Friday, March 06, 2009

U2’s NLOTH spiritual resonances (pt 1)

Am prepping for an updated talk on U2 at the ELF in Hungary this year - so obviously paying close attention to the new album, No Line on the Horizon. Here are a few biblical & spiritual resonances that I’ve picked up. There are probably gazillion others. Various bods out there are saying that it is one of their most Christian albums to date - and various obsessives are doing this sort of thing. So for what it’s worth, here’s my stab at a contribution. If I’m onto something with even half of these references, it is pretty exciting. And I have a bit a of a theory to do with the hymn Amazing Grace

Moment of Surrender

This song has got a lot of people’s attention - and it’s certainly grabbed mine. A powerful, slow burn - it starts with a muffled rhythm section before opening out into something a bit more straightforward, accompanied by the humming of a Hammond organ, giving it a gentle gospel sonic landscape (well i don’t normally talk like that, but because Brian Eno is involved, i feel justified). Like so many, it can be understood on various levels. It indulges in the trad. U2 blurring of human relationships with our relationship with Christ (just as Paul did in Ephesians 5 - and perhaps Song of Songs) - two souls too smart to be in the realm of certainty even on our wedding day. Weddings of course are about BOTH - but perhaps it’s a bit more edgy than a neat fit, because presumably after the wedding supper of the lamb there will be some degree of certainty…

On the human level: in an exclusive human relationship, one has no eyes for anyone else (I did not notice the passers-by and they did not notice me), one doesn’t have absolute certainty in the decision one is making (we’re too smart for that), but there is a passion and fire in love (we set ourselves on fire).

Then comes the magical lyrical turning point: It’s not if I believe in love But if love believes in me, Oh believe in me. Fabulous. This is the invasion of grace - or rather the yearning for it. There is a sense of wonder in a great human relationship that love has come - but surely it is even more applicable to Christ’s call (and he’s just cried Oh God in the previous line). There is a shrinking back, a doubt that love might not come cf. George Herbert’s LOVE BADE ME WELCOME.

But the key change comes at the moment of surrender, I folded to my knees. This is echoed earlier in the song by another role reversal - playing with the fire till the fire played with me. But that’s what happens when we start getting involved with God - he is so much bigger, so much greater. We put him in the dock only to find ourselves in the dock; we think we’re doing him a favour by loving him, but find that his is the greater favour. Such surrender could sound like a subjugation, a resignation. But the music lifts it up to a moment of joy - with the Edge’s backing vocal giving it a sense of shared joy.

And that is done without any concern about passers-by. Who cares what they think? [For that matter, who cares what music critics might think if they whinge or cringe at the spiritual dimensions of U2 songs, eh?!] What matters is what LOVE thinks… Hence the last 2 versions of the chorus: at the moment of surrender of vision over visibility I did not notice the passers-by. It is about having the courage to sing because the importance of what is happening eclipses everything else (cf. singing in Breathe below)

The clincher of course for arguing the Christian significance is the fact that I was speeding on the subway through the stations of the cross. What is that if not a clear meditation on the passion of Christ, the events of the last few hours of his life. Every eye is looking the other way - but he still surrenders. A little echo perhaps of Joseph & Nicodemus?? They were prepared to get involved in the passion, at great personal cost, when everyone else had turned their backs (John 19:38-42).

That is what makes his staring reflection in the ATM screen bearable - he had been in ‘every black hole at the altar of the dark star‘ and was reduced to beg … to be released from control - what is that if not a pleading for rescue? ≈ Romans 7:24-8:1 Who will rescue me from this body of death…? The only hope for the apostle Paul, and for the subject of this song, is the moment of surrender.

Unknown Caller

This opens with a weird sustained whining noise, and the echoes of birdsong - it feels like the long lonely hours of the early hours - lost between the midnight and the dawning in a place of no consequence or company. It actually gives sound to those times of lying awake and longing for the dawn (sunshine, sunshine) - a very Psalmic thing to be doing. (e.g. Psalm 63:6; Psalm 119:147). But what do you do with that time? Often you pray. This is a song about prayer - and about God speaking. For he is presumably the eponymous Unknown Caller. But when it gets going, it is anthemic - I can see it getting the stadiums going. Can’t wait.

3.33 when the numbers fell off the clock face ≈ It’s that number again! Jeremiah 33:3 is the almost the U2 motto verse - remember the airport gate sign on the cover of All you can’t leave behind? It is particularly appropriate for this song, for there God says, “Call to me and I will answer you and tell you great and unsearchable things you do not know“. And this is immediately followed by the chorus, sung (or rather, almost said) by both Bono & Edge together. This is GOD, in his triune plurality, talking:
Go, shout it out, rise up ≈ God calls on people to get out there with ’shouts of joy’ Psalm 105:43

Hear me, cease to speak, Shush now ≈ we have domesticated Psalm 46:10 with soppy christian choruses about being quiet and meditative. But actually, this Psalm is telling people to Shut Up! and stop their gabbling and mumbling - he is the exalted God! So shush now…
That I may speak ≈ he is a speaking God! And our gassing drowns out what he says.

Force quit and move to trash // restart and re-boot yourself ≈ you can tell Bono is a Mac user! And so, by the sound of things is God. It is about stopping in your tracks - going back to the scene of the accident; I sat there waiting for me. Repentance, in other words, isn’t it? Is this waiting for the new/real me/rebooted and therefore reborn me? Is this not an appeal to go back to the moments before the moment of surrender? But when you get to that point,
you’re free to go.. shout for joy if you get the chance, password, enter here, right now ≈ passwords have biblical precedence: e.g. shibboleth (Judges 12:6) But who is our Shibboleth if not Jesus himself. He is the one who gets us in and who makes us truly free. John 8:32-36; Rom 8:2
you know your name so punch it in is this the new name that Jesus has revealed to those who are his? Revelation 2:17 Or is it Jesus’ name again, the name that he has revealed (cf. Philippians 2:11)

White As Snow

Simply beautiful rearrangement of the melody from the old advent carol, O Come, O Come Emmanuel - which is itself all about living in, and longing for the end of, the Last days. The title imagery is explicit - Isaiah speaks of the sins that are scarlet becoming white as snow (Isaiah 1:18). But the song is not as simple as a declaration of the wonders of forgiveness. Is it more of a reflection of the reality of sin in the believer’s life? It is apparently a soldier’s tale, lying dying by a road (hence poppies and passing wolves), perhaps in Afghanistan or Iraq - under a crescent moon.

If only a heart could be as white as snow ≈ this is the central yearning of the song. It is both a yearning for his own heart to be white (he and his brother have faces that are as pale as the dirty snow), and a recognition that it is only possible with someone who is the lamb white as snow.

Now the wolves are passing by, every face we cannot know ≈ could this be religious charlatans (wolves in sheep’s clothing) - Matt 7:15

Breathe

This is one of my absolute winners. My first impression is that it’s a reflection on how in Christ we have the fullness of life, despite whatever the world has to offer us, even if that means there is suffering and cost. It takes courage, it takes a determination to serve sacrificially - but I’ve found grace and so i can breathe now… In other words, i can TRULY live. It is set in the real world of news reports (e.g. Chinese stocks and Avian flu). There is nothing more fundamental than breathing - nor pleasurable when you think about it: think of taking a deep and long breath on a cold crisp blue-skied winter’s morning in the countryside.

