The video was reshot by Meiert Avis, which is the more common version of the video. This version features footage of the band performing the song in both black-and-white and in colour. Interspersed with this is some footage of shadows of tree branches and of a woman—wrapped in a sheet at first, and later naked, again taken from the Mahurin video. Because the Avis video featured footage from the first video, you will often see Mahurin and Avis listed as directors for this second version.
This version of the video can be found on The Best of and U Videos compilations. The woman in the video is Morleigh Steinberg, a professional dancer and choreographer, who was filmed separately from the band.
She would marry The Edge in June of During The Elevation Tour it was played nightly on the first two legs, and then dropped from the set after only three shows on the third leg. It remained absent from the set during many of the shows on the first leg of The Vertigo Tour, but returned to make nightly appearances on the remaining legs.
But they're not exclusive to U2. They're also an appreciation of Peter Gabriel, The Waterboys and groups that, for whatever reason, they've linked together. And I was looking at this U2 fan club poster and it had an entrance fee of 3 dollars.
At first, I felt - what's this about, charging to hear U2 records? But then I discovered this money was going to Third World concerns. And that, all over America, they had set tip these clubs where they listen to U2 records and actually write cards for Amnesty. And if you can inspire something on that small scale, that's just everything I could ever ask for. All, in fact, I would ask for.
Bono: I don't know. To be honest, U2 saved my life in a way because I a unemployable. There's nothing else I can do. Bono: Not I think I would have imploded, as distinct from exploding in my musical life. I mean I worked as a petrol pump attendant.
Can you imagine me as a petrol pump attendant? You've seen people who were friends turning to drugs as one sort of escape route - as people in Dublin have done in increasing numbers recently. Would that ever have been a possibility? Bono: I really understand the attraction I don't come from the viewpoint of someone who is completely unsympathetic to drug users.
I understood it then and I understand it even more now because of, for instance, being onstage for two hours and then not being able to sleep for six or seven or eight hours. The point is Dublin is rife with a particular problem which people have to come to grips with in their personal lives. To understand the background to the song might help people. Adam: In its simplest form, I've always seen heroin as a very evil thing. Consequently that's always inspired a great fear of it in me so I can assume that anyone who takes it has a similar fear.
To actually have their back so much against the wall, to be controlled by it, is something I can't understand. I haven't been that close to the edge. I've certainly been near it a few times in one way or another but to imagine that next stage is pretty much impossible. Bono: referring to "Running To Stand Still" I heard of a couple both of whom were addicted and such was their addiction that they had no money, no rent, so that the guy risked it all on a run.
All of it. He went and smuggled into Dublin a serious quantity of heroin strapped to his body so that there was on one hand, life imprisonment, on the other hand, riches.
Apart from the morality of that, what interested me was what put him in that place. And so if you can't change the world you're living in, seeing through different eyes is the only alternative. And heroin gives you heroin eyes to see the world with; and the thing about heroin is that you think that's the way it really is. That the old you, who worries about paying the rent, the old you who just worries, is not the real you.
Bono: A thing that really bothers me personally is that for two years, myself and Ali lived in Howth, on the same road as Phil, in a little cottage that we rented at the time.
And I would see him everywhere else but on that street. Every time I saw him, he'd say 'Why don't you come down for dinner? You know, you have to come down for a bite. You have to drop up. And I never did call down and he never did call up. That's what came back to me. I never did call up. Sexually, U2 have a very clean image. How have you reacted to gender-bending pop and glam rock games? Bono: I am interested in that aspect of sexuality.
When I look at my lyrics, I'm obsessed with borders, be they political, sexual or spiritual. It's not a subject I've broached yet but I wouldn't rule it out. I know a lot of homosexual men and most of them I get on with.
Some overtly camp men I don't get on with. But it all comes down to love. How can anyone attack love? That doesn't specifically condemn or condone homosexuality or any kind of sexuality. I could never attack love.
But how does it relate to U2's idea of subversion? Bono: I think there's nothing more radical or revolutionary than two people loving each other because it's so hard to do it and to keep those feelings going. In a sense, U2 are owning up to those feelings and emotions that have been swept under the carpet of rock'n'roll in favour of these cartoon things. Edge: One thing about the gay question is that in America, gay rights and gay liberation has suddenly been put back ten years because AIDS has suddenly become an excuse for anti-gay feelings.
