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96-527: The building is across the street from the original 800-room Rosslyn Hotel built in 1914. Designed as a twin, both were topped by mammoth glowing signs featuring the names surrounded by a heart, the shape acknowledging the Hart brothers who owned the hotels. The building became famous for its large roof-mounted signboard saying "New Million Dollar Hotel." The hotel closed in 1959, before reopening again in 1979 and eventually focusing on low-price housing. The rooftop sign

192-424: A barline , indicates a change of meter . Most time signatures are either simple (the note values are grouped in pairs, like 4 , 4 , and 4 ), or compound (grouped in threes, like 8 , 8 , and 8 ). Less common signatures indicate complex , mixed , additive , and irrational meters . Most time signatures consist of two numerals, one stacked above

288-418: A demo that guitarist The Edge composed the night before the group resumed The Joshua Tree sessions. In an upstairs room at Melbeach House—his newly purchased home—he used a four-track tape machine to record an arrangement of keyboards, bass, guitar, and a drum machine. Realising that the album sessions were approaching the end and that the band were short on exceptional live songs, he wanted to "conjure up

384-421: A "wail of desperation, as the lyrics agonize the need for personal spirituality". The reviewer compared the opening riff to Simple Minds ' "Ghostdancing". Reviewing The Joshua Tree , Stephen Thomas Erlewine of Allmusic called the song an "epic opener". The service's Steve Huey, in a review of the song, praised its "insistent, propulsive rhythmic drive and anthemic chorus", qualities he singled out for making it

480-462: A break between the first and second legs of The Joshua Tree Tour . The song was described by Musician as "tough and raw, with Bono in husky and confident voice, underpinned by a sinuous bass line, and with The Edge demonstrating his newfound prowess in blues-based guitar". "Silver and Gold" was played live on The Joshua Tree Tour several times, one performance of which was featured on the band's 1988 album and rockumentary , Rattle and Hum . Both

576-419: A convention that some composers follow (e.g., Olivier Messiaen , in his La Nativité du Seigneur and Quatuor pour la fin du temps ) is to simply omit the time signature. Charles Ives 's Concord Sonata has measure bars for select passages, but the majority of the work is unbarred. Some pieces have no time signature, as there is no discernible meter. This is sometimes known as free time . Sometimes one

672-478: A discernibly regular pulse. If two time signatures alternate repeatedly, sometimes the two signatures are placed together at the beginning of the piece or section, as shown below: To indicate more complex patterns of stresses, such as additive rhythms , more complex time signatures can be used. Additive meters have a pattern of beats that subdivide into smaller, irregular groups. Such meters are sometimes called imperfect , in contrast to perfect meters , in which

768-609: A fan favorite. He called the song the "perfect album-opener", crediting the "slow build of its arrangement toward a climactic peak". Huey also called Bono's delivery "passionate and grandiose" and "his commitment to the material unshakable". He believed the combination of his vocals and the band's "sonic power" is what gave U2 its "tremendous force". "Where the Streets Have No Name" made its concert debut on 2 April 1987 at Arizona State University Activity Center in Tempe, Arizona on

864-506: A live performance, the audio used is from the studio-recorded version of the song. The video won the Grammy Award for Best Performance Music Video at the 1989 Grammy Awards . " Race Against Time " was released on the 12-inch, cassette, and CD versions of the single. The song developed from the band's interest in urban funk , and was described by The Edge as "a kind of Afro-rhythmic piece" and "a study in rhythm ." The bass riff in

960-413: A meter, just noted with eighth notes, quarter notes, half notes, or whole notes – these conventionally imply different performance and different tempi. Conventionally, larger numbers in the bottom correspond to faster tempi and smaller numbers correspond to slower tempi. This convention is known as tempo giusto , and means that the tempo of each note remains in a narrower, "normal" range. For illustration,

1056-670: A more specific description is any meter which combines both simple and compound beats. Irregular meters are common in some non-Western music, and in ancient Greek music such as the Delphic Hymns to Apollo, but the corresponding time signatures rarely appeared in formal written Western music until the 19th century. Early anomalous examples appeared in Spain between 1516 and 1520, plus a small section in Handel's opera Orlando (1733). The third movement of Frédéric Chopin 's Piano Sonata No. 1 (1828)

