Pride (In the Name of Love) - Martin Luther King Jr.
"Pride (In the Name of Love)," a cornerstone of their album The Unforgettable Fire, stands as a powerful tribute to the American
civil rights leader Martin Luther King Jr.. The lyrics resonate with the spirit of King's struggle for equality and his philosophy of non-violent resistance. Notably, the song references the tragic event of King's assassination with the lines, "Early morning, April four / Shot rings out in the Memphis sky".
While the actual shooting occurred in the evening, Bono has publicly acknowledged this factual inaccuracy and often corrects the lyric to "Early evening" during live performances. This willingness to address the error underscores the band's deep respect for King's legacy, emphasizing their commitment to honoring his memory even while acknowledging an initial oversight. The songwriting process involved research, with Bono drawing inspiration from Stephen B. Oates's biography of King,
Let The Trumpet Sound.
This indicates a genuine effort to understand and pay homage to King's life and work. The song's enduring power lies in its chorus, "In the name of love / What more in the name of love?", which encapsulates the central theme of King's message: the ultimate power of love and sacrifice in the pursuit of justice and equality. "Pride" has transcended its initial release to become one of U2's most beloved and frequently performed songs, often accompanied by poignant clips from King's speeches during their concerts.
This continued performance highlights the timeless relevance of King's message and the song's role in preserving his memory for new generations. The focus on King's "pride" in the song's title offers an interesting perspective, transforming a concept often associated with arrogance into a positive attribute of self-respect and dignity in the face of systemic injustice. The title's interpretation shifts from a potential reference to the pride of oppressors to an affirmation of King's unwavering self-esteem and the collective pride within the civil rights movement. This nuanced use of language enriches the song's overall meaning.
Initially, the band considered basing the song on Ronald Reagan's emphasis on American military strength, but the focus shifted to King, suggesting a deeper connection to themes of social justice and non-violence within the band. This change in direction indicates a conscious choice to prioritize a message of hope and positive social change over direct political critique, reflecting the band's evolving understanding of their music's potential to contribute to important societal conversations.
MLK - Martin Luther King Jr.
Appearing on the same album, The Unforgettable Fire,
"MLK" provides a more reflective and somber tribute to Martin Luther King Jr.. Described as an elegy, the song is a concise and thoughtful piece characterized by its simple yet profound lyrics: "Sleep, sleep tonight / And may your dreams / Be realized". The brevity and directness of these lyrics contribute to the song's atmosphere of reverence and mourning for the fallen leader.
Angel of Harlem - Billie Holiday
From the album Rattle and Hum, "
Angel of Harlem" emerges as a vibrant and celebratory tribute to the iconic jazz singer
Billie Holiday, affectionately known as "Lady Day" and "The Angel of Harlem". The lyrics are imbued with a deep admiration for Holiday and vividly evoke the atmosphere of New York City, particularly Harlem, the neighborhood where she lived and significantly contributed to the cultural landscape.
The song features a direct reference to Birdland, the renowned jazz club located on 53rd Street, and also mentions other legendary figures in jazz such as
John Coltrane and
Miles Davis. This contextualizes Holiday within the rich history and tradition of jazz music.
The lines, "Lady Day got diamond eyes / She sees the truth behind the lies," pay homage to Holiday's insightful and deeply emotional artistry, suggesting her ability to perceive and convey profound truths through her singing.
U2's exploration of American roots music in Rattle and Hum led them to honor a pivotal figure in American jazz, demonstrating their appreciation for the diverse musical traditions that have shaped popular culture.
Greg Carroll worked closely with U2 and became a cherished friend of Bono before his untimely death in a motorcycle accident.
The song's title itself is a reference to a volcanic peak located in Auckland, New Zealand, a place that Bono visited in Carroll's company. This personal connection imbues the tribute with a deep sense of personal loss and remembrance. The evocative lyrics, "And when it's raining / Raining hard / That's when the rain will / Break my heart," poignantly reflect Bono's profound grief at Carroll's passing, conjuring the somber atmosphere of a wet night in Dublin, where the tragic accident occurred.
The song also extends its
tribute to Víctor Jara with the powerful lines: "Jara sang, his song a weapon in the hands of love / You know his blood still cries from the ground".
Jara was brutally tortured and killed during the 1973 Chilean coup d'état, becoming an enduring symbol of resistance against the oppressive regime led by Pinochet. Bono's awareness of Jara's story grew after meeting René Castro, a Chilean mural artist, during Amnesty International's A Conspiracy of Hope tour.