Invite a complete stranger into my home - would you Matt 25: 35, 38, 43 - would you invite Jesus in…? Even (in context here) someone who is selling things on the doorstep? But isn’t that what Jesus expects us to do with him - which is why, after he’s come, these days are better than that
Every day I die again, and again I’m rebornTitus 3:5 (on rebirth and grace); but mainly 1 Cor 15:31 - Paul speaks of the way he pours out his life for the Corinthians at great personal cost, which is preciesly the point that seems to flow from the next line…
Courage to walk… with arms out Rom 12:1-2 - because of his mercy, offer yourselves…
Got a Love you can’t defeat Rom 8:35, 38-39 - NOTHING can separate us…

The key is in the choruses I think:

Nothing you have that i need, i can breath, breath now ≈ is this an echo of the temptation in the wilderness? The devil offers all kinds of things that will alleviate suffering - but Jesus refuses of course - for he has true life. Rom 5:17 - how much more abundant grace through one man…? cf. John 10:10 life in all its fullness…

walk out into the street, sing your heart out ≈ in some ways this is classic psalmic theology - praise and singing in the Psalms is nearly always has 2 axes: vertically, in praising God for all that he is and does; horizontally, in simply telling people how great he is. e.g. Ps 9:11, 18:49

I found grace inside a sound… all that i found… i can breathe now ≈ I still haven’t found what I’m looking for (heaven) but I HAVE found this - grace and so i can truly live and breathe in the meantime. Is the sound (cf. Get on your boots) therefore song of the gospel? So without being too reductionistic, at least one of the songs be that totemic hymn Amazing Grace [nb it's first line:] how sweet the sound (cf. Bono’s conversations with Steve Turner mentioned at the start of Steve’s history of the hymn)? - cf. John 1:16 fullness of grace…

Stop Helping God Over the Road

U2's new album is truly gospel - Bono and his band spreading the good news of God's love and grace

March 6, 2009

Without a line on the horizon, we may feel like there is no limit to how far we can go. But it also makes the seas difficult to navigate.

That is, in many ways, where we find ourselves today. It's as infinitely terrifying as it is exciting. Where do we go from here and how do we find our way?

U2's 12th studio album, "No Line on the Horizon," gives a few great answers, if you have the ears to hear and the eyes to see them. (I hope you do.)

More than 25 years ago, when I dropped the needle on a U2 album for the first time, I heard the words of a familiar liturgy -- "Gloria in te domine, Gloria exultate!" -- punctuated by the keening sound of The Edge's guitar and followed by Bono's gnarly tenor shout-singing, "O Lord, loosen my lips!"

My soul did a backflip and kept on tumbling. ...

Earlier this week, while listening to "No Line on the Horizon," I felt that familiar movement in my spirit over and over again. First with the sacred anthem, "Magnificent," which tossed me into the air and sent me soaring. Listen to the words:

I was born to sing for you

I didn't have a choice

But to lift you up

And sing whatever song you wanted me to

I give you back my voice

From the womb my first cry

It was a joyful noise ...

Justified until we die

You and I will magnify

Magnificent

Some misled critics have booed Bono for that song, misinterpreting "I was born to sing for you" as a boast to his audience, rather than the prayer to his Maker that it is. (Mind you, this is the same lyricist who later on the album seemingly refers to himself as a "Napoleon" and cautions, "be careful of small men with big ideas.")

There is plenty of rock 'n' roll levity and grandeur on "No Line on the Horizon," but it is eclipsed by the heart and soul of this album -- perhaps the most dynamic gospel music I've ever heard.

With The Edge, Larry Mullen Jr. and Adam Clayton, Bono began the odyssey that became "No Line on the Horizon" at a rented riad in Fez, Morocco, in June 2007 during the international festival of sacred music.

"[Bono] thought that our job was to create contemporary gospel music ... that we are essentially soul musicians that look for soul in what we do," Daniel Lanois, one of several producers on the new album, told Rolling Stone magazine recently.

Fez is "a holy city for music and musicians," said Bono, and the band was on a pilgrimage -- to listen and to learn -- to go wherever the music (and the Spirit) took them.

As he has for years, but not as explicitly so since 1991's "Achtung Baby," Bono, the band's chief lyricist, has laced "No Line on the Horizon" with the language and images of his humble Christian faith.

The result, however, is a work of gospel music -- "gospel" in its literal sense as "good news" -- for people of all faiths and none. The ecstatic language and imagery Bono evokes throughout could have been penned by the Hebrew King David or Sufi Muslim poets Rumi or Hafez, as much as by a latter-day Christ-follower from Dublin.

One of the most eloquent examples is "Moment of Surrender," which says in part:

My body's now a begging bowl

That's begging to get back

Begging to get back to my heart

To the rhythm of my soul

To the rhythm of my unconsciousness

To the rhythm that yearns

To be released from control

Faced with a horizon-less journey, isn't that what so many of us want right now -- to have someone else steer the ship? To lose control and surrender?

The Spirit feels like the unnamed fifth member of the band on this album more than any other. Its presence is subtle, but powerful.

Whether it's as an unknown caller (or perhaps the one the unknown caller is dialing), a comforting father who frees us "from the dark dream" and hands us "candy floss" and "ice cream," to the one who challenges us to walk into the frightening world with open arms (and hearts), God's love and grace are present.

"God is love, and love is evolution's very best day," Bono sings in "Stand Up Comedy." "I've found grace inside a sound, I found grace, it's all that I found," he sings on "Breathe."

In a beautifully confessional song (with a tune based on the 16th century hymn "O Come, O Come, Emmanuel"), Bono seems to say that even when it feels like we've lost sight of what matters, what's real and enduring, it's right there. "White as Snow," which Bono says was written about a dying soldier's last moments in Afghanistan, says:

Once I knew there was a love divine

Then came a time I thought it knew me not

Who can forgive forgiveness where forgiveness is not

Only the lamb as white as snow

U2 intends to release another album by year's end, one tentatively called, "Songs of Ascent." Bono has said it will be "a more meditative album on the theme of pilgrimage."

I'd guess it'll be for a place that has to be believed to be seen.

My bags are packed.

U2 on Good Morning America Part 2

U2 on Good Morning America,

Wednesday, March 04, 2009

Letterman's Top 10 Things U2 Has Learned Over the Years

U2 plan quick sequel to new album

LOS ANGELES (Reuters) - U2 just released its first album since 2004 this week, but the Irish rock band is already planning a quickie follow-up for next year.

The new disc will be called "Songs of Ascent," and it will be more mellow than the current album, "No Line on the Horizon," singer Bono says in a cover story in the latest issue of Rolling Stone magazine.

"We're making a kind of heartbreaker, a meditative, reflective piece of work, but not indulgent," the magazine quoted him as saying.

Bono likened the new project to jazz icon John Coltrane's 1964 tour de force "A Love Supreme" -- "which is to say, with that album, I almost take my shoes off to listen to it."

The first single will be called "Every Breaking Wave," a track pulled at the last minute from "No Line on the Horizon," U2's 12th album since 1980.

As with many of it previous recordings, "No Line" was a challenging project, with the quartet spending two years on scattered sessions in five countries with four producers.

"It is now easier and more affordable to record a song than at any other time in the history of recorded music," U2 bass player Adam Clayton told Rolling Stone. "Unless you're U2."

In proclaiming the importance of composing strong hit singles, Bono inadvertently took aim at a legendary rock 'n' roll forerunner by saying U2 has a meandering "Pink Floyd side" that "has to be balanced by fine songwriting."

Why U2 really are better than The Rolling Stones AND The Beatles

You may have noticed that U2 are about to release a new album. They seem to have taken over the BBC to announce the fact (they’ve even been on Radio Five Live, a station more used to 'Boro than Bono).

They’re unquestionably the biggest band in the world and yet they first tasted success in the Eighties, a decade derided these days for being responsible for ra-ra skirts and Johnny Hates Jazz. Indeed the continued success of U2 underlines a highly significant yet overlooked aspect of that most maligned of decades: that the Eighties were much better for music than the vastly overrated Sixties.

You might already be spluttering about The Beatles this and The Rolling Stones that and wondering what Boy George ever did for music. But I can prove empirically that bands from the Sixties were creative for a shorter period of time than their Eighties counterparts.

U2

Biggest and the best: Adam Clayton, Bono, Edge and Larry Mullen in New York today where West 53rd Street was temporarily renamed U2 Way

For instance, let's take a look at the Rolling Stones' recorded output. They released their first album, The Rolling Stones, in 1964. When did they make their last half decent album? 1978's Some Girls?