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1152-507: A piece may not be best described as being in one meter, but rather as having a switching mixed meter. In this case, the time signatures are an aid to the performers and not necessarily an indication of meter. The Promenade from Modest Mussorgsky 's Pictures at an Exhibition (1874) is a good example. The opening measures are shown below: Igor Stravinsky 's The Rite of Spring (1913) is famous for its "savage" rhythms. Five measures from "Sacrificial Dance" are shown below: In such cases,

1248-416: A place of imagination, where there are no limitations." The lyrics were inspired by a story that Bono heard about Belfast, Northern Ireland , where a person's religion and income were evident by the street on which they lived. He contrasted this with the anonymity he felt when visiting Ethiopia, saying: "the guy in the song recognizes this contrast and thinks about a world where there aren't such divisions,

1344-452: A place where the streets have no name. To me, that's the way a great rock 'n' roll concert should be: a place where everyone comes together... Maybe that's the dream of all art: to break down the barriers and the divisions between people and touch upon the things that matter the most to us all." Bono wrote the lyrics while on a humanitarian visit to Ethiopia with his wife, Ali ; he first wrote them down on an airsickness bag while staying in

1440-531: A quarter note might correspond to 60–120 bpm, a half note to 30–60 bpm, a whole note to 15–30 bpm, and an eighth note to 120–240 bpm; these are not strict, but show an example of "normal" ranges. This convention dates to the Baroque era, when tempo changes were indicated by changing time signature during the piece, rather than by using a single time signature and changing tempo marking. For example, while 8 , 4 , 2 , and 1 have

1536-424: A recurring pulse, or beat , usually in the range of 60–140 beats per minute. Depending on the tempo of the music, this beat may correspond to the note value specified by the time signature, or to a grouping of such note values. Most commonly, in simple time signatures, the beat is the same as the note value of the signature, but in compound signatures, the beat is usually a dotted note value corresponding to three of

1632-407: A repeated "chiming" six-note arpeggio . A " dotted eighth " delay effect is used to "play" each note in the arpeggio twice, thus creating a rich sound. The bass and drums enter at 1:10. The introduction, following a I–IV–I–IV–vi–V–I chord progression , creates a "wall of sound", as described by Mark Butler, against which the vocals emerge after nearly two minutes. The guitar part played for

1728-425: A romantic location. I was trying to sketch a feeling." The open-ended nature of the lyrics has led to many interpretations. Journalist Michael Campbell believed the lyrics send "a message of hope" and wish for a "world that is not divided by class, wealth, race, or any other arbitrary criterion". With regard to the place Bono was referring to in the song, he said, "I'm not sure, really, about that. I used to think it

1824-495: A search for heaven" and along with the subsequent track on the album, " I Still Haven't Found What I'm Looking For ", these songs showed how the group were "pilgrims still on a quest; not preachers who claim to have found answers". The Bergen Record echoed these sentiments, saying the tracks demonstrated how the band was on a personal and spiritual quest. Rolling Stone called it "assertive rock" in their review of The Joshua Tree . The San Diego Union-Tribune said of "Where

1920-411: A short piano piece before the rest of the band begins to play. Some of Bono's lyrics have been described as reminiscent of John Lennon . The Edge described it as "a beautiful song... which is pop as it should be—not produced out of existence, but pop produced with a real intimacy and purity", also noting that "It's very new for us." It was re-recorded with some lyrical alterations and released in 1998 as

2016-413: A simple time-signature with triplets translates into a compound meter. The choice of time signature in these cases is largely a matter of tradition. Particular time signatures are traditionally associated with different music styles—it would seem strange to notate a conventional rock song in 8 or 2 , rather than 4 . In the examples below, bold denotes

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2112-446: A single in its own right for The Best of 1980–1990 . Hot Press editor Niall Stokes stated that this track, along with "Race Against Time", is "an indicator of what U2 might have made instead of The Joshua Tree ." Upon the release of The Joshua Tree , critics praised "Where the Streets Have No Name". Steve Morse of The Boston Globe noted the "bell-like tones from the Edge fram[e]

2208-485: A slower, compound time. However, there are two different-length beats in this resulting compound time, a one half-again longer than the short beat (or conversely, the short beat is 2 ⁄ 3 the value of the long). This type of meter is called aksak (the Turkish word for "limping"), impeded , jolting , or shaking , and is described as an irregular bichronic rhythm . A certain amount of confusion for Western musicians

