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♪ MTV. ♪

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Around the world, the Cold War

is being replaced by a new world...

Josip Broz Tito.

His death left a political vacuum...

...that is anything but orderly.

...and led to a wave of nationalism.

That's the news for now.

Stay tuned for more...

A peaceful, popular uprising

against the oppressiveness of Communist rule.

Beanie Babies...

What was left of Yugoslavia's federal government

apparently has collapsed.

The man at the heart of the crisis

is Slobodan Milosevic.

...uh, we are blamed

that we want to create Greater Serbia.

...and liftoff.

We are not going to get bogged down

in some guerrilla warfare.

You and I have witnessed the historic

and revolutionary transformation...

Thousands and thousands of West Germans

come to make the point that the Wall

has suddenly become irrelevant.

Something, as you can see, almost to party on.

How do you measure such an astonishing moment in history?

Your government seems to be changing every day.

Where do you think it's going?

"That's the government's problem," he says, "not mine."

People were trying to figure out

what was happening after the fall of the Soviet Union.

With the Berlin Wall coming down

and the Eastern bloc falling apart,

Europe was reshaping itself

and in a particularly violent way in Yugoslavia.

Yugoslavia was breaking up.

It was ready-made for trouble.

Bosnia was important to the Serbs

because they were trying to save

as much of the former Yugoslavia as possible

to be in a Serb-dominated core.

And the elite in Yugoslavia, particularly in Serbia,

became concerned how they would hold on to power.

The main one was Slobodan Milosevic,

who was leader of the now crumbling Yugoslavia.

He wanted to go all over the former Yugoslavia and grab,

if he could, those pieces of territory

where Serbs had been living.

Milosevic was a banker.

He was not a true nationalist,

but nationalism became his tool to hold on to power.

Sometimes the more absurd the lie is,

the more effective it is.

We were being hypnotized.

We were so blind.

It all felt like something was going to happen.

At that time,

armed soldiers came into the bus

and, uh, starting to collect

our IDs

in order to make assessment

to which ethnicity each of us belonged.

When they saw my ID card,

my name was totally typical for Yugoslavia.

But Senad's ID card says that his name,

they called it Muslim name,

so it could be danger for him.

Yugoslavia was an ethnically diverse country,

and Sarajevo was the center of that diversity.

For Milosevic, that represented a threat.

The ethnicities had not just

lived together in harmony

but intermarried.

We used to say, you can't divide this nation

because you can't divide a household.

You'd have to go through the bedrooms,

through the kitchens, through the living rooms

and put up Berlin Walls.

- ♪ ♪

Sarajevo is a place where people

had lived together, always.

We never, ever cared about ethnicity

or different religions.

I was brought up that way.

It was the heart of culture.

It was the heart of arts.

It was a very, very bright, shining light, Sarajevo.

And they needed to kill that light.

The Yugoslav Army, which had been

the fourth or fifth largest army in the world,

became Milosevic's Serbian army.

And that army was turned upon Sarajevo

to terrorize its people.

Imagine a president of the United States

taking the U.S. military and making it into his own army.

He encircles New York City.

He fires upon his people.

He terrorizes the population.

That's what Milosevic did to Sarajevo.

It represented a threat to his idea of creating

a homogeneous Serbian nationalist state.

300 meters from our bedroom,

suddenly, one tank emerged.

You have the Yugoslav Army

supposed to protect you,

and all of a sudden,

your protector becomes a monster.

We did not believe

that war is going

to happen six months into the war.

I never believed for one second

until people started dying around me

that the war is happening.

You are under the siege.

You're being a hostage.

Uh, they're shooting at us.

We're there like sitting ducks.

I will never have so much hate to do them how they do to us.

Everything has changed.

Everything what we used to live as, uh,

let's say civilization rules,

is, uh, uh, destroyed.

If they needed to go out and get food,

they would get shot at.

If they needed to get water, tanks would fire upon them.

Even if a child tried to go to school,

he would become a target.

If they tried in any way to leave the city...

they would be killed.

I was a really young reporter then.

I got there maybe about two months after

the actual referendum

on freedom and independence

that broke up Yugoslavia.

It was the first war where journalists

were purposefully

targeted.

- We had cars

that were clearly indicated with "TV."

They would shoot sometimes

through the "T" and the "V"

like it was target practice.

My own camerawoman was shot in the face.

CNN camerawoman Margaret Moth

wounded this morning by sniper fire.

Being faced for the very first time

as a reporter with mortal danger

- was quite something.

I didn't really want to go and fight,

and everybody had to do something during the war.

And, uh,

I used to live across the street

from the fire station.

So I went there and asked them,

you know, do you need another guy?

And so they accepted me,

and then, then I became a fireman.

I remember my first fire.