At a push, 1980's Emotional Rescue. That gives them a creativity span (CS) rating of 16 years at the most.

How about The Beatles? Even including the mostly dreadful solo outpourings of Lennon, McCartney, Harrison and Starr, that leaves their last acceptable effort as Wings' 1978 album, London Town, which came a decade and a half after The Beatles' 1963 debut, Please Please Me, a CS rating of 15.

OK, so we've dealt with the creative lightweights of the Sixties; let's move on to the Eighties and U2.

The Beatles
Mick Jagger

Overrated: The Beatles and The Rolling Stones

Their first album was 1980's Boy. Their last album, How To Dismantle An Atomic Bomb, sold in excess of 10 million, and saw them on tour playing to more people than ever before.

U2 are still critically adored and commercially vast. The release of No Line On The Horizon gives them a CS rating of 29, not far short of double of that of The Beatles.

Now take Depeche Mode (CS rating 28), whose imminent new album Sounds Of The Universe is being acclaimed as a career high.

There are others too who easily creatively outpunch the Sixties icons, including The Cure (CS rating 25), New Order (CS rating 21) and Red Hot Chili Peppers (CS rating 18).

So why have Eighties bands so clearly outlasted their more lauded Sixties counterparts?

Simple. They were all born out of the embers of punk and new wave and they've retained that restless, adventurous, questing spirit.

Punk may have become a debased cultural currency now (and it was responsible for some terrible bands at the time) but its enduring ideals have been responsible for some of the finest music of the last 30 years.

Bands from the most ridiculed of decades are still pushing on, unafraid of change and trying something new, making some of the best music of their creative lives. The Rolling who?

A blueprint for a 'remaking'

By Jonah Goldberg

The economy is in the Slough of Despond, according to President Obama. If we don't do what he says, we invite a catastrophe from which we may never recover. Indeed, in his address to Congress last week — in a passage intended to be hopeful and uplifting — Obama compared our plight to that of America in the darkest days of the Civil War, Great Depression, World War II and the Industrial Revolution.

http://blogs.usatoday.com/photos/uncategorized/2009/03/02/axxbudgetforum.jpg

(The fine print: President Obama’s first budget is titled, “A New Era of Responsibility.”/ Pablo Martinez Monsivais, AP)

But there's good news! According to his budget — which he assures us is an "honest accounting" of our predicament — the economy will shrink by only a measly 1.2% this year (it fell by a 6.2% annual rate in the final quarter of 2008) and then take off next year with 3.2% growth and soar for years to come.

So which is it? Are we facing the biblical doom described in Ghostbusters where fire and brimstone come down from the skies, rivers and seas boil, the dead rise from their graves, and dogs and cats live together? Or, are we in a steep-but-conventional recession that will run its course by the end of the year and be replaced by higher than normal growth?

Well, it depends on which Barack Obama you happen to be listening to. It's tempting to say the man is two-faced, but that seems like a woeful undercount. The man has more facets than a disco ball, more angles than a rhombic triacontahedron.

He cites — and incites — fear over the financial crisis, the recession and the housing mess to justify his enormous expansion of government, but most of his priorities have little to do with any of these things. Candidate Obama promised a net budget cut. But President Obama wants to increase discretionary spending by 12%. He proposes increasing taxes by $1.3 trillion and entitlement spending by at least $700 billion, but insists that he doesn't believe in "bigger government."

Fiscal schizophrenia

He loves to point out that he inherited a large deficit from the Republicans — which he did. But for reasons that are hard to grasp, he then suggests that this means Republicans have no right to complain when the deficit quadruples in one year or when he seeks to spend trillions of dollars on programs that have nothing whatsoever to do with ending the recession. Democrats flayed President Bush for deficits in the $300 billion to $400 billion range, when the country was at war and recovering from 9/11. Obama boasts that the deficit will be down to $500 billion to $600 billion during "peace and prosperity" — and that's only if his absurdly rosy scenario comes to pass. And we are supposed to applaud his fiscal seriousness to boot.

But the schizophrenia runs even deeper. The White House and congressional Democrats simultaneously caterwaul about the deficit they inherited from Republicans while they also tsk-tsk the GOP's woeful failure to spend on "underfunded" domestic priorities. During the Bush years, spending — whoops, sorry, "investment" — in most of these burning domestic priorities soared: education (58%), Social Security (17%), Medicare (51%), health research and regulation (55%), highways and mass transit (22%) and veterans' benefits (59%). But, according to Democrats, if they had been in charge we would have spent a lot more on these pressing needs and we wouldn't have this terrible Republican-fueled deficit. How does that work?

The White House says withholding $13 less each week from most workers' paychecks is a major tax cut. But it doesn't see raising the cost of gas, electricity and heating oil as a tax hike. Some even say that raising taxes on energy, and therefore manufacturing, not to mention investing and small business, isn't a great idea in a recession.

Fortunately, Obama says this will all work out, and his words trump any form of earthly logic. For example, the president claims that he's actually cutting the budget by not spending money on the Iraq war. The problem is he's counting enormous spending on Iraq — $170 billion a year — that not even President Bush ever envisioned, all the way through 2019 (Bush planned on a 2012 withdrawal). In other words, he's "cutting" hundreds of billions from money no one ever planned to spend, in years when he won't even be president, and touting that as savings. Why not simply count the trillions in savings we would reap from forgoing a long and brutal war with the Klingon empire?

Have I got a deal for you

No, seriously, try this with your boss sometime. First, go buy a Mercedes on the company credit card. Then tell him that you saved money because you were planning on buying a Lear Jet — two years after your mandatory retirement age. Then ask him for an attaboy, or even a raise. See what he says. I dare you.

Meanwhile, not a penny of the actual money raised under the Obama budget ever goes to reducing the deficit. It all goes to new or increased spending. Obama says that he and his team went "line by line" through the budget and found "$2 trillion in savings." But along with the fictional Iraq war savings, the bulk of the rest — a trillion dollars — comes from increased taxes.

And that's the translation key to both Obama's rhetoric and his numbers. Raising taxes is, in Obama's eyes, a form of "savings" because whatever money you earn belongs first and foremost to the government. As he told Congress, Bush's tax cuts amounted to a "transfer (of) wealth to the wealthy." In pre-Obama America, keeping more of the money you earned wasn't considered a government transfer payment. But, as he promised in his inaugural address, his goal is the "remaking of America." With little more than a month in office, he's off to a good start.

Jonah Goldberg, editor at large of National Review Online, is a member of USA TODAY's board of contributors.

U2's Magnificent on Letterman, Night #2

U2's Breathe on Letterman, Night #1

Tuesday, March 03, 2009

Theologian Calls New U2 Album 'Most Thoroughly Christian' Project to Date

No Line On The Horizon, the latest album from Irish rock band U2, has finally hit music stores in North America after its worldwide debut Friday in Ireland.

And according to a theologian in Alabama, it’s “the most thoroughly Christian thing they’ve done yet.”

“Like the last two albums, No Line is much more overt in its Christian rendering of the world, what with lyrics like ‘Justified until we die/You and I will magnify/Oh, the Magnificent’ from the album's second track,” commented Steven R. Harmon, an associate professor of divinity at Samford University's Beeson Divinity School in Birmingham, Ala.

“Yet what qualifies this album as thoroughly Christian is not so much its pervasive biblical/theological images as its overarching eschatological vision,” he wrote Friday in a music review featured by the Associated Baptist Press.

The Christian themes in U2's music have been widely recognized since their 1981 album, October, which was ranked as No. 41 on CCM Magazine's 2001 list of the greatest Christian music albums of all time. Also included in the list was the group’s 1987 album, The Joshua Tree.

“The youthful October (1981) set the scene for what was to follow,” writes the Rt. Rev. Nick Baines, bishop of Croydon in South London, in his recent book Finding Faith: Stories of Music and Life.

“Songs of spiritual recognition and searching (‘Gloria,’ or ‘Tomorrow,’ for example) mingle with the exploration of love and lust,” he adds.

