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Into nine signals an increasing sense of desperation for this president then again is behaving almost identically to how he behaved in October 2062 Miami seems run a Official Star Wars Unicron Transformers Death Star Art shirt national of the debates I Alexander latest from the president and his campaign out of Taliban following the Biden campaign appear with you I the president but be realistic I know you have a that will tell you that the presently help the president does this and we all have heard about the Republican side of Dale the president is at nine of them can guarantee that the president is going to do what they claim that they want him to do tonight so the explanation is why why is this campaign is sort of letting trump scorched earth is way around this campaign these last 48 hours which I can write a mean Donald Trump is the wild card he’s been the wildcard and he will remain that way it’s obvious that nobody can sort of harness and you talk about what we’re hearing from AIDS right now to tell you the things they expect it that you back them as they say. Good you want this to be no light truck cause it to make America great again we’ll see that you know where was a great keynote when we were slaves went when when we had Jim Crow we could go and walk in the cities you know we couldn’t be in the Tao After Dark was a great you know so you know we don’t my daughter I’m sorry the pastor can’t see what’s improved for black people since Trump came into office neither here in Milwaukee nor in the rest of the country is fired for us Fourth of July just a day off because we don’t really have much to celebrate about independence cause we really are independent you know we don’t get the same kind of help and consideration that you know other people get one thing unites all Americans there’s lots of food for the national holiday pastor Greg and his wife have invited over a friend and her daughters be together this time relaxing with family and friends love will be praying right now that you bless us with your strength I get through these times and at some point recover from. 9 done by the time we start recording them the changes were not having borderline nonexistent with with a black albumand started Bob rock starts at double the course talk about you know but a note the songs were done by the time we left by Tom left El Cerrito assaulted a again getting back to the arrangements of the songs I mean you up to that point learn the songsand you would just learn of the wind just came around I had to write out a roadmapand sometimes I’d have to use two sheets of paperand it was it was essential to do that really essential to do that because there is so cardsand if you lost your way in the mirror that sawand now these guys move forward if you didn’t know where you are at that nap there is no way of catching up to the part you’re supposed to catch up to you know because there’s no real point of reference at that point you needed the whole arrangement right now just so that you know the guy if you missed something you’d be able to follow Danand I can’t catch them at this point it outand that’s how wise that you the end you started learning to play songs you know on the use frayed ends as an example again because it was played for the first time in 2014 which likeand robbing you to say he was a major major motivator for definitely when I first joined the band there were two songs I wanted to playand one of them was dyers the heavenand a in my throatand the other one was was frayed in the sanity so I remember being in Paris in 2003and I’m word was with James where walking to go to dinner on Michael K of the vibe is good this is my chance himand ask himand I like leaving the plan dyers Eve you know I mean it seem like the van was more open to exploring some of the the the deeper cuts in the spirit that corners of justice with that the darker corners are just corners it seem like they weren’t ready for frayed but they were ready for dyers in so we we actually ended a plan that one back then frayed was something that I started working on my own way before we played it 2014 I started working that at homeand I just China dissected as best as I could because I knew someday working to play the song we have to delete dissected like did youand I have to create a roadmap like Kirks on the yeah yeah I did I had to create it but then James will also agree with me on this afraid is a type of song that you got at some point really is a in terms of their the rhythm side you know whether it’s base rhythm guitar drums you have to bring that in your system has to be a part of you physically because it grooves you knowand in an order you know to read it is one thing but at a certain point it has to be in your you know it had blow it has to reallyand edit data inand flips aroundand is around you gotta know it you gotta breathe itand it takes time what you know one of the things that was really instrumental in this record album cutting through to people was oneand lyrically it’s it really is a remarkable song in the sense that it actually even without seeing the video for you got this sense of incredible dread incredible desperationand actual physical illness the feeling of someone physically evaporatingand the video will get to that second really help without the in writing that song in Oak blackened has all the ecologyand it harvester shorter straw sure does drive a these these have a topical feel to it but one is actually interesting because it’s written almost in the first it’s written in the first person like where this is not just watching CNN a lot where did this really come from for youand how to what did you hear in the music that got you there while I have the to me one is this it’s like the ultimate darkness it’s the ultimate loneliness that in the most lonely you could ever feel really I recall I have two older half brothersand they were in collegeand I was a young kidand this was I guess for mid 70sand he told me about this book he was reading or a movie that he had seen maybe maybe the book as