It's kind of a tall building.

They're firing,

you know, exploding bullets

on the, onto, like, an eighth floor.

And we would go

to the eighth floor

to-to put out the fire...

...and then they would start shooting at the sixth floor

to cut us off, you know, deliberately.

And I got lost in all this smoke and fire and everything,

you know, and I could have died

during my first fire.

In the war, I realized that I can die any second

and decided that never in my life

I should do anything but what I like.

That's where it all started.

That's where this idea of me doing something

creative, artistic started, you know.

And so we immediately started

playing some music,

and, uh, we were really punk rock at that time.

This is a public service

- ♪ ♪ - announcement...

with guitar.

During the war, we'd mostly play

in this club called Obala.

We would go there, we would play.

- People would come.

They would listen, they would have fun.

It was kind of like teleporting

to... to another place,

to Amsterdam, to Berlin,

to London, New York, any other place.

You know, like none of us

thought about what's going on outside.

You know, it was

kind of like really like a capsule.

And, uh, that's what kept us sane all the time.

♪ By a policeman... ♪

Without electricity, TV, running water, everything.

The urge for art in the city of Sarajevo amplified.

And that's exactly how we did Hair.

♪ With Mars, then peace... ♪

In the war, we did it every day.

- ♪ ...will guide the planets ♪

♪ And love will steer the stars ♪

♪ This is the dawning of the age of Aquarius ♪

♪ Age of Aquarius... ♪

Music and mic was my weapons in the beginning of the war.

I was a member of National Territorial Defense.

In the Yugoslav Army, I was

radio operator.

I was working with gadgets

for our communication.

My task was to find frequencies

that were communicated

and try to... to destroy that communication.

So I was playing Clash,

Jimi Hendrix and Sex Pistols as loud as possible, you know,

on those frequencies that they were...

they were talking.

- ♪ I'm breakin' rocks... ♪ -It's a cat and mouse.

So they changed frequency,

then I find them again,

then I again play Hendrix

and the Sex Pistols and Clash.

♪ I fought the law and the law won... ♪

That was my task.

I don't think I would have survived without this.

It's the only thing that kept us going, you know,

having a disco in the middle of the fucking war.

You know, you go and dance.

♪ The law won... ♪

The audience was literally risking their life,

running from the different bridges to the theater.

Our sound guy died before one of those performances.

♪ The law won... ♪

One day my bass player came to me and said,

"Oh, our drummer, he lost his hand

on the frontline."

He lost his right fucking hand.

♪ I fought the law and the law won... ♪

Many people felt like us, you know, not just us.

So, many people took instruments.

They started feeling creative.

They-they wanted to say something,

so we had this wonderful scene.

That was a surprise for-for all the occupators.

And that was something that gave us a boost

to-to go further.

We got here in Sarajevo, we got the, uh,

the rock and roll in their hearts.

What would you do if somebody tells you,

"Okay, you got five minutes." What would you do?

You do what you like the most.

And that's what we loved the most.

And you know what,

I would not say

that I wasn't ready to die for it.

It was a therapy to us.

It was a real therapy for us.

For all of us, not just the musicians,

but for all the people who were coming to these clubs.

When I heard music of U2, politically...

...they represent something that I realized in this war,

in Sarajevo war,

was a personification of our resistance.

With U2, during the war,

they really had something to say. You know?

That was really important for us.

All of us

use music to,

you know, protect ourselves.

You know, as a kind of shield against all the dark forces

inside our head.

In Sarajevo, there was war.

They were in the middle of it

and they were using music as a shield

against actual dark forces.

So when I grew up, punk rock was that for me.

We went to see The Clash in 1977

on their first tour in Dublin, and that's how it started.

♪ In 1977 ♪

♪ I hope I go to heaven ♪

♪ I too long on the dole... ♪

The distance between

the stage and the audience.

♪ Danger stranger... ♪

Punk rock was about tearing down

that difference,

with stage invasions of people,

you know, jumping off the stage, going into the crowd,

breaking the distance down between

us and them.

And ending up with the phrase,

"There is no them, there is only us."

Coming from-from Dublin

in the midst of the Northern Ireland troubles

going on up the road in Belfast.

I mean, there was a lot of the aspects of punk rock

that seemed to offer some kind of different attitude

to the divisions that were happening in our country.

And as we kind of explored that music,

it became a huge influence on us.

The visceral energy of it

and the direct connection with politics

and social movements, which was integral as well.

This song is not a rebel song.

This song is "Sunday Bloody Sunday."

- ♪ ♪

♪ Ooh, oh-oh... ♪

You know when you hear the music

and then you think, "This is my song.

Somebody stole my song from my soul, from my head."

That's what happened to me.