2304-462: A variety of characters, but for the end of the main set, the group reverted to playing classics, including "Where the Streets Have No Name", straight. Some of these performances of the song were accompanied by footage of the group in the desert from The Joshua Tree 's photo shoot. The video was speeded up for humorous effect— NME described the effect as giving it a "silly, Charlie Chaplin quality"—and Bono often acknowledged his younger self on

2400-495: A village. According to him, the song is ostensibly about "Transcendence, elevation, whatever you want to call it." Bono, who compared many of his lyrics prior to The Joshua Tree to "sketches", said that "'Where the Streets Have No Name' is more like the U2 of old than any of the other songs on the LP, because it's a sketch—I was just trying to sketch a location, maybe a spiritual location, maybe

2496-459: Is 2, 3, or 4, sometimes described as duple meter , triple meter , and quadruple meter respectively. In compound meter , the note values specified by the bottom number are grouped into threes, and the upper number is a multiple of 3, such as 6, 9, or 12. The lower number is most commonly an 8 (an eighth-note or quaver): as in 8 or 8 . Other upper numbers correspond to irregular meters . Musical passages commonly feature

2592-470: Is an early, but by no means the earliest, example of 4 time in solo piano music. Anton Reicha 's Fugue No. 20 from his Thirty-six Fugues , published in 1803, is also for piano and is in 8 . The waltz -like second movement of Tchaikovsky's Pathétique Symphony (shown below), often described as a "limping waltz", is a notable example of 4 time in orchestral music. Examples from 20th-century classical music include: In

2688-539: Is felt as two beats, each being a dotted quarter note (crotchet), and each containing subdivisions of three eighth notes (quavers). It is felt as The table below shows the characteristics of the most frequently used time signatures. (quadruple) (duple) (duple) (triple) (triple) (duple) (triple) (quadruple) While changing the bottom number and keeping the top number fixed only formally changes notation, without changing meaning – 8 , 4 , 2 , and 1 are all three beats to

2784-420: Is inevitable, since a measure they would likely regard as 16 , for example, is a three-beat measure in aksak , with one long and two short beats (with subdivisions of 2+2+3 , 2+3+2 , or 3+2+2 ). Folk music may make use of metric time bends, so that the proportions of the performed metric beat time lengths differ from the exact proportions indicated by the metric. Depending on playing style of

2880-461: Is provided (usually 4 ) so that the performer finds the piece easier to read, and simply has "free time" written as a direction. Sometimes the word FREE is written downwards on the staff to indicate the piece is in free time. Erik Satie wrote many compositions that are ostensibly in free time but actually follow an unstated and unchanging simple time signature. Later composers used this device more effectively, writing music almost devoid of

2976-439: Is widely regarded as one of the group's most popular live songs. Bono said of it, "We can be in the middle of the worst gig in our lives, but when we go into that song, everything changes. The audience is on its feet, singing along with every word. It's like God suddenly walks through the room." On The Joshua Tree Tour, "Where the Streets Have No Name" was most often used to open concerts. Fans and critics responded favourably to

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3072-466: Is written in 8 , in which the beats are likewise subdivided into 3+2+3 to reflect Basque dance rhythms. Romanian musicologist Constantin Brăiloiu had a special interest in compound time signatures, developed while studying the traditional music of certain regions in his country. While investigating the origins of such unusual meters, he learned that they were even more characteristic of

3168-637: The Album Rock Tracks charts. The song reached number four on the UK Singles Chart , and it topped the Irish Singles Chart . The video begins with an aerial shot of a block in Los Angeles , and clips of radio broadcasts are heard with DJs stating that U2 is planning on performing a concert downtown and expecting crowds of 30,000 people. Police show up to the set and inform the band's crew of

3264-598: The bar is first divided into equal units. For example, the time signature 8 means that there are 8 quaver beats in the bar, divided as the first of a group of three eighth notes (quavers) that are stressed, then the first of a group of two, then first of a group of three again. The stress pattern is usually counted as This kind of time signature is commonly used to notate folk and non-Western types of music. In classical music, Béla Bartók and Olivier Messiaen have used such time signatures in their works. The first movement of Maurice Ravel 's Piano Trio in A Minor

3360-400: The meter of a musical movement at the bar level. In a music score the time signature appears as two stacked numerals, such as 4 (spoken as four–four time ), or a time symbol, such as [REDACTED] (spoken as common time ). It immediately follows the key signature (or if there is no key signature, the clef symbol). A mid-score time signature, usually immediately following