well I guess the book is from the 30sand then by Dalton from Dalton rumble made the movie in the than the 70s I guessand Johnny got his gun yet Johnny got his got my brother telling me about this while there’s this crazy thing about this guy was armsand legs blown off a stepand blinded a scared the shit enemy like but how does the talk how does he has a communiqué as a get around he doesn’t you knowand they don’t know he’s alive even heat he is alive but he doesn’t know how to tell them he doesn’t want to be alive for me is the is like the biggest trap you’re stuck in his trapand you can’t get out so I brought up a lot of emotion for meand a lot of fearand so what one is writing the song obviously reading the book he couldn’t speak for himself so I put a voice to him obviously there’s a voice for himand that in the in the movieand in the book especially but you just talking about I’m trappedand I don’t know what to doand you know that that sense of no one could help him nothing could help him was pretty much where the ultimate fears for me you know as a kid for me feeling disconnected not being able to ask for help not knowing where to go for help that plugged writing some of my fears is that you turned it personal in dyers Eve you actually spoke not just in the first person but in your own first person writing the letter writing the letter to the your parents you know here’s what I really want to say at least then you knowand it was nice to get that out as well but but one was such a scaryand dark place it was easy it was easy to write really was it felt very comfortable when one of the things that I remember from the tour that I was on we were in Belfast I remember an extra wrote about this we were I was sitting in a car with you Larsand Peter Menschand you were listening to a proposed edit of one on the Carson areaand it was because there was this discussion about should we do this is this really the right thing to do are we cannibalizing the song in any wayand one of the things that Peter said which was very interesting he said that he actually liked in the van to the Grateful Dead of heavy metal because you could reach a certain audience you are doing great on the road but if you’re going to go to the other level you needed something else you needed that single that was going to connectand it’s incredible that in fact one which is as you say the ultimate darkness became that how hard was it to accept the fact that we have to cut it in order to get it through I would say that my recollection is that it became easier because it felt like we were standing out loud a lotand so you know the medium of video that we get always looked at as something that was sort of selling out of something that belong to a different different mindsetand then I think you started realizing that you could you could attribute or use the same approach to creativity in the video that you didn’t in the songsand for me that was kind of breakthrough it was like doesn’t have to be left to somebody else it can be something that we control is at workand it’s something that we can control the work that we can have enough of a creative voice in that it still feels like it’s an extension of who we are so you know when when I asked him if that haven’t Belfast I remember something Harris a member there was a conversation in Paris at the was seen his place with the direct backstage was Peterand Cliff that they were parishesand we had conversation about like we can do a video that’s as much on our terms as as making the records or playing the rock shows a whatever we were doingand when that happened felt good about taking the nextand andand you know at that time Abhijit you could still feel that the result groundswell of of of music fansand that were experiencing Metallica for the first timeand being really turned on by what they heardand so it really felt like was still standing her ground they were coming to us rather than us going to them so that the small compromises that we would doing felt like it was still kind of cool enough looks at the river the detailsand you know I can’t remember if there was was was added for the Bell tolls on the there was I don’t think this one was one for one belt I also again one flew over the radar I don’t think one was the first song that was edited I think it was something about Satan slamming what they to black we had had an is the word single for better or worse I do I remember Jill among the first couple conversations I had Bernstein on the phone before we were even like together as it is a unit from the Bell tolls on the Bell tolls on the beltand then something like I gotta give that to radio whateverand maybe the intro went from 32 bars to 16 as I can’t remember okay we we this was not a big sellout life here so it was the one went from eight minutes to 6 1 2 is tolerable but you know if it this can open up I think the thing was always that this will open upand bring more people it will expose them to what were doingand then they discover the record then the discover puppetsand discover lightning then the discover slayer than the discovered diamondand then the discover muzzle face it was so many people in America at that time that didn’t have access to heady music because it wasn’t on the menu of what the major record companies was serving rightand so nobody thought nobody knew what independent music was a whatever site I remember that we were part conversation about if we can help reach that gap to get you young people that want to say Iron Maiden Judas Priest to discover that there was still more heavier stuff out there that they would maybe like this is actually a good moment to bring in Michael Solomon was the director of the video for oneand yet here I know addressing the subject addressing the subject of the perceived compromise is a great one because you don’t it has happened in little bits all along our careerand you know you either you either embrace changeand use it at at your advantage is allowing it yet in the right direction or you’re afraid of itand you turn aroundand can I maybe stay the same size or don’t grow