Of course, not all the songs included in U2’s albums have a Christian worldview, and some are arguably far from Christian, leading many conservatives to question the group’s beliefs. Those that are, however, have gone as far as to make their way into churches across the country and around the world, where they used as hymns, particularly in Episcopal churches.

"U2 is good at the art, using language like a poet would, like the classic hymn language,” the Rev. Christian Scharen, director of the Faith as a Way of Life Project at Yale Divinity School, told USA Today in 2006, two years after the release of U2’s last album, How to Dismantle an Atomic Bomb.

“Listen to their lesser-known song ‘Daddy's Gonna Pay For Your Crashed Car,’ which is about grace,” the Lutheran minister added. “We mess up, but God is merciful. That's playful."

Regarding their latest album, Professor Harmon in Alabama says seven of the album's 11 songs invoke its central eschatological metaphor, which he says is the “sound of the divine song, heard only by those who have the ears to hear it, yet unconsciously sought by everyone, for all people were created to hear and sing this song.”

Within this framework, No Line calls people’s attention to the discordant dimensions of our world, Harmon adds, noting that the album’s basic message is that earth is not yet heaven.

“[T]he album summons us to ‘Get On Your Boots’ and work toward the day when things will fully be on earth as they are in heaven – when heaven and earth will be indistinguishable, and there will at last be no line on the horizon,” he wrote in his review.

Written and recorded in various locations, No Line On The Horizon is U2's 12th studio album and is their first release since the nine million selling album How To Dismantle An Atomic Bomb released in late 2004.

Rolling Stone magazine has already awarded No Line on The Horizon five stars, calling the album U2's "best, in its textural exploration and tenacious melodic grip, since 1991's Achtung Baby."

Christianity Today, meanwhile, said the album offers some of the most thoughtful and introspective lyrics put out by U2 frontman Bono, who the magazine noted as being “in love with Jesus and himself in equal measure.”

“There are the usual ‘is it Jesus or a girlfriend?’ teases, but those looking for more depth will find much to savor,” the evangelical publication added.

Manhattan street has a name: U2 Way

Members of the rock group U2, Adam Clayton (L), Bono (2nd L), ...
Members of the rock group U2, Adam Clayton (L), Bono (2nd L), ...
Members of U2 watch as New York City Council Speaker Christine ...
Members of the rock group U2, Bono (L) and Edge (R) hold street ...
Singer of the rock group U2, Bono (L), walks down the street ...

Singer of the rock group U2, Bono (R) sits in a cafe with New ...

Singer of the rock group U2, Bono (R) sits in a cafe with New York Mayor Michael Bloomberg after a portion of West 53rd Street was renamed U2 Way in New York March 3, 2009. U2's new album No Line On The Horizon was released today.


Members of the rock group U2, Adam Clayton (2nd R), Bono (C) ...

NEW YORK (AP) — This street does have a name — U2 Way.

To celebrate U2's weeklong gig on CBS' "Late Show With David Letterman," a block-long stretch of West 53rd Street was temporarily renamed after the veteran Irish rockers on Tuesday.

"Somewhere south of Duke Ellington Way and north of Joey Ramone Place we find ourselves," said lead singer Bono. "And we're the band where the streets have no name."

The four band members joined Mayor Michael Bloomberg and City Council Speaker Christine Quinn in unveiling the "U2 Way" street sign on Broadway across West 53rd Street from the Ed Sullivan Theater, where Letterman's show is taped.

Scores of fans cheered from behind police barricades as Bloomberg presented each U2 member with his own copy of the sign.

"Edge just said this is the first time he's been seen with a street sign and not been arrested," quipped Bono, referring to guitarist The Edge.

U2 is on "Letterman" all week to promote their new album, "No Line on the Horizon."

"The boys are in town for a weeklong stint with the king of late night, David Letterman," Bloomberg said. "And it's a historic event for late-night television right here in the capital of late-night television."

U2 has sold tens of millions of records, and Bono has become a leading crusader against poverty and disease in the developing world. Tuesday's event at least temporarily adds the band to a musical map that includes Duke Ellington Boulevard in Morningside Heights and Joey Ramone Place in the East Village.

Bloomberg thanked all the band members for their humanitarian work and added, "No wonder everyone in the city including me considers these four Dubliners honorary New Yorkers."

Bono, wearing his trademark wraparound glasses, was equal parts raffish rock star and policy wonk. He praised Bloomberg's substantial philanthropic efforts to improve public health.

"The Anopheles mosquito kills about 3,000 children every day, of malaria, and his work in Johns Hopkins down there is really important work in ridding the world of the Anopheles mosquito," the singer said.

Bloomberg has given tens of millions of dollars for medical research at The Johns Hopkins University in Baltimore, his alma mater.

Band members posed for photos in the frigid sunshine and said they considered New York their second home.

"I was hoping for Larry Mullen Circle," said drummer Larry Mullen Jr. "But I'll do with U2 Way."

WSJ: U2's Latest Experiment in Sound

As its new album, "No Line on the Horizon" (Universal), demonstrates, U2 is the only rock band of its stature and authority that is so willing to toy with its formula for success.

By the standards of today's iPod shuffle mentality, "No Line" is a great album, though it has no consistent flow and no musical arc. Rather than presenting a cohesive statement, it's a collection of songs held together by an effective and slightly experimental sound. It tops the band's most recent recordings, "How to Dismantle an Atomic Bomb" (2004) and "All That You Can't Leave Behind" (2000). But, like them, it features memorable performances alongside others that fall a bit short.

"No Line" also fits in the continuum of U2's recorded work, which now stretches back almost three decades. The band has always experimented -- sometimes tweaking its approach to pop music, other times just about discarding it altogether.

The album "The Unforgettable Fire" (1984), best remembered for the stirring "Pride (In the Name of Love)," is characterized by a brooding underpinning. Opening with three monster rock hits, "The Joshua Tree" (1987) also contains songs that seem to borrow from South African mbaqanga and the music of the American West. U2 adds dance beats to fatten the groove on "Achtung Baby" (1991), home to the masterpiece "One," a simmering down-tempo ballad. It marries rock and electronica on "Zooropa" (1993) and "Pop" (1997), and with "Rattle and Hum" (1988) takes on the Beatles, Bob Dylan, gospel and the blues.

All this is accomplished with one of rock's most inventive rhythm sections: bassist Adam Clayton, drummer Larry Mullen Jr., and the guitarist known as the Edge -- a distinctive musician capable of playing exactly what the performance requires. Bono's soaring voice and tenacious personality give the band its operatic qualities and superstar status.

Working again with longtime collaborators Brian Eno and Daniel Lanois -- and with Steve Lilywhite contributing to three songs -- U2 on "No Line" has a new sound that is dense, almost cluttered at times with the bottom bleeding into the mid-range, yet thoroughly appealing. The band's customary chiming brightness appears infrequently, most notably on "I'll Go Crazy if I Don't Go Crazy Tonight" and "Unknown Caller." In some songs, the most prominent lines are played on synthesizers rather than on the Edge's guitar or Mr. Clayton's bass, and at times Bono seems like he's fighting the tumult rather than gliding through a cleared, shining path. It's controlled chaos, and when all the pieces fit -- as in the extraordinary "Magnificent" -- it's exhilarating.

The title track, which opens the album, is a charging piece of rock that explodes rather than develops, and "Get On Your Boots" and "Stand Up Comedy" place the band in context: During the verses of the former, the melody mimics Mr. Dylan's "Subterranean Homesick Blues" and Elvis Costello's "Pump It Up" until it slides into a slinky chant-along; on the latter, the Edge seems to draw inspiration from the Beatles' late-period guitar sound. A powerhouse rocker, "Breathe," kicks off with heavy percussion and metal-like guitars; Mr. Clayton, who excels throughout the disc, gives it a formidable spine.

