Our second video interview from the U2 Conference is now ready and uploaded to YouTube (and embedded below). This is the session where I sat down with WBWC/U2 Marathon radio co-host Mary Cipriani to interview John Gorman, a Cleveland radio legend, about U2's history and future in the radio industry.

We talked about U2's first visit to Cleveland and some special shows and interviews they did there, along with big picture topics like how U2 has marketed itself to radio over the years and the likelihood of U2's future songs getting significant radio airplay. You can read the text/article recap of this session that we've already posted, and/or watch along with the video below. (Note that the audio is a bit "hot" here -- be careful with your speaker settings.)

We have one more video still to post -- from the "U2's Sound Explained for Non-Musicians" session. That should be ready to go in a couple days. Subscribe to our YouTube channel to get alerted when it's posted.

The latest U2-related rumor has a soccer/football twist. As U2 Brazil reported, a Brazilian journalist writer named Lauro Jardim recently wrote that organizers of the 2014 World Cup are in negotiations with U2 to either perform at the opening or closing of next year's tournament.

Nothing else was mentioned in the report, although U2 Brazil also pointed out that Bono has promised ex-Brazilian president Lula da Silva to attend the opening ceremony with him.

The only other rumor that I've heard lately was actually the news that Steve Averill shared at the U2 Conference last weekend, when he said that he's about to meet with the band to talk about the new album and discuss design ideas. That meeting should be happening any day now, presumably in Dublin.

It's not a guarantee that U2 will actually put out an album this year, but it's certainly a step in the right direction for all of us hoping they do.

I apologize up front if you're tired of hearing about the U2 Conference already ... because you're probably gonna hear a lot more about it in the coming days and in future OTR columns.

Bottom line for me is that something special happened last weekend in Cleveland. It was different (better) than the first U2 Conference. It was something different than what's happened over the years at the various @U2 parties we've done. I don't really have words for it. It was different. And very, very special.

For me, on a personal level, the conference re-energized me and helped me re-commit to everything we do on this website. Because you know ... when you've done something for going on 18 years, it's probably normal to wonder "What if this ended? What else could I do with that free time?" ... and I'll be the first to admit that thoughts like that have come up several times over the years.

But the conference weekend wiped away any questions or doubt that may have been lurking deep inside my heart and mind about that. I heard a story from one forum user that really moved me, proving that what we're doing here can really mean something in the bigger picture. And I heard a lot of kind things about what we're doing from @U2 readers. "Words of affirmation" has never been my love language, but it was last weekend, that's for sure. :-)

Thank you to all for those stories and words. It added tremendously to a very special weekend.

And it wasn't just me who felt something special happening. Read some of the attendee feedback that's already being posted on U2Conference.com and you'll start to get a sense of what it meant to others, too.

I don't know when or where the next conference will be, but when it happens, give serious thought to doing whatever it takes to be there. This thing has a ton of momentum now and will only get better. You'll want to be part of it.

One more thing about the U2 Conference: a special thank you to the guys in Unforgettable Fire, the tribute band that did our "U2's Sound" session on Saturday morning and played the official post-conference party on Saturday night.

Not only are they excellent musicians (they really are), but they're also very solid, down-to-earth guys. I was more impressed with them as people than anything. They loaded up all their gear and drove from Connecticut and New York all the way to Cleveland, did the first session on a Saturday morning, then played for 3+ hours on Saturday night and into Sunday morning -- all the while knocking off conference attendees' socks -- and, when it was all over, they were thanking Scott and me for inviting them to be part of it all. We were thanking them profusely, and they were giving it right back to us. How cool is that? Great guys.

Do you remember that music festival in Mali that Bono participated in early last year -- Festival Au Desert? There's a live CD that just came out with performances from the event but ... alas ... Bono's appearance with Tinariwen didn't make the cut. :-(

That's okay, though. Remember, we posted the entire 15-minute performance on our blog a couple weeks after it happened.

And finally ... an interesting find on YouTube. This appears to be the original Brian Eno video of a sign language performance of "Ultraviolet" that was used on the screens during the Zoo TV tour.

Until next time....

(c) @U2, 2013.

If you're in New York City this week, this event looks like it could be pretty fun. Mark Pellington, whose U2-related credits include working on U2 3D with Catherine Owens and directing the buffaloes version of the "One" music video, is speaking this Tuesday (May 7) at the Museum of Moving Image. The evening will also include a screening of U2 3D, according to the museum's website:

Pellington will discuss his career, showing highlights from his work, in a conversation with Chief Curator David Schwartz. The discussion will be followed by a rare theatrical screening of the spectacular concert film U2 3D.

The event starts at 7:00 p.m. and tickets run $$9 for museum members or $$15 for the general public. Use the link above to order tickets. (Thx to Joseph for the tip.)