at alland I was afraid I was afraid of the video in a is all what it whenever we turn on MTV Asia or some Toto or somethingand that we are not Chileans are anything but they’re not at all but the that the perception was okay were joining that youand we didn’t want to join that so when they asked us asked us we need a video that that helped a lot first of alland I think there was one moment when I was at the stone on Broadwayand Salmon Cisco there to see some ban on us a metal bandand some kid came up to meand he spit on meand he says you sold out you made a videoand right there I went yes we did fuck youand that’s when I started to realize that okay you can stay where you want me to stay smalland in this thing but if you have something to say that’s really important you need to utilize these things whether it’s video whether it’s the Internet whether whatever’s coming our way a movie that’s what you gotta do you go for Michael were the first discussions you had with the van about visualizing a song like one because you ended up using footage from the filmand yet at the same time you needed to get them in it to show how they connected to the images that are in that that classic film right while I was brought into it actually I don’t quite remember how it was brought into it but I know the there was a conceptand I talked to Lars on the phone quite a bit before the video became what it wasand he kind of explained that there is this movie that they wanted to intercut with the bandand they were quite sure how it would work together I was in eitherand I think the first time I actually met all of you was on the set of ofand I have to say that I was a partner with the bill Pope who was the photographerand he kind of directed the live performance sectionand I was brought in mainly as an editor to tryand figure out how to interweave the movie with the songand that’s actually really the important thing is to integrate the performance aspectsand then have that footage which is even at this remove is still incredibly graphic that image of the guy on the hospital it is badand the doctors around them basically dismembering will I remember bringing in a rough cut I had actually gotten a the original track seven a half minute songand we had found an old dirty print in Italy that had to be you know transferred like three different times so look horribleand I kind of experimented with where I could put the movieand in between a lot of the brakesand the music covering up austere solos that I had to speak up about that at these games some face time in the solo right but I remember bringing it inand you guys obviously because it was the day that you were shooting your performance I brought in this cut that had a lot of blank spaces where you are going to be put inand I had all the movie pieces that I thought were appropriate intercut with itand I’ve believe you looked at it you shook your head like you didn’t understand what was going on which I’m sure you didn’t because it was just these black holes with the most of the timeand I believe you roll your eyesand then walked out of the room so that was a couple things I remember now I remember somebody came up if you look at the video is a lot shouldersand armsand body part that was obvious he kind of in reference to their armsand legsand all that stuff that were missing data so I think time the source of inspiration was what everybody else was doing because that gave us the exact you know it’s sort of like this we have to avoid it became always the entities each on MTV it was collar it was like it was life it was hairand makeupand people jumping out you loudand the funand sillyand and all that stuff no names mentioned but everything was just like we want to do the opposite of thatand it was just like okay you blackand white low lit no body parts in all it was just sort of like let’s just do the opposite was a total contraryand approach to on to what everybody else was due to feet walking no milk in the snare drum no partying it was in I would we were playing a couple shows a loyalty to meand we the day offand we came down to the I actually was nothing sexy about any of this was just just us cold that you know whose it was cold coldand just satand waited should be exactly the way the song was really I always said that I was incredible because of think about the source think about James tell his story about his brothersand an endand ultimately think about United member Cliff Bernstein also talking about the bookand the movie inand would you think about that literary peace was the source of inspirationand then it gets out of ended up being a cornerstone of the videoand just bringing something completely different into the MTV generation of that time mine fuck the way the battle worked out I mean I remember we went San Antonio on the day off in San Antonio the biggest thing at that time on MTV was called dial MTVand it went Monday to Friday is We o’clock in the afternoon people will it maybe there’s a chance it will bubble under maybe you know will be number 10 maybe will be number nine of them were all sitting in motel rooms are some of us were awareand there was the MTV countdownand pocket videothere you knowand then we ended up debuting at number one on the first day that you are the first day that was available for dial into vehicles like holy fuck that just threw everybody but also kind solidified what we talked about before but all these people that were out there to the voiceless but wanted something different than what was being served to them for all those yearsand all of a sudden getting a chance to unite behind something that spoke to them was built for the musicians you are also building on something as one of the things I wrote about this in the in the story that I wrote in 88 which was the first piece that you had in Rolling Stone was that after every show I saw in chef field on Belfastand Dublin after every show there would be tables set up in an hallway backstageand you would sit there for an hourand a half after the gigand just sign arms take pictures you know how to talk to peopleand in a