else out of the band, it doesn't last very long. I

occasionally go through this thing, once a decade, where I go, "OK,

that's it, I've had enough. It's over. It's all too much." And then I

go through the process: "OK, what am I going to do with my life now?"

So I start thinking, I would still want to make music. Am I a solo

artist? To be perfectly honest, I'm not a solo artist. I need to find

collaborators. OK, who do I want as my drummer? Fuck, there's no one

better than Larry Mullen. What about bass? Shit, it has to be Adam.

OK, singers? Oh shit, there's no one better than Bono. So I end up

redesigning us for better or for worse. It's kind of ideal. That's not

to say that it is not challenging.


I just know I make better music when I'm working with Bono. I make a

lot of music on my own but no one ever hears. It just gets better when

I'm working on it with Adam, Larry and Bono and Brian [Eno] and Danny

[Lanois]. Who knows, at some point I might do some more collaborations

outside of the band or solo projects. But I'm not rushing to. I like

what I do.


Larry Mullen Jr.: We don't always like each other but we respect each

other, and we love each other. Marriages don't last this long. Will it

stop working at some time? I'm sure it will. It's not indefinite.

There will be a time where it's like, "It's time to go," and I would

like that time to be on a high when you're still achieving, as opposed

to on the curve down. That'll be sad for me. I think it'll be a more

dignified time to actually go, "You know what? That's the end of that

period" and we might come back in five years time and may do something

together just for old times sake 'cause we know we'll want to. And I

think that'll be a beautiful end to a long a beautiful career.


No [i haven't discussed this with my bandmates]. We don't discuss a

lot of things. I'm just saying what I imagine it would be like, but I

don't know. Of course it can't go on forever. It just can't. And if it

ended tomorrow, would it be sad? Sure. But it wouldn't be the end of

the world. It helps, I imagine, that you have a family, that you have

a life outside the band. As a younger man would it have felt like the

end of the world? I think it would have been more difficult. But my

family is obviously important, as is everybody's in the band. It's an

important part of our life.


On the aborted Rick Rubin sessions:


The Edge: I think had we finished the songs, it would have worked, but

we sort of hadn't really finished the songs. It's typical for us,

because it's in the process of recording that we really do our

writing. But we'd almost have to make a record with Brian [Eno] and

Danny [Lanois] first, then go and re-record it with Rick Rubin. And we

may do that. We did start material with Rick, which I still believe

in. I would love to get back to that project at some point. I wouldn't

rule it out.


Adam Clayton: Rick was great; he was very focused and I was excited.

The material was of a very high standard, but it sort of became clear

that the things that we were interested in � in terms of, once we have

a song, we're interested in the atmospherics and the tones and the

overdubs and the different stuff you can do with it � were things that

Rick was not in the slightest bit interested in. He was interested in

getting it from embryonic stage to a song that could be mixed and put

on a record. And we're almost the kind of band that goes, "Well, sure,

you've got it to that point, but now how far can you push it?" He was

committed to that process of getting it to that finished stage, and

then at the point when we were kind of excited to push it further,

that's almost the point when he lost interest.


And I think initially, we had sort of said, "Well, you know, it's

gonna be interesting to do a sort of stripped-down, sort of Rick

Rubin, back-to-basics kind of record," and then as we as we kind of

examined that it was like, "Well, all that would be doing is kind of

making a kind of slightly better version of what we've already done."

And we just didn't feel that the next record should be that.


I'm sure we'll go back to those Rick Rubin tunes and that Rick Rubin

session, but I guess we just thought, at the time, that wasn't what we

were interested in. We weren't interested in redefining the basic U2.

It would've been, you know, no overdubs � just band takes and here it



Larry Mullen Jr.: Simple as this, I've a huge fan of Rick, he's a very

nice man, an incredibly talented man, but we weren't ready. He's got

very, very great skills but we are just slightly slow and we don't

learn quickly and we thought we were better than we actually were. So

when we went in to record the songs, he was confused and so were we.

He did a lot of work, but they weren't right. And it's nothing to do

with him. At all. And it's not his fault. It has been reported that he

was dropped off the project and whatever � but that's not true, it was

more that we needed to have something to work off of, and that's what

Brian and Danny do.


On the legacy of Pop and PopMart


Bono: The film PopMart Live From Mexico City is the best thing, audio/

visually that U2 has done. Eclipsed only by U2 3D, in my view. It's

better than Zoo TV, it's better than all of them. It's really, quite

shocking. It's unfortunate that we weren't able to play that well at

the start of the tour as we did by the end of it, by the time we got

to Mexico.


As regard to the album, yeah, I have some regrets and I think we fell

in between two stools on that album � we neither made a dance or a

combo album. And we also lacked editing and the hooks weren't good

enough, but I think I really liked the subject there and I really

liked, what I attempted for. Can you imagine, the best way of looking

at that album is: if "Discotheque" had been to U2 what "Sledgehammer"

was to Peter Gabriel then you'd understand where we were coming form.


So after that, we did two back-to-basics albums. With No Line on the

Horizon, we wanted to really push the combo format. But what we

actually said is "OK, if we are going to go polyrhythmic, if we are

going to go into that mode, let's do hand-made digital, you know,

let's do hand-made electronica." That is, actually, what the music is,

it's not on a grid, it's not tightly formatted the way dance music is.

The emphasis was on playing live in the room but using some electronic

instruments. But we got those sounds, those extraordinary sounds,

without losing the thing that a band can do when it is playing live.

We got both. That is what we didn't manage to do on Pop.

On "Breathe"


Bono: I stepped into this character, like ... I think it was a little

bit influenced by The Music Man. You know that musical? The scene on

the train? It's a way to use words in a percussive way but not have it

be hip-hop. It's somewhere between, you know, "Subterranean Homesick

Blues" and I did a kind of character a bit like that at the end of

"Bullet the Blue Sky." I just wanted to get to a new place as a

lyricist, and, I just thought making these short jabbing things made

really great sense over those chords. Edge just came up with a chord

sequence there and I just liked the bracing tone. I was thinking about

it in a very physical way. I was improvising it � the lines were

coming out like that.

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weet iemand toevallig of er in wembley ook een 2e datum komt, de 15e aug. bijv. In de arena was bekend dat er 2 dgn gereserveerd stonden voor U2, de 20eofficieel de 21e officieus, ik wil namelijk liever kaarten voor de 15e, maar dan nog vraag ik me af of de 15e als ie er al komt dan ook in de presale komtzoals nu de 2e dag in milaan ook in de presale zit. heeft iemand toevallig ergens gelezen of info opgedoken over een 2e datum in wembley?? alvast bedankt eniedereen succes met kaarten kopen.

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