Notably, Bono explicitly mentions Goldman with the assertive lines: "I don't believe in Goldman / His type like a curse / Instant Karma's gonna get him / If I don't get him first". This reflects Bono's strong disapproval of Goldman's often controversial and unflattering biographies of prominent musicians, likely encompassing his critical work on Elvis Presley (as indicated in the context of "Elvis Presley and America") and potentially his writings on John Lennon himself.
The subsequent reference to "Instant Karma's gonna get him" directly alludes to another iconic song by John Lennon, further solidifying the connection between "God Part II" and its primary inspiration.
The song's creation was largely spontaneous, utilizing a slowed-down backing track of "A Sort of Homecoming" with Bono improvising the lyrics during the initial recording. This improvisational approach suggests an immediate and emotionally driven response to Goldman's interpretation of Presley's life.
Bono initially considered the vocal track to be a preliminary sketch, intending to refine the lyrics and vocal arrangement at a later stage, but the raw and unpolished version was ultimately released.
This adds to the feeling of a direct and unfiltered reaction to Goldman's biography. Although Presley is not explicitly named within the song's lyrics (the title itself serves this purpose), the song's very existence and its direct inspiration demonstrate
U2's engagement with the lives and narratives of other musicians, particularly those whom they admire or feel have been unjustly represented.
Notably, the song features collaborations with The Dubliners themselves, along with the Irish bands Kíla and A Band of Bowsies, transforming it into a collective celebration of Drew's remarkable life and significant contributions to Irish music. Ronnie Drew was a highly respected and deeply influential figure within the Irish music scene, widely recognized for his distinctive gravelly voice and his charismatic presence on stage.
This song underscores U2's strong connection to their Irish musical heritage and their profound respect for artists who have played a crucial role in shaping the cultural identity of their country.
By collaborating directly with Drew's contemporaries, U2 not only pays homage to him but also acknowledges their own place within the broader and enduring tradition of Irish music.
The song was directly inspired by Suu Kyi's unwavering commitment to the fight for freedom and democracy in Burma, which tragically resulted in her being placed under house arrest for an extended period. Due to its dedication to Suu Kyi, the song faced a ban in Burma, highlighting the significant political impact of U2's music and their consistent willingness to take a public stand on critical human rights issues around the world.
Initially, Bono approached the songwriting by attempting to capture the perspectives of Suu Kyi's husband and son, imagining the emotional toll of their separation and uncertainty. This demonstrates the empathetic approach Bono took in trying to understand the personal sacrifices involved in her activism. Suu Kyi herself later expressed her appreciation for the song to Bono, stating that it resonated deeply with her own feelings and experiences.
This demonstrates U2's evolving perspective on complex political situations and their unwavering commitment to human rights, even when it necessitates challenging individuals they once admired. This song serves as a powerful example of U2's long-standing engagement with political activism and their consistent use of their musical platform to champion human rights and democratic ideals across the globe.
The initial support for Suu Kyi and the subsequent change in dedication reflect a nuanced understanding of evolving political landscapes and a willingness to hold leaders accountable for their actions, regardless of past admiration.
Bono's spoken outro vividly describes Mandela's background and his unwavering struggle against the oppressive system of
apartheid in South Africa, culminating in the impactful lines, "This is a song about a man who grew up in a little shanty town outside of Johannesburg... a man who was ready to take up arms against his oppressor".
At the time of this recording in 1987, Nelson Mandela was still unjustly imprisoned, making U2's vocal and public support a significant political statement against the apartheid regime. U2's connection with Nelson Mandela extended far beyond this song, with Bono actively participating in
Mandela's 46664 AIDS charity for many years. This demonstrates a long-term and meaningful commitment to Mandela's cause and his vision for a more just and equitable world.
The song's title itself explicitly names Joey Ramone and celebrates the profound impact he had on Bono's own musical journey. The lyrics draw a vivid comparison between the music of The Ramones and a "siren song," effectively conveying its powerful and transformative effect on listeners. Bono has recounted that witnessing The Ramones perform during his formative teenage years significantly reduced his self-consciousness about his own singing abilities.
This personal anecdote reveals the deeply influential role that Ramone played in Bono's development as a frontman and his confidence as a performer. This song clearly demonstrates U2's acknowledgment of their own musical influences and their profound respect for artists who, even from seemingly different musical genres, paved the way for their own subsequent success.