Ballads provide the CD's high points. In "Moment of Surrender," a cello yields to a bubbling synth riff and a choir formed by Bono's voice and the Edge's sustained guitar. "Unknown Caller" develops patiently to a big chorus, as Bono sings over raw, echoing guitars and a syncopated percussion pattern. "Cedars of Lebanon" is whispered and spoken by Bono over snappy drumming by Mr. Mullen and whistling strings.

Universal Music Group

It's easy to comb the lyrics of "No Line" for allusions to Bono's globetrotting political adventures. They're there in small doses and as often as not are self-deprecating. When the subject of "No Line" isn't love, lust and assorted other good times -- still the meat of the rock 'n' roll vocabulary -- it's not geopolitics. It's spiritual exploration, even if the song's subject is derived from a geopolitical event, as in "Cedars of Lebanon" and "White as Snow." Throughout the band's career, U2's songs have referenced a spiritual journey inspired by its members' Christianity.

Here, the exploration continues. In "White as Snow," based on a hymn inspired by Isaiah 1:18 and with new lyrics by Bono, Mr. Eno and Mr. Lanois, Bono sings: "Once I knew there was a love divine/Then came a time I thought it knew me not/Who can forgive forgiveness where forgiveness is not/Only the lamb as white as snow." Said to be the thoughts of a dying soldier in Afghanistan, the song concludes with "If only a heart could be as white as snow." In "Breathe," he writes: "Sing your heart out, sing my heart out/I've found grace inside a sound."

Even when the reference isn't explicit, the words can be interpreted as spiritually minded. In "I'll Go Crazy," whose lyrics open as a standard slice of rock rebellion, Bono asks, "Is it true that perfect love drives out all fear?" "Moment of Surrender" may be about romantic love, or about man's eternal link to God, or a tribute by Bono to his late father, who was a singer: "I was born to sing for you/I didn't have a choice but to lift you up/And sing whatever song you wanted me to/I give you back my voice/From the womb's first cry, it was a joyful noise." Is the "3:33" mentioned in "Unknown Caller" a reference to a Bible verse or merely the time on a clock?

A dozen albums into its career, U2 shows no signs of complacency. With an abiding commitment to substance and an admirable taste for adventure, the band provides a new work that offers much to enjoy and deliberate over.

Mr. Fusilli is the Journal's rock and pop music critic. Email him at jfusilli@wsj.com.

Monday, March 02, 2009

U2 on Absolute Radio


view this clip

You can download the full audio podcast of the interview on this page. Plus, you can win a signed copy of 'No Line On The Horizon' and find out more about the album here.

We also asked our listeners to vote for their favourite U2 tracks, so come and see where your favourite track came in our Top 10, along with a selection of some of our listener's comments.

U2 Helps Out During The Snowstorm

K0DQ Leads All Single Ops In 2009 ARRL DX CW; NN3W Tops In USA, ZF2AM Heads DX Battle

Scott Redd K0DQ operated VY2ZM to just over 5 million points and has the top single op score in ARRL CW 2009

Saturday, February 28, 2009

Entertainment Weekly: No Line on the Horizon

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Get In Line U2's Adam Clayton, Bono, Larry Mullen Jr., and The Edge

The warning has been sounded. ''Danger! Danger! U2 are experimenting again!'' This is not exactly welcome news for those who remember the band's attempts at reformulating their cathedral-rock sound with of-the-moment trendiness (Zooropa, Pop) as something to be endured, not embraced, and who had been thrilled by their return to ''old-school U2'' on 2000's All That You Can't Leave Behind. Only once, with Achtung Baby, have Bono and Co. ever stretched far and found glory.

But with their 12th studio album, U2 have Achtung it again. No Line on the Horizon is an eclectic and electrifying winner, one that speaks to the zeitgeist the way only U2 can and dare to do. ''Let me in the sound!'' Bono yelps several times on the record, most notably on the dense-and- danceable first single, ''Get On Your Boots.'' To be clear, No Line isn't some radical evolution of rock & roll. It's not even a radical reinvention of U2. Dirty guitar, heavy bass, cheesy keyboards, beeps and loops — those sounds were all there during the Zooropa/Pop digression. The difference this time is that U2 don't sound lost in them. ''No, no line on the horizon,'' Bono sings on the title track, a raw and moody ode to the muse, where The Edge's rough riffing is soothed by ethereal synth. This is an adventurous experience created by responsible people, for responsible people — a record about searching for meaning, but always knowing the way home.

The album's risk/reward pays off early with a pair of six-minute-plus epics, both of which have Bono seeking and receiving something like divine revelation in the rattle and hum of the everyday world. ''Moment of Surrender'' — wherein a profound encounter with ''a vision of invisibility'' goes down at an ATM — is an organ-fueled hymn that takes its own soulful time coming to an end. It is immediately followed by ''Unknown Caller,'' a rousing if kinda goofy spiritual wake-up call aimed at a culture of blurry-eyed BlackBerry addicts. Computer jargon is turned into spiritual maxims issued by a voice-of-God shout-chant chorus: ''Shush now/Oh, oh/Force quit and move to trash.'' Now you know what didactic spam sounds like.

But what's eye-rolling and oblique at first becomes can't-stop-thinking-about-it infectious upon repeat listens: No Line is, for certain, a grows-on-you proposition. ''Get On Your Boots,'' which has invited some ''Do I like this or not?'' head-scratching among fans and critics, blazes to life as part of a trio of great, galloping rockers that form No Line's fun-and-fiery middle section. Yet the record's instant classic is its penultimate track, ''Breathe,'' a stomping, snarling rumination about engaging the world with open arms despite so much external gloom and internal angst. Ever the optimist, Bono evokes the threats of a global pandemic, an economic crisis, and hostile neighbors, then insists: ''These days are better than that.'' Preachy? Hell, yes. And bring it on. No Line on the Horizon offers idealism spliced with new attitude and the same old grace, and is all the better for it. Memo to U2: Don't leave this behind. A–

Download This: Listen to songs from the new album on the band's MySpace


Something Extra On The Ball - June 30, 1969

Be it pick-me-ups or let-me-downs, build-me-ups or lie-me-downs, they can all be found in medicine's little black bag for sportsmen. it is into this bag?and into the dangerous world of drugs?that athletes plunge when they search for... SOMETHING EXTRA ON THE BALL

" 'Where's the Dexamyl, Doc?' I yelled at the trainer rooting about in his leather valise," pitcher-author Jim Brosnan quoted himself as saying in his celebrated baseball book, Pennant Race. " 'There's nothing in here but phenobarbital and that kind of stuff.'

" 'I don't have any more,' said Doc Rohde. 'Gave out the last one yesterday. Get more when we get home.'

" 'Been a rough road trip, huh, Doc? How'm I goin' to get through the day then? Order some more, Doc. It looks like a long season.'

" 'Try one of these,' he said.

" 'Geez, that's got opium in it. Whaddya think I am, an addict or something?' "

An addict or something? It isn't the worst question in the world, though the word addict has an opium, cocaine, speed, heroin whiff to it that is not normally associated with the pills and shots that an athlete uses to bolster his physical condition or morale in the name of victory, a payday, or both. The difference is that addicts, in the normal usage of the word, take drugs because their systems are dependent on them, while athletes take them for a more specific purpose. Their goal is performance, but their quest for performance has led them deep into the wonders of the pharmacy. What do you find if you dig into the medicine cabinet of sport? Who is taking what and why? The answer is that most athletes are taking something, and probably not getting quite the results they think.

Essentially, the drugs used by athletes can be broken down into two categories—restorative and additive. Restorative drugs are those used by athletes who for one reason or another—illness, injury, pain, nervousness, sloth, gluttony, dissipation—are incapacitated. The drugs are given with the intent to restore, at least partly, the competitor's normal prowess. Painkillers, tranquilizers, barbiturates, anti-inflammants, enzymes and muscle relaxers are all restorative drugs commonly used in sports.