3456-501: The "500 Greatest Songs of All Time". In 2019, Rolling Stone ranked the song number six on their list of the 50 greatest U2 songs, and in 2020, The Guardian ranked the song number one on their list of the 40 greatest U2 songs. In 2022, New York Magazine's Vulture.com ranked the song at number one in its list of all 234 U2 songs. This song was featured in Universal's 2021 computer animated film Sing 2 , for which Bono voiced one of

3552-524: The "incomplete" lyrics because he feels "they allow the listener to finish them". Originally, the third single from The Joshua Tree was meant to be the song " Red Hill Mining Town ", but "Where the Streets Have No Name" was released instead, in August 1987. The single was released on 7-inch , 12-inch , cassette and CD single formats. Three B-sides were featured on the single, including "Race Against Time", "Silver and Gold", and "Sweetest Thing", except for

3648-460: The 109 shows during The Joshua Tree Tour, "Streets" was played at all except 12 of the concerts. During the Lovetown Tour which took place in 1989 and the beginning of 1990, "Streets" was only left out of the set list at one of the 47 concerts. The song was performed at every show on the 1992–1993 Zoo TV Tour . Concerts from this tour were elaborate multimedia spectacles that Bono performed as

3744-471: The 7-inch release, which only featured the latter two tracks. The 12-inch single featured "Race Against Time" on side A of the record (despite being a "B-side"), and the cassette single featured all four tracks on both sides of the tape. Although not as successful as the album's first two singles, the song did chart well. In the U.S., the song peaked at number 13 on the Billboard Hot 100 and number 11 on

3840-530: The Beatles' final concert , as depicted in the film Let It Be . "The object was to close down the streets. If there's one thing people in LA hate, it's streets closing down, and we've always felt bands should shake things up. We achieved it because the police stopped us filming. Were we worried about being arrested? Not at the time..." During the shoot U2 played an eight-song set, which included four performances of "Where

3936-624: The Elevation Tour, and later performances were featured in the concert films Vertigo 2005: Live from Chicago and U2 3D ( Vertigo Tour ), and U2 360° at the Rose Bowl ( U2 360° Tour ). The 2004 digital album, Live from the Point Depot , contains a performance from the Lovetown Tour, only available as part of The Complete U2 digital box set. In 2002, Q magazine named "Where

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4032-574: The Star Spangled Banner. U2's appearance was later ranked number 1 on Sports Illustrated ' s list of "Top 10 Super Bowl Halftime Shows". For the Vertigo Tour , the group originally considered dropping the song from their set lists, but Mullen and Clayton successfully argued against this. All 131 of the Vertigo Tour concerts featured a performance of the song, which were accompanied by

4128-419: The Streets Have No Name " Where the Streets Have No Name " is a song by Irish rock band U2 . It is the opening track from their 1987 album The Joshua Tree and was released as the album's third single in August 1987. The song's hook is a repeating guitar arpeggio using a delay effect, played during the song's introduction and again at the end. Lead vocalist Bono wrote the lyrics in response to

4224-427: The Streets Have No Name" as their favourite song from The Joshua Tree , ranking it as the most popular song from the album. Consequence of Sound ranked the song 63rd on its 2012 list of the "100 Greatest Songs of All Time". That same year, Slant Magazine published a list of its "100 Best Singles of the 1980s" and placed "Where the Streets Have No Name" 63rd. In 2014, NME ranked the song 404th on its list of

4320-451: The Streets Have No Name" the 16th-"most exciting tune ever". The following year, Q ranked the song at number 459 in a special issue of the "1001 Best Songs Ever". Three years later, the magazine's readers voted the track the 43rd-greatest song in history. Rolling Stone ranked the song at number 28 on its list of the "100 Greatest Guitar Songs of All Time." In a 2010 poll by fan site @U2, approximately 29% of 4,800 respondents named "Where

4416-542: The Streets Have No Name", "the music charges, like someone fleeing for life". The Washington Post said the track is "a bit oblique lyrically, but the implications are clear in Bono's resolute delivery, Dave (the Edge) Evan's quavering guitar, Adam Clayton's cathedral bass and Larry Mullen's rolling thunder drums". Cash Box said that it's an "achingly beautiful rocker" with "incredible raw emotion and power." NME lauded

4512-423: The Streets Have No Name". Prior to filming, a week was spent reinforcing the roof of the liquor store to ensure that it would not collapse if it were to be intruded by a group of fans. A backup generator was put on the roof so the shooting could continue in the event that the authorities shut off the power on the primary generator, which happened during filming. The depiction of the police attempting to shut down