way that was very deliberatelyand I think genuinely engaged with the people that had come they were standing they were just standing at the backstage door stage door johnnies waiting for you to rush through to get an autograph you actually invited them inand it really that really caught my eye because I really I could see the way your audience had builtand that you were still cultivating them actually cultivation is the wrong work as it sounds like you’re actually trying to just grow popularity you are actually connecting with people in a profound way that the video actually just solidified action was the main word there for meand I don’t know if it came maybe we grew up while the van grew up listening to a lot of punk rock we’re hanging around with a lot of funk bandsand that’s that was the attitude like were just another which is another dude you know come on inand hang outand you know what there’s nothing special about us anyone could do this that part of that part I think we would prefer to hang out drink beer shoots should without fans that was out that was not about growing in numbers I was just it beats sitting on the bus talking to the fucking road cruel whatever disrespected them but it was like hanging out with those of the people that we wanted to be with because they were us ever we will all miss together you know what I meanand so it every night sitting there drinking beersand doing that kind of thingand shoot the shit with with the people that come to the show that was just a natural extension of of our personality did you miss that when oneand that kind of success almost made it harder to do that it is a juxtaposition it can defeats the purpose in a wayand I do remember some of the shows you just see can’t you what whatever it was Buffaloand its 20 below where I can stand outsideand sign autographsand I remember we were writing throughand there were some people out there say good Rolling Stone lie to us to remember thatand God oh my God stop turnaround in oh at some point you have to have a reality around the whole thing I mean like we do now I mean we do we do a meetand greet it’s different than how it used to be but it’s it’s it’s the main of the prime directive is talking to people not so much signing this or do that or I want this from you it’s have a unit conversation I want to know about you as well that we did many have boundaries we didn’t believe in the boundary between the audienceand the stage actedand and we were just like you know we’re pretty much open to just about any sort of like fan sort of a situationand of course as you said you know when the bank got bigger there came a point was physically impossible for us to do to attend not have those boundaries we had to put down boundaries for that that the the welfare of ice welfare the van because after a while just to bakeand demanded too much too much from I swear other things would suffer that is using is I think what you did was you adapted to the change in conditions because the next tour knowand ask about the Dorisand the statue in a minute that on the next tour you are the snake pit so you actually had people inside the show actually inside the stage who could really ruin your playing in the roundand you’ve done that for years so you’ve actually adapted the size of what you’ve achieved to this whole elementary point of communication for the crowd is the fifth member they really areand there is important as it is us up thereand we’ve always tried to how can we get them closer how can we get closer to them safe you know safely no one else catches on fire but me you how do we do that how do we do that you know just besides you if you people being able to talk to them face to face but in in the crowd so lighting them now I mean we’ve obviously the snake pit was a real real effort at trying to get them to feel what we feel divide with them that was I think we wanted to be able to find with the audience on a level that it not been done before who name the statute Doris had just asked this criticized sitting your time at the videoand got one question if UMass but when you were sitting there cutting this video which is always aboard legendary but it’s become somewhat iconic over the years you feel what were you feeling at the time when when we were trying to sort of put this thing together but obviously there was no roadmap for when you were sitting doing all the actual work on it what were your thoughts well my initial thought was whose can see this because I had great doubts that a 7 1 2 minute song was ever to make it on MTV so I was I was kind of given a directive that I should make it shorterand I think I showed you guys a shorter edit but was like five minutes I think anybody ever so I want my my conundrum will that’s now I will the hard part was to tryand tell the story of the movie because I’ve I kind of thought that that was what my directive was it was not to take the lyrics of the song because that was a piece upon you know it was it was evident what you’re purpose was in that part of the saw I thought I was supposed to expand the whole storyand bring in all the other elements of the main characters life into itand to bring the doctors the doctors had kind of a very important part in the movie because they didn’t realize that this guy was alive theyand I think I heard you talk about that earlier that it’s they thought he was brain dead so they were just keeping him alive just to see what would happen I think they were performing experiments on him but the song as well as the movie was all this inner dialogue stuff I I tried to present it at first just pictures from the movie but it didn’t make any sense because he couldn’t understand you didn’t know what to know all the dialogue is that he it was I’m amazingly time with the drums back I mean if you if you if you just use it silently it really is just a guy lying in bed so I had to open it upand try to us sell the rest of the time there was no other videos in corporate dialogue had a nannyand a narrative I will do it was because I didn’t think it was working the way I thought it was supposed is