Additive drugs—a more controversial group—are used with the motive of stimulating performance beyond the natural limits, e.g., in the hope of making a man who has never run better than a four-minute mile cover the distance in 3.59 or even 3:55. For obvious reasons, additive drugs raise more legal, ethical and regulatory questions than do the restoratives. They are also physiologically controversial, since there is some scientific doubt as to whether there is such a thing as a truly additive drug. The athletic Establishment, however, is generally convinced that additive drugs do exist and, in this belief, uses compounds that stimulate the nervous system, affect muscle tissue and alter the personality.

Given the variety of drugs now available and the inclination of athletes to experiment with them, it is all but impossible to compile a definitive list of drugs that have been used in sports for restorative or additive purposes. Also, because of the speed with which drug information is passed among athletes, drug use cannot be neatly cataloged as to sport, e.g., alcohol for archery, Benzedrine for basketball, cocaine for crew, etc. Athletic pharmaceutical practices are, so to speak, interdisciplinary, and perhaps the only orderly way to survey athletic drug usage and the effects of drugs on sport is to examine half a dozen or so drug families now popular.

A reasonable place to begin is with the additives, the best-known of which are the amphetamines, a group of synthetic drugs that are chemically similar to adrenalin and are often referred to as pep pills. On good evidence—which includes voluntary admissions by physicians, trainers, coaches, athletes, testimony given in court or before athletic regulatory bodies, and autopsy reports—amphetamines have been used in auto racing, basketball, baseball (at all levels down to children's leagues), boxing, canoeing, cycling, football, golf, mountain climbing, Roller Derby, rodeo, Rugby, skating, skiing, soccer, squash, swimming, tennis (both lawn and table), track and field, weight lifting and wrestling. The amphetamines, of which Benzedrine, Dexedrine, Dexamyl (which has a barbiturate added) and methamphetamine (the notorious "speed" or "Meth"), are among the best-known, affect the central nervous system and produce what might be called a triple threat. They act indirectly to suppress hunger spasms, and for this reason are used as appetite-killing pills by jockeys, boxers, wrestlers and anybody else who has to make a weight. The drug is a metabolic stimulant, speeding up the respiratory and circulatory systems and enabling users to remain hyperactive when they would ordinarily slow down because of fatigue. Finally, the amphetamines act directly on the brain, inducing a sense of excitement and euphoria, a sort of I-can-lick-the-world high.


But the undesirable side effects of amphetamines are numerous. The drug is feared to be physically addictive—there is some medical dispute about this—and is certainly psychologically addictive. Overdoses or too frequent doses can cause, among other things, cardiovascular collapse, cerebral hemorrhage, brain lesions, paranoia, ulcers, nutritional problems, compulsive talkativeness, irritability, aggressive behavior and constipation. In addition, an amphetamine hangover, coming down from a high, is a wretched, depressing experience.

Though amphetamines were developed earlier, their use first became general during World War II, world war being a happening that creates an instant demand for hyperactive, aggressive and even paranoid types. Returning veterans brought the drug to the sports world, where its use has been widespread ever since. As in the military, it was and is touted as a fatigue chaser and stimulant. Therefore it is most heavily used in endurance sports. Not surprisingly, bicycle racing, often cited as the most grueling of all athletic contests, is the most notorious for amphetamine use.

"I dope myself. Everyone [that is, everyone who is a competitive cyclist] dopes himself. Those who claim they don't are liars," Jacques Anquetil, a five-time winner of the Tour de France and a French sports figure of the stature of a Jean-Claude Killy or a Michel Jazy, has said. "For 50 years bike racers have been taking stimulants Obviously, we can do without them in a race, but then we will pedal 15 miles an hour [instead of 25]. Since we are constantly asked to go faster and to make even greater efforts, we are obliged to take stimulants."

Anquetil's remark was made in the summer of 1967 in the midst of what to date has been sports' messiest public drug scandal. Anquetil himself was much involved, both as a commentator and competitor. In May 1966, after winning a race in Belgium by nearly five minutes, he forfeited his victory and his check rather than provide a urine sample, which was to be analyzed for amphetamines or other banned drugs. In September 1967 a world speed record set by Anquetil in Milan was disallowed for the same reason. In between these two incidents there were two cycling deaths attributed to amphetamines, a number of suspensions at the Amsterdam world championships and a slowdown strike by cyclists protesting the fact that they were being forced to compete without the aid of their accustomed drugs.

The furor did not arise because cyclists had suddenly begun using drugs but because drug practices were so abusive that various European political and sporting agencies could no longer overlook them as they successfully had for years. In Italy, where drug usage was once estimated at almost 100%, the late Fausto Coppi, a professional champion, had remarked, "One day I will take the wrong pill and pedal backward." And Tom Simpson, the best English professional cyclist of his day, said in 1966 in defense of amphetamines, "When you get up in the morning do you need a cup of coffee to get started? Well, after cycling 150 miles the day before, we might need three or four coffees."

A year later, in the Tour de France, Simpson's "coffee" caught up with him. The 13th lap of the race was a brutal one, involving a 6,000-foot climb up a mountain in 90� heat. Simpson felt badly at the start, telling friends that he had been too "nervous" to sleep. A mile from the summit of the mountain he began zigzagging across the road and finally collapsed in a coma. He was dead on arrival at the nearest hospital. An autopsy showed that Simpson was heavily drugged with methamphetamine, a vial of which had been found in his pocket at the time of his death.

In 1965 Belgium and France passed tough anti-dope laws, but dangerous though the amphetamines are, there has been no letup in their use by athletes in the U.S. and not much abroad. Three weeks ago Belgian Cyclist Eddy Merckx, who was leading the Tour of Italy, was disqualified from the race after a test showed he had taken an amphetamine-type drug. The underground consensus is that amphetamines have been tried in most endurance events, and there is enough evidence to make the rumor credible. Joseph Rombaux, a Belgian marathoner, was deprived of his national title in September 1968 after a positive amphetamine test, and long-distance runners—after vows of secrecy have been sworn—sometimes admit to being big benny men. Soccer players in England, Italy and Brazil have been tested and found to have used the drug or else admitted using it. Wayne Le Bombard, an Olympic speed skater (as well as an Olympic cyclist) from West Allis, Wis., says, "The bennies are generally frowned on, but they're also pretty generally used. Not with a needle; I don't know of any skater who goes that far. But there are a lot of pills." A British physician, Dr. John Williams, found that amphetamines were used by British cyclists, rowers, tennis and squash players. (A three-time British squash racquets champion of the early '30s, Don Butcher, was affectionately known as the Benzedrine Kid.)

Among major American sports, amphetamine usage may be highest in football, or again it may only be easier to verify in this sport. Among professional clubs, players, physicians and trainers of the Steelers, Chargers, Cardinals, Lions and Redskins have indicated that chemical pep is or has been used. At least one professional football team made the taking of pep pills part of its pregame routine. "It usually seems to be the older players and boys who think they need an extra lift to make it through a game that want them," says Joe Kuczo, the Redskin trainer. "I personally am not convinced that they do much good, but it's a mental thing with some of them. They've been used to the pills. In the quantities they get here, at least, I doubt if they do much harm."

"It's like beating a dead horse," says Porky Morgan, Kansas State University trainer, who confirms Kuczo's opinion about amphetamine use. "All they do is mask fatigue, they don't eliminate it."

One old hoss who had his fatigue well masked this past season was a veteran pro linebacker and amphetamine user who does not wish to be identified for his accomplishments in the latter field. He recalls the game midway through the professional season when he took his usual pregame dose of bottled happiness, then became preoccupied and took a second dose. "I was bouncing all over the field," he said later. "I was running and jumping along the sidelines hollering, 'I'm a superplayer, they can't block me. No one can block me.' It was really funny. I knew I was saying it, but I just didn't care." Observers of the game reported that Mr. X's play was strong if not super.


"Sure I took them in college," says George Connor of Notre Dame and Chicago Bear fame. Connor is not more wicked, merely more frank than most. "I understand after you take them for awhile they don't do anything for you. And if everybody is taking them, what do you gain?"