I think that's a very unfortunate development. Bono: The funny thing about it was Somoza's house, the house of this great ugly dictator. I was expecting a palatial residence but it was all falling down - and they just left it falling down. Then the theatre, the arts centre in Managua, is bombed out and they left it bombed out and just placed the stage in the middle of a gutted building.
People come through holes in the wall to watch the plays and they leave it there as a testament to the earthquake. So you sit in this bombed out building watching a performance and somebody like Daniel Ortega comes in and it's no big deal.
I said to somebody: this is the sexiest revolution I ever saw, you know the women in their khaki greens, they've got smiles stuck on their faces. They're not at all malevolent like the troops in Salvador Bono: The spirit of the people in Nicaragua is being beaten down.
They've no food, they've no supplies and I was actually at a rally of Daniel Ortega's and just the look in the people's eyes, they wanted so much to believe in their revolution. People think with their pockets a lot of the time and you can't blame them for it, women trying to bring up children and fellas with no work.
It's just very sad to see the stranglehold America has on Central America in practice. When you go into a restaurant and they give you a menu, there's 15 items on the menu and they don't tell you at first they've only got one. You have to ask 14 times before they tell you, no, we just have rice. Edge: It's a very different America from the one we've seen over the last couple of years. People were so behind everything Ronald Reagan stood for but now I think when we go back, we'll be seeing a broken country in a sense.
Either that or people refusing to look - which is a more frightening prospect. I've been talking to some Americans since Irangate. People's faith in the Administration, and therefore their faith in politics generally, is shattered. Bono: And of Werner Von Braun. I mean, there's a right-wing vein running through America at the moment and it's made of steel and with all the will in the world, it seems almost impossible to break or bend that.
It lies dormant for maybe a few years and it comes out with its cold steely grip on America. Dick Gregory, for instance - there's no question in his mind but that Lenny Bruce was escorted to death's door by this right-wing America. There's no doubt in his mind that Martin Luther King was escorted to the same door. He's a conspiracy theorist, he believes that heroin was introduced to white America only when white America began to wake up and speak out in the early Sixties on campus.
I'm not a conspiracy theorist but there is no question: there is this iron hand. Bono: Well, the paper-clip conspiracy - it's quite clear now that America became a haven for nearly Nazis and war criminals. That Nazis helped to put the first man on the moon is now a fact. But, that said, I still believe in Americans.
I think they're a very open People. It's their openness that leads them to trust a man as dangerous as Ronald Reagan. They want to believe he's a good guy. They, want to believe that he's in the cavalry, coming to rescue America's reputation after the Seventies. But he was only an actor. It was only a movie. I think the picture's ended now and Americans are leaving the cinema feeling a little down in the mouth.
Edge: David Lee Roth should be the next President. He'd scare the shit out of the Russians, laughs. From here, you wonder just how much, or how little, many Americans know about what their government's doing. Bono: Just give me the truth. I always think of that line: just give me the truth. Because in America, the media is so important in deciding what is and what isn't the truth I must say I'm still really, stuck with my memory of our first trip to the US.
We were just so wide-eyed. We really embraced America and indeed America embraced us. And over the last few years we've had to re-evaluate our impression of America because of that fact that we walk onto a stage every night. When we're in America playing to 20, people and that's a lot of people, we have to ask ourselves the question: what can rock'n'roll music do?
Go round in circles? But I think on this record there are questions asked, if riot answered, about America. Bono: And insofar as we are Irishmen, on one level we have no duty to speak out against America or bite the hand that feeds us, as they would say. And I think we have bitten the hand that feeds us but we do so from a position that, as I say, we have belief in Americans.
We're not anti-Americans or anti-America, we're anti-Ameri-kay. It's still a thrill to be there. I mean, America is the promised land for a lot of Irish people. It really is. Adam: And I suppose there's a serious sort of Irish influence in America, when you think of the family links. Bono: Try the Kennedys. The Kennedys made poteen.
I mean they were bootleggers in the days of prohibition. I'm sure there was some potato wine involved there laughs. Bono: Well, I think, first of all, it's not your first reason for being on stage, to effect change in the political climate of a country. I don't know what the first reason is but it's not the first reason.
But I like to think that U2 have already contributed to a turnaround in thinking. Edge: And if we have, it's not even the point, is it really? You don't write a song because you think it's going to change somebody. You write a song because that's the way you feel. Adam: You write a song because something hurts. I mean if you look at social change within America, that came from the Delta areas, the plantations or wherever.