4608-630: The US, number fourteen in Canada, number ten in the Netherlands, and number four in the United Kingdom. The song has remained a staple of their live act since the song debuted in 1987 on The Joshua Tree Tour . The song was performed on a Los Angeles rooftop for the filming of its music video, which won a Grammy Award for Best Performance Music Video . The music for "Where the Streets Have No Name" originated from

4704-606: The Western popular music tradition, unusual time signatures occur as well, with progressive rock in particular making frequent use of them. The use of shifting meters in The Beatles ' " Strawberry Fields Forever " and the use of quintuple meter in their " Within You, Without You " are well-known examples, as is Radiohead 's " Paranoid Android " (includes 8 ). Paul Desmond 's jazz composition " Take Five ", in 4 time,

4800-572: The audience, the band saw tears streaming down the faces of many fans. The experience was one inspiration for the song " City of Blinding Lights ". The band paid tribute to the 9/11 victims during their performance of the song at the Super Bowl XXXVI halftime show on 3 February 2002. The performance featured the names of the September 11 victims projected onto a large white banner behind the band, and concluded with Bono opening up his jacket to reveal

4896-453: The beat. This development reaches a climax during the first chorus at the line "burning down love" (A–G–F ♯ –D); the melody progresses through a series of scale degrees that lead to the highest note in the song, the A4 at "burning". In later choruses, Bono sings "blown by the wind" with the same melody, stretching the same note even longer. After the third chorus, the song's outro is played,

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4992-484: The characteristic aksak meter of the Turkish karşılama dance. However, such time signatures are only unusual in most Western music. Traditional music of the Balkans uses such meters extensively. Bulgarian dances , for example, include forms with 5, 7, 9, 11, 13, 15, 22, 25 and other numbers of beats per measure. These rhythms are notated as additive rhythms based on simple units, usually 2, 3 and 4 beats, though

5088-404: The confrontation with the police was exaggerated; the group were hoping to get shut down by the authorities in order to dramatize the music video, but the police continually gave them extensions for shooting the video. In the background of the video is a sign for The Million Dollar Hotel, which was rebuilt to create some interest, in case no one showed up at the film shoot. Although the video is of

5184-549: The deadpan vocal style used in the Pet Shop Boys' interpretation. Critics welcomed the song in the group's set list: The Independent said the song "induces instant euphoria, as U2 do what they're best at, slipping into epic rock mode, playing music made for the arena". In two other local newspaper reviews, critics praised the song's inclusion in a sequence of greatest hits. For the PopMart Tour of 1997–1998, U2 returned to

5280-456: The electronic dance arrangement they occasionally played on the Zoo TV Tour. The set's massive video screen displayed a video that Hot Press described as an "astonishing, 2001 -style trip into the heart of a swirling, psychedelic tunnel that sucks the audience in towards a horizontal monolith". Near the end of the song, peace doves were shown on the screen and bright beams of light flanking

5376-403: The filming due to safety concerns actually happened during filming, just as seen in the video. Hamlyn was almost arrested following a confrontation with the police. According to Avis, the events depicted in the video show what actually happened that day "almost in real time", and that "getting busted was an integral part of the plan." Band manager Paul McGuinness revealed in 2007 that much of

5472-486: The genre, as most of U2's musical knowledge began with punk rock in their youth in the mid-1970s. Bono realised that U2 "had no tradition", and he felt as if they "were from outer space". This inspired him to write the blues-influenced song "Silver and Gold", which he recorded with Richards and Ronnie Wood . It was re-recorded by U2 for the "Where the Streets Have No Name" single while the band returned to Dublin in May 1987 during

5568-402: The group continued trying to fix it up. Through all of their work, they had gradually replaced each instrument take until nothing remained from the original performance. So much time had been spent on "screwdriver work" that Eno thought it would be best to start from scratch. His idea was to "stage an accident" and have the song's tapes erased. He said that this was not to force abandonment of

5664-538: The instrumentation reverting to the same state as it was in the introduction, with a six-note guitar arpeggio played against sustained synthesiser notes. "'[Where] the Streets Have No Name' was the perfect introduction. It is one of the most extraordinary ideas, only matched by The Doors' ' Break on Through (To the Other Side) ' as a throw-down to an audience. Do you want to go there? Because if you do, I'm ready to go there with you, to that other place. Call it what you like,