In some athletic quarters there is a feeling that more pep pills are used by high school players than any others, because teen-agers are more with the drug scene than their elders and because high school coaches and trainers are less well trained or less scrupulous. However, proof of such an assumption is very circumstantial. A high school basketball coach in Ohio was once fired for giving his players amphetamines. The lockers of the Anaheim and Downey, Calif. football teams were searched last fall for pep pills. A trainer at a Southern university says, "You cannot quote me, and I will not give you the name of the high school, but there is one in Alabama that definitely uses pep pills. I know that this is quite common because I have had freshman athletes come to me and ask for the pills to pick them up for a game."

While a lot of athletes do use amphetamines, there are some who think they have taken amphetamines but haven't. Instead they have received a placebo, a sugar pill, an aspirin or a vitamin, and been told it was a pep pill. The placebo ploy brings up a crucial question, with regard not only to the amphetamines but to many drugs. That is, do they have the expected physiological effect, or is the effect purely psychological? Do amphetamines make an athlete pedal, run, swim, skate, volley, tackle or throw faster, longer or harder than he otherwise could? Though many athletes have staked their reputations, health, and even their lives on the assumption that amphetamines are truly additive, the issue remains in some scientific doubt. There have been half a dozen studies aimed at determining the effect of amphetamines on athletes, yet there are no conclusive results.

But even if the answer is yes, that amphetamines do produce a measurable improvement in immediate performance, the drug may still be detrimental to overall performance. The basis for this judgment is that amphetamines cause, among other things, loss of sleep and appetite. They adversely affect an athlete's ability and willingness to train. Thus it is reasoned that the immediate stimulation—if it occurs—may be more than offset by detrimental long-term effects.

Bob Lundy, trainer for the Miami Dolphins, says, "Amphetamines can do much more harm than good. I've seen them [football players] in a daze when reporting for practice as late as Tuesday after Sunday's game. Others take them and lose their reactions without realizing it. They may know their assignments perfectly before the game. But when they get in there, they don't know what they're doing. So we don't use them."

Another trainer, one who declines to have his name used, says, "Some of the pros need almost a full week to get over getting pepped up for Sunday. Afterward, they must either have tranquilizers or whiskey to bring them down. So they move through a cycle: pepped up, drunk, hung over, depressed and then pepped up again."

It is probably fair to conclude that the majority of medical professionals do not believe amphetamines are beneficial to athletic performance. However, a large number of athletes do believe in pep pills. This is not to say that most athletes use amphetamines—or do not use them. That proposition is simply undocumentable.

For at least the past decade amphetamine has been the stimulant of choice in sports. However, amphetamine is certainly not the only drug that has been used by athletes trying to beat fatigue. Among others that have been tried are: strychnine, cocaine (the Incas who first used such drugs called them the "herbs which make one run"), ephedrine, caffeine and iboyaine, a relatively new entry derived from kat and, reportedly, also from the Korean Tree of Life. But the situation with all of these stimulants is similar to that of amphetamine, the most closely studied of the group. The additive properties for athletic performance remain unproved; the dangers have been proved. The stimulants are medically risky because, like every drug, they are to some degree toxic. They are particularly dangerous for athletes because they artificially increase the strain on various physiologic systems, ones that are already under special stress because of exertion. The drugs also artificially prolong the period of stress by masking fatigue.

Not being keen, high or sharp enough is a fundamental condition that athletes have always tried to compensate for. But there is another absolutely opposite occupational problem that athletes and their handlers face: athletic competition acts like excessive heat on a tempered knife blade—the sharp cutting edge of the instrument is destroyed. The resultant choking up, pressing, nervous tension, call it what you will, is a common sporting ailment and one for which numerous drug cures are now being tried. Some of the names are common enough: Miltown, Nembutal, Equanil, Librium; some not so common: Tofranil, Triavil.

One Sunday noon in Pittsburgh in the dressing room of the visiting Washington Redskins, Dr. George Resta paused in his work of injecting vitamin B-12 into the arms of football players to listen to a loud agonizing retching sound coming from the commode cubicle. "Harris," said Resta annoyedly, like a man who has forgotten to turn off a light in the basement. "We forgot his tranquilizers." Rickie Harris, a defensive back, appeared shortly, looking drawn after having lost his carefully planned breakfast. Resta opened his bag and handed Harris a tranquilizer. After Harris had gone off to deal with his pregame miseries as best he could, Resta said, "There are a few like that. We give them something pretty mild, just to take the edge off. You don't want them so sleepy they get beat on passes."


The use of sedatives, barbiturates, tranquilizers and muscle relaxers (presumably to prevent cramps and tightness) is common in most sports from the college level up. However, unlike the situation with amphetamines, the practice is usually not secretive. Anytime sleeping pills, tranquilizers or relaxants are thought useful by a physician or trainer they are given, and no bones are made about it. One reason for this is that these are restorative drugs, and the never-set-forth ethic of sport medicine is hazier with respect to such compounds than it is with an additive drug such as amphetamine. No one contends that the sedatives increase performance potential beyond normal limits. In fact, it is generally conceded that they have the opposite effect; that because they dull the senses a man under their influence probably does less well than he otherwise would if he were normally free of tension. Nevertheless, the ethical problem is there, as it is with all drugs. The inability of a .200 hitter to deal with pressure is as much a natural limitation for him as the inability of a cyclist to pedal faster then 20 mph. The ballplayer who takes tranquilizers—many do—and the cyclist who pops pep are both trying to get from a drug something that they do not think they naturally have.

Golf is a prime example of a sport in which the struggle against pressure is a major part of the contest. Tension is to golf what the oxygen debt is to a miler, muscle fatigue to a cyclist and pain to a hockey player. It is therefore meaningful that this sport is one of the few in which sedative use is surreptitious and regarded as an underhanded practice. When interviewed at a recent tournament, a number of the touring pros were immediately suspicious of any mention of sedative use, quickly claiming that if—perish the thought—drugs were used, public knowledge of this would be bad for the "image" of the game. However, it was gingerly admitted that maybe a few golfers took a few calm-down drugs, like maybe Tommy Jacobs, Al Geiberger, Dave Hill. When queried, most gave an answer similar to what Doug Sanders, often on the list of the guys-who-do, had to say. "I have taken tranquilizers. And Mayo Clinic gave me something to help me sleep, but I seldom take it. I mean practically never. This is not a motion game like football. You've got to be mentally alert. You can't be leaning against a tree that isn't there." What is suggested here applies to all athletic use of barbiturate-type drugs: the trick is in the dosage. You want to feel casual enough to lean against the tree, but you want the tree really to be there. The moral question is something else again.

In addition to exhaustion and tension, all athletes are at some time in some degree challenged by a third physiological phenomenon—pain. The relationship between pain and sports is ancient and close. For some, pain is the prohibitive price that makes games not worth playing; for others it is the secret but ultimate opponent. For most it is a necessary vocational byproduct. Though the image of the athlete as a virile, courageous, uncomplaining pain bearer has been assiduously promoted and popularly accepted, athletes in general fret, worry and complain more about pain than nonathletes. There are several good reasons for this. Games are physical, sometimes violent, and the chances of getting a broken bone, bruise or cut are clearly greater in sports than in less active pastimes. Also, athletes tend to be more dedicated body watchers than most. "They are not exactly hypochondriacs. They are just exceptionally cautious about their bodies," says Dr. Thomas Silva of the Boston Celtics. The normal athlete will immediately note and be concerned about small throbs, aches and twinges that a nonathlete accepts stoically as just part of being alive. Because he is concerned with physical performance, a very little pain can distract an athlete to a significant degree. An accountant with a sore toe is likely to accept the infirmity silently. The same ailment in a baseball pitcher often will be headline news. The player, in turn, will act as if he were threatened by advanced gangrene, and he can hardly be blamed, since his livelihood may be involved in his sore toe.

Under these unnerving circumstances, it is not surprising that pain control is one of the most common reasons drugs are used in sports. The anti-pain drugs are of two kinds: those that provide a local anesthetic for aches and strains, such as Novocain and Xylocaine, which are usually given by injection, and ethyl-chloride, which is sprayed on, and those that begin with aspirin and work up to the opiates, which act on the central nervous system. Then there are the potent anti-inflammants such as cortisone and Butazolidin, and the now-banned DMSO.