The song is explicitly dedicated "For Guggi," underscoring the personal nature of the tribute. The lyrics vividly paint a nostalgic picture of their shared youth on Cedarwood Road in Dublin, specifically mentioning a cherry blossom tree as a significant and symbolic landmark of their formative years. Adding further context and depth to the narrative, a spoken-word narration by
Gavin Friday, another childhood friend from Cedarwood Road, provides additional details about their shared upbringing, directly mentioning Guggi by name and recounting their collective experiences as teenagers.
This song offers a more intimate and personal glimpse into Bono's life, revealing the lasting importance of early friendships and the formative influence of his immediate environment during his childhood.
Stand Up Comedy - Napoleon and Josephine
While not a direct tribute to historical figures in the traditional sense, "Stand Up Comedy" from No Line on the Horizon includes a metaphorical and somewhat whimsical reference to Napoleon and Josephine. The lyrics feature the lines: "Stand up to rock stars / Napoleon is in high heels / Josephine, be careful / Of small men with big ideas".
This appears to be a commentary on the potential for inflated egos and the inherent absurdities that can accompany fame and success within the music industry. The historical figures of Napoleon, known for his ambition and relatively short stature, and his wife Josephine are used as a somewhat ironic and cautionary image.
This instance represents a more figurative application of real historical figures within U2's lyrics.
Rather than engaging with their historical significance directly, the reference serves to illustrate a broader observation about human nature and the potential pitfalls associated with achieving fame and influence.
The comparison to
Napoleon and Josephine injects a layer of subtle irony and wit into the lyrics, utilizing well-known historical figures to make a contemporary point about the music industry and the potential dangers of unchecked ego - subject Bono knows all too well.
Nogić's image from the beauty pageant, a striking symbol of defiance and resilience, was prominently featured on the cover of the single.
Nogić and the other contestants bravely held up a banner bearing the poignant message, "Don't let them kill us," a direct and impactful plea that resonated deeply with international audiences.
Footage from the pageant was incorporated into a documentary film also titled Miss Sarajevo, which played a crucial role in raising international awareness about the devastating siege and the suffering of the people living in Sarajevo.
Van Diemen's Land - John Boyle O'Reilly
"Van Diemen's Land," a more understated track from Rattle and Hum, draws its inspiration from the historical account of John Boyle O'Reilly, an Irish figure who was arrested for his opposition to British rule and subsequently deported to Australia, specifically to Tasmania, which was historically known as Van Diemen's Land.
The song is performed solely by The Edge, featuring only his vocals and acoustic guitar, lending it a folk-song-like quality that evokes the historical period and the nature of O'Reilly's story. The lyrics speak of a man being forcibly transported for advocating for improved conditions, directly reflecting the circumstances of O'Reilly's activism and subsequent exile.
This personal anecdote offers a glimpse into the human side of a globally famous rock star, revealing the everyday challenges of balancing the demands of a high-profile career with the importance of personal relationships.
"All I Want Is You," a powerful ballad from Rattle and Hum, has been described by Bono as a song that reflects Ali's unwavering and unconditional love for him, as well as her acceptance of all aspects of his personality, including his struggles. Bono has clarified that Ali is, in fact, the central protagonist of the song, with the lyrics representing her perspective and her efforts to provide solace and support during his difficult times.
This offers a deeply personal and mature perspective on the complexities of long-term love and commitment, moving beyond idealized notions of romance to acknowledge the realities of navigating life's challenges together.
This tragedy occurred shortly after the signing of the Good Friday Agreement, a pivotal moment that brought a sense of hope for lasting peace to Northern Ireland. While the song does not explicitly name any of the individual victims of the bombing, it functions as a collective expression of grief and a heartfelt plea for enduring peace in the aftermath of this senseless violence.
Dirty Day - Charles Bukowski
"Dirty Day," featured on the album Zooropa, draws its inspiration not only from sayings commonly used by Bono's father but also from the literary works of the writer Charles Bukowski.
Specifically, the lyric "these days, days, days, run away like horses over the hill" is a direct reference to a collection of poetry by
Charles Bukowski titled
The Days Run Away Like Wild Horses. Bukowski was renowned for his raw, often cynical, and deeply introspective portrayal of everyday life and the human condition.
This song highlights U2's engagement with the world of literature and demonstrates how they draw inspiration from writers who explore themes of human experience in unconventional and often challenging ways.
While "Dirty Day" is not explicitly about Charles Bukowski himself, the direct incorporation of his poetic imagery serves as a clear acknowledgment of his literary influence on the band's songwriting. The inclusion of a Bukowski reference suggests a thematic resonance between the song's exploration of father-son relationships and the passage of time, and the often gritty and introspective nature of Bukowski's literary work.