5760-638: The latter two concerts, Zoo TV Live and Hasta la Vista Baby! U2 Live from Mexico City . A second version from the PopMart Tour was featured on Please: PopHeart Live EP , and later on the U.S. " Please " single. A live recording from Boston during the Elevation Tour was featured in the concert film Elevation 2001: Live from Boston , and on the " Walk On " and " Electrical Storm " singles. The concert video and album U2 Go Home: Live from Slane Castle, Ireland featured another performance from

5856-462: The main characters. U2 Additional performers Technical Sales+streaming figures based on certification alone. Footnotes Bibliography Time signature A time signature (also known as meter signature , metre signature , and measure signature ) is an indication in music notation that specifies how many note values of a particular type are contained in each measure ( bar ). The time signature indicates

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5952-444: The notation fails to describe the metric "time bending" taking place, or compound meters . See Additive meters below. Some video samples are shown below. While time signatures usually express a regular pattern of beat stresses continuing through a piece (or at least a section), sometimes composers change time signatures often enough to result in music with an extremely irregular rhythm. The time signature may switch so much that

6048-454: The notion that it is possible to identify a person's religion and income based on the street on which they lived, particularly in Belfast . During the band's difficulties recording the song, producer Brian Eno considered erasing the song's tapes to have them start from scratch. "Where the Streets Have No Name" was praised by critics and became a commercial success, peaking at number thirteen in

6144-547: The opening night of The Joshua Tree Tour . A version featuring an extended introduction was performed on the closing nights of the third leg of The Joshua Tree tour, again in Tempe, Arizona, on December 19 & 20, 1987, and footage from the performance was featured in the Rattle and Hum film. The song has since been played at nearly every full-length concert that U2 has headlined, totaling upwards of 900 performances as of 2017 . The song

6240-451: The other: For instance, 4 means two quarter-notes (crotchets) per bar, while 8 means four eighth-notes (quavers) per bar. The most common time signatures are 4 , 4 , and 4 . By convention, two special symbols are sometimes used for 4 and 2 : These symbols derive from mensural time signatures , described below. Simple meters are those whose upper number

6336-412: The paradoxes I've come to terms with." In a 2017 interview, Bono said he still felt that the song's lyrics were incomplete, stating "lyrically it's just a sketch and I was going to go back and write it out". He expressed regret for rhyming "hide" with "inside". However, the Edge disagreed with his comments, stating that he loves the song and that Bono is "very hard on himself". Eno responded by commending

6432-461: The phrase "Race against time". Bono said of the song, "It reminds me of the desert. The desert is so empty, but it aches with a strange kind of fullness." John Hutchinson of Musician magazine described the song as having an "African flavour" and as being reminiscent of Peter Gabriel . The track was used in the Miami Vice episode "Child's Play", and is the only one of the single's B-sides that

6528-416: The primary stress of the measure, and italics denote a secondary stress. Syllables such as "and" are frequently used for pulsing in between numbers. Simple : 4 is a simple triple meter time signature that represents three quarter notes (crotchets), usually perceived as three beats. In this case the subdivision would be the eighth note (quaver). It is felt as Compound : Most often, 8

6624-410: The remainder of the song features The Edge strumming percussive sixteenth notes. The bass and drums continue in regular eighth and sixteenth notes, respectively, while Bono's vocal performance, in contrast, varies greatly in its timbre , ("he sighs; he moans; he grunts; he exhales audibly; he allows his voice to crack") as well as timing by his usage of rubato to slightly offset the notes he sings from

6720-471: The roof while the crowd is booing the police. The video for "Where the Streets Have No Name" was directed by Meiert Avis and produced by Michael Hamlyn and Ben Dossett. The band attracted over 1,000 people during the video's filming, which took place on the rooftop of a liquor store in Downtown Los Angeles on 27 March 1987. The band's performance on a rooftop in a public place was a reference to

6816-420: The same beat pattern, they would conventionally be used for increasingly slow music. A 20th century example is " O Fortuna " (1935–1936) by Carl Orff , which begins slowly in 1 , and then speeds up and changes to 2 . Signatures that do not fit the usual simple or compound categories are called complex , asymmetric , irregular , unusual , or odd —though these are broad terms, and usually