There is probably not a single sports physician in the United States, including the most conservative, who has not given a pain shot or pill at some time, and there are precious few athletes who have not taken such remedies. The explanation for the practice is the same in every sport. The sermon goes like this: "I give Novocain (or drug X) injections. However, I never give a boy a shot and send him back to play if a weight-bearing joint is involved. Pain is nature's warning, letting the body know something is wrong. If a boy continues to perform on an ankle or knee that has been deadened to pain, he runs the risk of aggravating the injury, disabling himself for a longer time, causing permanent injury or winding up in his 40s with traumatic arthritis."

No physician or trainer says he has ever given a painkiller that created a health risk for the receiver. However, most physicians and trainers, if pressed, admit that some others—often with opposing teams—do inject in this way. They will tell, off the record of course, stories about crippled halfbacks, distance runners hooked on Demerol (a synthetic morphine), pitchers whose elbows have degenerated because of too much cortisone. Obviously there is a mathematical, if not a moral, paradox here. Just as obviously, there is no way to collect testimony that will resolve the paradox—nobody is going to say, "Sure, we ruined Slug's knee, but we got three good games out of him before it went." Perhaps all that can be said is that what is good and what is bad painkilling practice is a matter of opinion, often firmly stated opinion. Some doctors feel that shooting so much as a sprained thumb is dangerous and unethical, while others see nothing wrong with freezing a broken leg.

With one exception, the major athletic drugs, whether restorative or additive, are used to achieve temporary results. They are taken before, during or after a contest, to get ready for it, to help during it or to repair damage done to the mind or body by the game. The exception is the drug group known as the anabolic steroids. The purpose for which these drugs are used by athletes is exclusively additive. The intention is not to change momentarily a mood, sensation or bodily process, but to alter the body of the user on a relatively long-term basis, to artificially create a better athletic instrument.

Steroids are a group of complex compounds naturally produced by many plants and animals. The steroids are hormones, and among these are the androgens, male hormones produced by the testes and the cortex of the adrenal glands. Anabolic steroids used by both male and female athletes are derived from male hormones. (Among the most commonly used are Dianabol, Durabolin and Deca-Durabolin, Maxibolin, Anavar, Nilevar and Winstrol.) The androgens have many effects on the body. They influence the development of male reproductive organs and secondary sexual characteristics, beard growth, thickness of skin, depth of voice, and they stimulate the libido (sex drive). A second major effect of the androgens is anabolic, i.e., body building. They improve the assimilation of protein and thus promote increased weight and muscle mass. Presumably this characteristic evolved because it served the species to have males bigger than females. (However, if given in excess to youngsters, they may stunt growth.)

The term anabolic steroid (literally, body-building hormone) is both euphemistic and misleading, since it implies that the principal effect of such drugs is body building and that the androgenic (sex influencing) properties have somehow been removed or greatly inhibited. Actually, as even the drug manufacturers admit in the small promotional print, there is no such thing as a strictly anabolic steroid. All of these drugs do affect sexual processes and characteristics.

Athletes take anabolic steroids in hopes that the drug will artificially make them bigger and stronger. However, more sophisticated athletes are now aware that the anabolic steroids may cause potent glandular reactions. The nature of these effects, benign or malignant, temporary or permanent, are a mystery and a worry not only to athletes but to physicians and physiologists as well, since there have been no serious, controlled, inclusive investigations of what the drugs do for or to young healthy bodies. Several of the so-called studies that have been made have been do-it-yourself affairs that produced more rumors than facts.


In the early 1960s a high school team physician, working in cooperation with a pharmaceutical company, gave anabolic steroids to members of the football team. The program was clandestine. It apparently violated state interscholastic regulations and came to an abrupt halt when other football coaches heard about it and complained. Supposedly a report on the effects of the hormones on the high school boys was made, but the pharmaceutical company will not release it and the doctor will not discuss it.

Dr. H. Kay Dooley, of Pomona, Calif., now perhaps the physician who most openly advocates the use of anabolic steroids—though under a doctor's supervision—oversaw a study in 1965 testing three different commercial brands of the drug on 10th- and 11th-grade football players in Bloomington, Calif. Dooley believes the drugs did increase muscle size and improve performance, and he says there were no undesirable side effects. However, he says his procedures were not sufficiently controlled to provide hard evidence supporting the efficacy of the drug. He would like to see "a good scientific study" done.

Perhaps the best existing document on the subject was published in 1966 by Dr. William M. Fowler Jr., then of the UCLA Medical School. Summarized, the Fowler report found that the hormonal drugs do increase weight. However, said Fowler, "To equate increases in weight with a possible increase in strength can be erroneous, since considerable evidence exists that much of the increase in weight is due to water retention." Fowler concluded that the relationship between anabolic steroids and strength increase in athletes is unproved, and may be unprovable because it does not exist. As to the dangers connected with the drug, Fowler lists as major ones: testicular atrophy, change in the libido, liver damage and edema.

In preparing his report, Fowler queried 38 "well-known weight lifters or field-event men." He found "50% had taken or were taking one or more of the anabolic steroids. Of the users, 47% had received the drug from physicians, and 47% were taking a dosage that was two to four times greater than the therapeutic amount recommended. All of the 19 men on the drugs expressed the belief that their performance had improved. Only five denied any side effects. Most of the 19 men had been taking anabolic drugs on and off for at least one year."

Considering the debatable effectiveness, the potential dangers and the abusive use, Fowler arrived at a strong conclusion: "The use of androgens in athletes is unethical and illegal, and those using or administering them should be banned from further competition or professional activity."

Another concern is the suspicion of many physicians that the anabolic steroids may increase the chances of premature cancer of the prostate. Says Dr. Allan J. Ryan of the University of Wisconsin: "We won't be truly able to evaluate the damage this fad may have caused for 10 or 15 years."

All in all, the anabolic steroid scene is not a happy one. There is a lot of clandestine gossip that the drug is effective and safe—or that it is useless and dangerous—but no one has convincing proof either way. Many anabolic steroid users feel guilty about the practice and suspect they are doing something sneaky, but no sporting body in the U.S. has specifically declared the drug illegal, or for that matter even plainly said that its use is unethical or dangerous.

Among many who are perplexed by the anabolic steroid problem and the general confusion surrounding the athletic medicine chest is Dave Maggard, the young University of California track coach who was a shotputter on the 1968 Olympic team. Maggard's problem is simple: he is uncertain how he should advise the young men he is coaching.

"What I wish," says Maggard, "is that some reputable scientific group would really study certain drugs and tell us yes or no as to whether they are effective, and yes or no as to whether they are dangerous. Then I'd like to see the NCAA, the AAU, the U.S. Olympic Committee and all the conferences go ahead and put us straight—tell all of us to either use the drugs, or don't. I think if most drugs were banned—things like amphetamines, barbiturates, anabolic steroids—most athletes would stop using them. It's this halfway stuff, the rumors, the idea maybe you have to use them to be competitive that has made it such a mess."

That there is not now sufficient information to give firm answers on the safety and effectiveness of the many drugs that athletes use does not diminish the importance of Maggard's question, nor provide an excuse for ignoring it.


"Someday," says Dr. Ryan, "somebody will find a drug that measurably improves performance, is expensive, and is not available to everyone or known by everyone. That is the day when we are all going to have to stand up and be counted on what is right and wrong—we will have to decide then what sport is all about."

Unlike the conservative Dr. Ryan, a good many athletes, coaches, trainers and physicians believe that we already have found the alchemist's stone; it is anabolic steroids, amphetamines, strychnine, iboyaine, muscle relaxers, B-12, cortisone, etc., etc., etc. Whether it is true or not, the belief and the practices that follow the belief are enough to suggest, as they have to Dave Maggard, that the stand-up-and-be-counted time has already arrived for the athletic Establishment.