A lot of the change in America is rooted in blues music; that was what people listened to. It was the protest music of the time. Bono: I don't think it's up to bands to have their politics and point of view worked out. I don't think it's up to me as a singer to have answers. I just think it's important that you put questions. I don't know of a rock'n'roll band that ever offered up answers and I think it's wrong for pop-stars to be politicians.
I like the idea of Jim Morrison who called the Doors "erotic politicians" laughs. I thought that was kind of funny. Because you're put in a position where, because you have made music that means something to people, your politics or point of view is given far too much importance. What comes to mind is Elvis Presley who meets with Nixon and he's made an anti-drug marshall - and the man is loaded, out of his brains, with the badge on.
I've said it before: Elvis Presley's genius was the way he held the microphone, the way he sang into it. You know, Bill, there's a question I'd be interested in asking you. People expect that if you don't come through with a very strong point of view that you're therefore a liberal and personally I share with everyone - it seems everyone else in my generation - an apathy with regard to Irish party politics.
The questions I ask are deeper than that. But why are there only these three choices in Ireland, left and right and middle? Bono: Yeah in this country, it's middle, middle and middle or right, right and right, depending on your point of view.
I ask myself why I have to make a choice, left and right. I wonder how ideologies born at the turn of the century can ever be hoped to apply to the s.
Reaganomics or Thatcher's England - they reflect old, old ideologies. Old ideologies on the left, old ideologies on the right and if you don't like either of them, you're supposed to be a liberal.
And I don't like the liberal point of view - least of all I just picked up your review, Bill, this idea of U2 enjoying the middle ground. Bono: Well, we might sit on the fence politically at times, and because, for instance, there's a picture of myself and Garret Fitzgerald in the paper, people think maybe my politics are the same as his party.
But I've stressed that my interest in him is much more as a man than in his party or their politics. What's the alternative? I don't know what the alternative is in Ireland. Ireland seems politically so absurd, that the main parties have all the same policies and the Labour Party which is my own background - my Dad voted Labour most of the time and I would generally vote Labour - yet if we go by the elections, the Labour party doesn't mean anything at this point.
I just look around and I see grey. Bono: It is to me I don't feel liberal at all and I don't think anyone who knows me would call me liberal.
He explains that the final lyric is about "torment" and how repressing desires only makes them stronger. Lanois says of it, "It has tension and builds like one of those great Roy Orbison songs, where every section is unique and never repeats. I like that kind of sophistication [ The song begins with a minimal drum beat of eighth notes played by Mullen, while a backing track—Eno's synthesiser—plays a "rippling" triplet arpeggio of the chord D major.
They have power. I think of notes as being expensive. You don't just throw them around. I find the ones that do the best job and that's what I use. I suppose I'm a minimalist instinctively. I don't like to be inefficient if I can get away with it. Like on the end of 'With or Without You'. My instinct was to go with something very simple [ I still think it's sort of brave, because the end of "With or Without You" could have been so much bigger, so much more of a climax, but there's this power to it which I think is even more potent because it's held back.
Bono's vocals enter at in a low register , a stark contrast from Bono's typical singing style to that point in the group's career. At the end of each of the first two stanzas, his vocals drop an octave , from A to A. Author Susan Fast called Bono's vocals on "With or Without You" the first occasion on which he "extended his vocal range downward in an appreciable way". The riff, a perfect fifth opening to a sixth, features a prominent use of delay.
A stanza begins in which Bono sings the song's title in a high, passionate voice as the drums get heavier. He explained that its understated nature was meant to resist the temptation to play an intricate guitar solo as an ending. The lyrics ostensibly describe a troubled relationship between two lovers, although the lyrics have been interpreted in religious contexts.
The Washington Post interpreted the song as both an acerbic love song and a tune lamenting the moral contradictions one faces with their religious faith. One, 'cause it's so uncommon these days, and two, 'cause it's so difficult to do. Author Niall Stokes interpreted the line as encompassing the theme of "surrendering the ego" to one's love and spiritual faith.
The band's manager Paul McGuinness was resistant to U2 releasing "With or Without You" as a single, as he thought it was too sonically unusual for release. Gavin Friday, having helped the band complete the track, disagreed and thought it would be a "certain No. United States radio stations were allowed to play the song at a.
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