presented to me to present back I had done I was I was mainly an editor at the timeand I’ve taken a lot of everybody in the in at that time all the studios would have some singer sing their lead songand then I would put a lot of clips from the movie into but was always a lot of action stuff people laughing you know cars flipping over whatever whatever the movie wasand I think maybe that’s why was suggested to you guys to to come inand and I just realized that it was just this guy sitting in a bedand you know there’s a dialogue happening his head which happens on the soundtrack but if you do if you cut all that out to guy lying in bed is pretty boring so I thought let’s expand it to the rest of the movieand try to bring the whole the whole piece into itand I don’t know if that’s what you guys wanted but I had to try something actually the first time that I delivered it to you guys there was a I remember having a nice long discussion with you the bars on the phone where there is a lot of swearingand there is a lot of this is our video it’s not about the movieand everybody hates itand you take all this outand so I actually recut itand I cut it to a performance only a think that was the directive at the time let’s cut all the shit out must to see with the performance is largeand that actually became the jammin for sound curious Rob what was your impression when you first so that video a lot in is funny because I’d seen the first videos ever done my high school there was a class with Neil Bogart’s Casablanca recordsand so I saw the Joan Jett video I love rock ‘n roll in Gary Myrick video making plans for Nigel that all is saidand you know here’s this you know video that totally goes against the grainand you become as a lover of metal I thought it was it was awesome you know inand again going back to the lookand everything about itand broke all the rules how do you relate to the images of the of the of the bodyand likeand I saw the movie when I was a little kid now so I I had an idea of where this band was going with thatand creatively I thought it was brilliant the thing about oneand the way all of the songs on the record really work as as a piece it summed up ultimately by the cover which is the statue of Justice but it’s blindfolded ravage tied upand you use that on stageand particularly when the statue would fall over at the end of justice was that was really the beginning also of your approach to stagecraft which is the kids need more than just for guys playing there with a backdrop like did you feel that that was a step forward were you concerned that it was becoming to Broadway was like what was your feel about taking this concept on the roadand actually making it visualand physical two words Iron Maidenand Iand Iron Maidenand Eddie I made a pay that way I mean it you know when we got the crosses lot also to do with resources so unripe lightning what a backdrop with a silvery logo may not inform because that was the budget that was no nothing beyond that then on the on the puppets to her we got the crosses excuse meand that whole thing inand you know we were using the same guysand Iron Maiden work on Charlie Gail was the number one go to stage designerand Iron Maiden every record they put out someone timeand power slaveand peace of mindand all those records it was all just about incorporating some kind of visuals into the states set a with a roadmap at that timeand they were the ones that did better in cooler than anybody else they they seem to always go aboveand beyond on the surf fan friendly stuff that peoples could sort of really connect toand so they were told the roadmapand so we went there was some resourcesand were playing bigger placesand went to Charlie Gail againand am think you’ll be a mensch was pretty instrumental in a lot of that stuff at that timeand I think Doris was kind of the somewhat inspired by Pink Floyd the wall when all well overall wall crumbled I think they’ve done some legendary shows in LA New York or something where they do the whole wall of many crumbledand somebody said you should do our first design ripoff is just like a sort of inspired by that they filled itand then it crumples down okay we can do that but it actually takes the whole idea of justice for all which is the last line in the Pledge of Allegianceand you know makes it visual like not only is Doris the statue of justice blindfoldedand tied up but she’s basically ripped apart at the end of the song you was the song calls on announces a lot of that stuff a lot of that stuff at the timeand we talked about this many timesand in interviews along the way it was very was very good little references from books from movie Some of you have a cool title is a justice fall then I think in that case members say what is now Chino movie called justice fall Jamesand I would sit look at that was something in there it was inspiring maybe maybe not whatever it was like we would just we were very open to sort of whatever was going on around us other creative works to do is to spark something in as I can’t remember but I remember you when I watching that movie in a remember what came out of watching the movie but I think the people that we tell them what we want to cover to be like a today I don’t remember exactly but I remember seeing that that we were working with some designersand the addicts helping was in the air fixed at the time I think it was the whatever but there were we were very sort of open to a lot of input from different people timeand and certainly the stage stuff that was a definitely inspired by Iron Maiden’s approach from when you the album covers to life right having to amass God arrive Steve Gorman when Eddie Gorman has given the devil he Peter mensch has a lot to do with the stage productionand ideasand things in Palos make this come to lifeand a really cool ideaand another guy that Peter brought in Peter would say he invented him I invented that got a guy named John Broderick who ended up doing our stage productions in our lights for 26 years came from the theater world so yes really

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