When U2 fans talk about their favorite band's music, the word "magic" is often part of the conversation. At the 2013 U2 Conference this past weekend, fans got a rare glimpse into how the magic happens as members of the longest-running U2 tribute band, Unforgettable Fire, explained some of the secrets behind the band's sound. Fans attending the morning session were treated to snippets of U2's catalog as deconstructed by band members Mick Normoyle (Edge), Tony Russo (Bono), George Levesanos (Larry) and Craig Kiell (Adam).

Mick talked about The Edge's most important effects: the infinite sustain (as heard on "With Or Without You") and the modulated delay (heard on "Where The Streets Have No Name" and "Bad"), which repeats notes and widens the sound. He uses a K fuzz tone device on the song "Elevation." Mick demonstrated the opening two notes before hitting the pedal on the device, then again after, which resulted in that trippy, familiar introduction to the song. Another trick Edge uses is a pick made in Germany that has a rough grip meant for holding, but he holds it upside down so that it scrapes the strings to roughen the sound. When asked how he was able to figure out The Edge's techniques, Mick laughed. "I learned by being a U2 freak and by worshipping The Edge."

While Mick has the help of fuzz boxes and pedals, Tony has only his voice and an echo effect that is always on, just like the real thing. He sang a few bars of "Beautiful Day" to highlight the differences with and without the echo. Still, he said, "Bono's vocal range is almost irreproducible, it's so wide." He surprised the crowd by his assertion that, "Even though it may look like a prop, Bono is actually a pretty good guitar player and plays about four chords." Tony also revealed that the harmonicas Bono uses are tuned to flat keys, which are not only rare but give a distinctively different tone than those tuned in sharp keys. He then demonstrated by playing snippets of "Trip Through Your Wires" and "Desire." It can't be easy playing the part of the frontman of the world's biggest band. Tony said, "It's a challenge to sound like the younger voice and then go into the older voice. I'm in awe that Bono can run around and perform like he does night after night."

Just like Larry, George is not only the drummer, but the founder of the band as well. He said, "Larry's playing isn't complicated but he is self-taught so he has a unique approach." Larry started as a marching band drummer, which is evident in his playing. "You have snare and high hat in most rock songs, but Larry's emphasis is on the militaristic feel of those elements. He's constantly filling his own drum line with snare." His use of syncopation (where the accent is on the offbeats) is readily apparent on songs like "Sunday, Bloody Sunday." "There's melody in his playing." The drumming follows Bono's voice but there's also a connection between Adam and Larry that helps solidify the tempo and momentum of the song.

Craig believes that Adam is the foundation for the band's sound. "His movement and choice of notes sets the tension. He plays higher on the neck of his bass, playing with octaves or only using one or two strings to lock in the bottom end. If you listen to 'Streets,' The Edge plays the same thing throughout the song. It's actually Adam driving the sound of the song."

An audience member asked the band members how U2 have changed over the years. Craig noticed that Adam's playing changed after he took bass lessons in the mid-nineties, making him more technically proficient. Larry has simplified his playing and has slowed down. "Their timing has improved. The early songs are all over the place in terms of timing," said George. The band now uses a click track when they play live and are accustomed to it. It helps them play at a consistent tempo but leaves little room for error, so a seemingly small mistake (like a mistimed snare hit) can end up being magnified. Mick was happy to report that the equipment has improved as well, allowing for better use of delays and other effects.

Another attendee asked if they thought the members of U2 were proficient musicians. Tony said, "Bono is lyrically a great songwriter, even if he isn't the greatest singer." Craig doesn't believe proficiency is the issue. "The song is the vehicle. Edge couldn't do what he does without Adam." Mick asked, "What is music? Is it a contest? Edge is a pioneer. The sound he makes is all his own."

For Unforgettable Fire, what are the hardest songs to play? "Wire," said Mick, "because it's fast and goes off tempo easily." Tony has a hard time hitting the highest note in "Bad," which he admitted he hits only about 50 percent of the time. George offered "Streets," which he said is "not hard but always makes me sweat." Craig said it's not about the songs being hard, but "it's about finding the feel, the pocket, the space inside the song."

Are they intimidated by playing U2? "Absolutely!" exclaimed Tony. Mick added, "It can be awkward. We're not U2. We're fans first and foremost."

(c) @U2/Maione, 2013.

Last week, I had the pleasure of leading an interview session at the U2 Conference with Brian O'Neal, who led much of U2's U.S. publicity in the 1990s. Our conversation covered obvious things like Achtung Baby and the Zoo TV tour, Pop and the PopMart tour, but also some less obvious topics like the Negativland incident and the stolen/lost Achtung Baby session tapes that became a popular bootleg around the world.

Our written recap of the session is online already, and now you can watch the entire session below. We'll have a couple more videos to share soon, so be sure to subscribe to our YouTube channel to get alerted when they're ready.

Hopefully you've been reading and enjoying our coverage from the just-completed 2013 U2 Conference; we still have a couple articles to finish up and publish, which we'll do soon. We're also working on publishing some of the session videos, so look for those soon.