6912-468: The same meter, the time bend can vary from non-existent to considerable; in the latter case, some musicologists may want to assign a different meter. For example, the Bulgarian tune " Eleno Mome " is written in one of three forms: (1) 7 = 2+2+1+2 , (2) 13 = 4+4+2+3 , or (3) 12 = 3+4+2+3 , but an actual performance (e.g., "Eleno Mome" ) may be closer to 4+4+2+3 . The Macedonian 3+2+2+3+2 meter

7008-476: The security issue that the film shoot is causing. Two minutes into the video, U2 are seen on the roof of a liquor store at the northeast corner of 7th St. and S. Main St., and perform "Where the Streets Have No Name" to a large crowd of people standing in the streets surrounding the building. Towards the end of the song, the police tell the crew that the performance is about to be shut down, and eventually police walk onto

7104-469: The sequential playing of the Joshua Tree album. It is accompanied by the first of several short films depicting desert landscapes that were created by photographer Anton Corbijn . Live performances of "Where the Streets Have No Name" appear in the concert video releases Rattle and Hum , Zoo TV: Live from Sydney , and PopMart: Live from Mexico City , as well as the respective audio releases of

7200-521: The set's golden arch were projected upwards. Hot Press said the effect transformed the stadium into a "UFO landing site". Shortly before the third leg of the Elevation Tour , the September 11 attacks occurred in New York City and Washington D.C. During the band's first show in New York City following the attacks, the band performed "Where the Streets Have No Name", and when the stage lights illuminated

7296-408: The signature's note values. Either way, the next lower note value shorter than the beat is called the subdivision . On occasion a bar may seem like one singular beat. For example, a fast waltz, notated in 4 time, may be described as being one in a bar . Conversely, at slow tempos, the beat might even be a smaller note value than the one enumerated by the time signature. Mathematically

7392-434: The song as the opening track by saying the album "starts by spitting furiously". The publication praised Bono's impassioned singing and The Edge's guitar playing, which transformed the instrument into "something more than an endlessly abused piece of wood". The review commented that the "last ten seconds are breathtakingly beautiful". The Rocket wrote that the song builds a "wall of sound" that Bono's vocals cut through with

7488-423: The song in a live setting. The San Diego Union-Tribune wrote that, "From the lofty sonic opening strains of [the song], this audience was up, ecstatic and inflamed." NME wrote that the song is one such occasion where "the power afforded their songs is scary", noting that during the song's opening, "the arena ERUPTS". In other reviews, the song was called: "uplifting", "exhilarating", and "powerful". Out of

7584-451: The song it is live." "Where the Streets Have No Name" is played in the key of D major at a tempo of 126 beats per minute. The introduction and outro are played in a 4 time signature , while the remainder of the song is in a common 4 signature. The song opens with an instrumental section, starting with chorale -like sustained synthesiser notes. The guitar fades in after 40 seconds; this part consists of

7680-399: The song was compiled from several different takes. It was one of several songs mixed by Steve Lillywhite in the final months of recording The Joshua Tree . Drummer Larry Mullen Jr. later said of the song, "It took so long to get that song right, it was difficult for us to make any sense of it. It only became a truly great song through playing live. On the record, musically, it's not half

7776-435: The song, but rather that it would be more effective to start again with a fresh performance. At one point, Eno had the tapes cued up and ready to be recorded over, but this erasure never took place; according to engineer Flood , fellow engineer Pat McCarthy returned to the control room and upon seeing Eno ready to erase the tapes, dropped the tray of tea he was carrying and physically restrained Eno. The studio version of

7872-442: The song, inspired by the bodhrán , was played by The Edge, but stemmed from some of Clayton's unused bass parts. Mullen's drum part was recorded in a single take. The song is primarily an instrumental piece but does contain some lyrics inspired by Bono's trip to Ethiopia after Live Aid and his witnessing firsthand the famine in occurrence; these lyrical references include Bono singing in an Ethiopian language and following it with

7968-445: The song. Bassist Adam Clayton said, "At the time it sounded like a foreign language, whereas now we understand how it works". The arrangement, with two time signature shifts and frequent chord changes, was rehearsed many times, but the group struggled to get a performance they liked. According to co- producer Daniel Lanois , "that was the science project song. I remember having this massive schoolhouse blackboard, as we call them. I

8064-407: The stage's LED video curtains displaying African flags. On the tour's opening night, this reminded Bono that he had originally written the lyrics in an Ethiopian village. He thought this visual accompaniment made the song come full circle, saying, "And here it was, nearly twenty years later, coming back to Africa, all the stuff about parched lands and deserts making sense for the first time." The song