For now, we're happy to share about 50 photos that we took through the course of the weekend -- from the pre-conference party last Thursday night, through the sessions and keynotes, and ending with the fantastic show put on by Unforgettable Fire on Saturday night at the Hard Rock Cafe. You can either see the full set on Flickr, or just browse through the slideshow below. Enjoy! (And, as the saying goes ... Had a great time, wish you were there!)

U2's place in the changing radio landscape was the topic of one of @U2's mainstream sessions at the U2 Conference this past weekend in Cleveland.

Mary Cipriani and I sat down for an interview with Cleveland radio legend John Gorman, who first met U2 in April 1981 when the band came through Cleveland on the Boy tour.

In those days, independent radio stations were thriving and on-air talent had the freedom to play new bands and even songs that weren't formally released as singles.

The U.S. radio industry has changed dramatically since then, as Gorman explained, with deregulation in the 1990s allowing companies to own several radio stations in one city. In an effort to expand their revenue, radio station owners also bought in to ancillary businesses -- think venue ownership and tour-related businesses -- and record labels and artist management quickly realized that making various business deals was the best way to get radio airplay.

Radio companies could effectively keep certain artists off radio if they didn't also buy into these other services; i.e., if you play your concerts in our venues, we'll make sure your songs get a lot of radio airplay. Record labels, he explained, also hired independent promoters who "pitched" certain artists and songs to radio stations, offering the stations money and other payouts in exchange for airplay. In doing so, promoters helped buy a song's way into a station's playlist. These promoters negotiated their own deals to help stations with music programming; thus, the money didn't go direct from the label or artist to the station, but through the promoter. Gorman called this a form of "legal payola."

He related this to the "Electrical Storm" single that U2 released as the promotional single for The Best Of 1990-2000. While the song was a No. 1 hit in Canada, Top 5 in the U.K. and also popular in other parts of the world, it didn't make a dent in the U.S. Why? Gorman said it was because U2 manager Paul McGuinness refused to "pay for play."

On the other hand, Gorman claimed that U2 and its record label did promote "Beautiful Day" in this way -- paying double the going rate -- which helped get U2's bounce-back, "reapplying for the job as the best band in the world" single significant radio airplay. It reached No. 21 on the Billboard Hot 100 chart, and charted on six other Billboard charts, too.*

Radio & U2's Relevance

A hot topic for U2 in recent years has been the band's relevance and its chances of getting radio airplay in the future. During the session, we shared three Bono quotes from 2010 and 2011 in which he talked about the need for U2 to get its new songs played on radio. One quote from the Australian paper The Age sums up Bono's outlook:

The biggest challenge now will be getting a song on the radio. That's our drug of choice now. I don't know if we will achieve it. It takes a radio programmer saying, 'I want that feeling on my station.' And they may not. It will be very hard for U2 to dominate the radio now after No Line on the Horizon. But we're going to try.

Gorman said U2 might have a chance at getting on radio in Europe because "it sounds much better than American radio. They're playing a wider variety of music. Radio still means something there, so Bono is somewhat right on that point."

But he was pointed in his thoughts on U2's chances of being popular again on U.S. radio.

"What formats are gonna play U2 today? I don't know. Classic rock stations play classic rock. Rock stations usually play new rock [artists]. I don't know where U2 fits in. Aside from college stations and the few independent, alternative stations that may be left, I doubt U2 can get airplay."

Gorman said one of U2's problems in getting back on radio is how long the band has been out of the spotlight. Radio stations are "governed by a great deal of research, and you look at past performance and say, 'Well, when was the last time U2 had a hit single? That long ago? No, we don't want them.'"

In lieu of getting on radio, Gorman said U2 should focus on the Internet -- that's where radio's future is. "Consumers in America are sick of terrestrial radio -- AM and FM," he said. "I dont know why Bono should even care about American radio. It's obsolete already."

Elsewhere in the conversation, Gorman praised U2 for paying special attention to college radio throughout the band's career -- giving college stations copies of new U2 albums before commercial stations got a copy, for example. He also praised Bono, specifically, for exposing U2 to a wider audience by showing up at other artists' concerts, not only similar acts like R.E.M. or Bruce Springsteen, but also pop artists like Kylie Minogue and others. "He knew he had to go after that Top 40 audience, too."

* During the session, Gorman accidentally switched the timing on the "Beautiful Day" and "Electrical Storm" releases. "Beautiful Day" was released in 2000; "Electrical Storm" in 2002.

(c) @U2, 2013.

This one is probably no surprise: Given the chance to interview any one member of U2, more fans would choose Bono than any of the other three. But it wasn't a landslide; Bono's edge (pun intended) was a little less than 10 percent.

We asked this question in March and received votes from 2,713 fans. Of that group, 39 percent said they'd want to spend a half-hour interviewing Bono -- about 10 percent more than The Edge, who finished second. Larry and Adam were 3rd and 4th, respectively, at 18 percent and 13 percent. Here's a look at the full results:

We've also updated the poll question on our home page, taking inspiration from a recent discussion in our forum. We want to know your favorite U2 concert stage, and the choices span from the spartan white flags of the War tour all the way through the "claw" from the 360 tour. Vote today on our home page!