8160-455: The studio recording and the Sun City versions were later featured on the bonus disc of the 20th anniversary edition of The Joshua Tree . The studio version was also included on the limited edition B-sides bonus disk of the band's first compilation album, The Best of 1980–1990 . " Sweetest Thing " was written by Bono as an apology to his wife for forgetting her birthday. The song opens with

8256-472: The time signatures of, e.g., 4 and 8 are interchangeable. In a sense all simple triple time signatures, such as 8 , 4 , 2 , etc.—and all compound duple times, such as 8 , 16 and so on, are equivalent. A piece in 4 can be easily rewritten in 8 , simply by halving the length of the notes. Other time signature rewritings are possible: most commonly

8352-523: The traditional music of neighboring peoples (e.g., the Bulgarians ). He suggested that such timings can be regarded as compounds of simple two-beat and three-beat meters, where an accent falls on every first beat, even though, for example in Bulgarian music , beat lengths of 1, 2, 3, 4 are used in the metric description. In addition, when focused only on stressed beats, simple time signatures can count as beats in

8448-407: The ultimate U2 live-song", so he imagined what he would like to hear at a future U2 show if he were a fan. After finishing the rough mix, he felt he had come up with "the most amazing guitar part and song of [his] life". With no one in the house to share the demo with, he recalls dancing around and punching the air in celebration. Although the band liked the demo, it was difficult for them to record

8544-514: The video screens. This video would make a return during performances on the 2010 and 2011 legs of the U2 360° Tour. Some of the Zoo TV performances of the song had a more electronic dance music arrangement that bore a resemblance to the Pet Shop Boys ' synthpop cover of the song (titled " Where the Streets Have No Name (I Can't Take My Eyes off You) "). Bono parodied this by occasionally adopting

8640-551: Was Belfast..." Journalist Niall Stokes believes the title was influenced by Bono's and his wife Ali's visit to Ethiopia as volunteer aid-workers. Bono has expressed mixed opinions about the open-ended lyrics: "I can look at it now and recognize that [the song] has one of the most banal couplets in the history of pop music. But it also contains some of the biggest ideas. In a curious way, that seems to work. If you get any way heavy about these things, you don't communicate. But if you're flip or throwaway about it, then you do. That's one of

8736-525: Was also played at the preview screening of the band's concert film U2 3D at the 2007 Cannes Film Festival . At the Glastonbury Festival 2010 , The Edge accompanied rock band Muse for a live cover version of the track, later playing it with U2 while headlining Glastonbury in 2011. During the Joshua Tree Tour 2017 , "Where the Streets Have No Name" leads off the middle act of the show,

8832-423: Was featured in the music videos for " Where the Streets Have No Name " by U2 and " Interstate Love Song " by Stone Temple Pilots , as well as the 2000 Wim Wenders film " The Million Dollar Hotel ". The story of the film had been conceived by U2's lead vocalist Bono while filming the music video, and the filming took place inside the hotel despite its dilapidated state by then. The 264-unit Hotel Rosslyn Annex

8928-408: Was holding a pointer, like a college professor, walking the band through the chord changes like a fucking nerd. It was ridiculous." Co-producer Brian Eno estimates that half of the album sessions were spent trying to record a suitable version of "Where the Streets Have No Name". The band worked on a single take for weeks, but as Eno explained, that particular version had a lot of problems with it and

9024-615: Was never played live. " Silver and Gold " was written in support of the Artists United Against Apartheid project, which protested the South African apartheid. In 1985, Bono participated in Steven Van Zandt 's anti- apartheid Sun City project and spent time with Keith Richards and Mick Jagger of The Rolling Stones . When Richards and Jagger played blues , Bono was embarrassed by his lack of familiarity with

9120-418: Was one of a number of irregular-meter compositions that The Dave Brubeck Quartet played. They played other compositions in 4 ("Eleven Four"), 4 (" Unsquare Dance "), and 8 (" Blue Rondo à la Turk "), expressed as 8 . "Blue Rondo à la Turk" is an example of a signature that, despite appearing merely compound triple, is actually more complex. Brubeck's title refers to

9216-521: Was renovated in 2015 to house a mix of homeless veteran, low-income and market-rate tenants. This article about a property in Los Angeles County, California on the National Register of Historic Places is a stub . You can help Misplaced Pages by expanding it . This article about a building or structure in Los Angeles is a stub . You can help Misplaced Pages by expanding it . Where

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