♪ I can't believe the news today ♪

♪ I can't close my eyes and make it go away... ♪

That was the DNA of where we came from

and what we identified with.

And we thought we'll take the power back into our own hands.

And that was what we did through our music.

-* Sing no more ♪

- ♪ No more ♪ -* No more ♪

- ♪ No more ♪ - ♪ No more ♪

♪ No more, wipe your tears away ♪

♪ Wipe your tears away... ♪

Our punk rock was a weapon to tell them,

fuck you, fuck you.

You can't do anything to us.

Yeah, you can... you can keep on shooting at us,

killing us and all this, but we will tell you fuck you anyway.

It's just incredible.

And people's resilience to... live a normal life.

To say it's impressive is an understatement, you know.

And so we got embroiled in that, of course.

We went by the name of the Serious Road Trip.

It was a non-governmental organization,

completely neutral, young people

who want to do some good in the world.

It was full of clowns and acrobats and jugglers.

And the mandate really was to drive around the world

and expose the plight of underprivileged children

in the form of entertainment.

And that's how we got absorbed into that war,

because we saw what was happening there.

And that's where I came across Bill.

I was trying to find my way

into an aid organization,

and nobody would hire me.

I didn't have the right credentials.

I didn't have the right interview in Geneva,

in New York, and it just was, "No, no, no, no."

And then I saw this guy, Graeme Bint.

Okay, who's this guy?

I gravitated to him and just started talking to him.

He was our age and our sort of ilk.

He was funny right away. He's very likable right away.

I vetted him to find out, you know, what his...

what his agenda was, if you like.

Making fun of me, calling me Spam,

which means Spastic Plastic American Motherfucker.

-Are you ill? -Sick.

- Are you? - As a pig.

- Really? Why? - Yeah.

'Cause of you.

He stood out in that he didn't fit in.

And nor did I, you know.

And sort of, "Dude, why don't you...?

"You should be, you know...

Have you heard about us?"

"Come on board."

♪ All night long, I dream of the day ♪

You intolerable man.

♪ When it comes around and it's taken away ♪

♪ Leaves me with the feeling that I feel the most ♪

♪ Feel it come to life when I see your ghost ♪

♪ Then I'm done, done, on to the next one... ♪

They were seen as a very maverick aid group

who broke all the rules,

who didn't really listen to the UN,

who didn't really

go by all the rules of the war.

And I thought, "Well, that's perfect."

And they said, "Okay, we're going to go to Sarajevo

tonight at midnight."

This is where the fun begins.

Coming into Sarajevo,

we suddenly realized,

"Shit, I-I'm in a war zone."

You can see on a hill,

you can see... you can see a...

a tank, destroyed tanks.

There's no getting out of this.

This is now life and death.

The first thing you do is you go through

what they call no-man's-land.

And that's a large stretch of desolation.

Everything's completely flat.

So you go from no-man's-land to sniper's alley.

Now we can see a lot of place

- where sniper shooting now.

Right here, sniper shooting.

So you can see the people running.

You would be driving down sniper's alley

and everybody on the right of the road

is just walking.

Like just casually walking or bicycling.

You have to

learn how to survive in Sarajevo

and what it means and how to walk

- and how to navigate the city.

There are barricades everywhere,

made from old shipping containers,

old buses, old trams.

And what they are are sniper barricades.

So when people have to cross streets and things, these

strategically placed shipping containers

have been piled up

and-and they're just bullet hole-ridden,

but they stop a physical view from the snipers.

MAN Using us as a barricade.

Are they fucking kidding me?

It was just a crumbling, broken city.

- It was shocking.

It was like pictures from World War II, you know,

just literally burned

and bombed to the ground kind of thing.

Hey, the Road Trip's in town.

They know it.

We had a local,

um, charity escorting us

to show us the way where we're going,

which is underneath the UNIS Towers,

the two big towers in the middle of Sarajevo.

And they take us there and all of a sudden,

we are swamped with-with children.

Swamped.

They know there's food and shit in these trucks.

The kids loved it.

Um, they would just beam.

They'd just go ear to ear with smiles.

But there were kids then

starting to try to steal the batteries,

trying to steal the cables,

trying to steal everything they could get off that truck.

It had a desperation to it, you know,

and it was understandable

but also made you realize

where you were.

Oh, it was awful, but I knew that it...

if to really solve the Bosnian problem,

I had to win the anchors of Western Europe.

But a lot of people in the UN

were predisposed to give up on them.

You know, say, "Well, they're just going to fight forever.

It's too much trouble to try to sort it out."

Don't, don't, don't live under this dream

that the West is going to come in and solve this problem.

Don't dream dreams.

Don't dream dreams.

As the Serious Road Trip, we had this philosophy.

We don't want to just feed

people who are desperate.

We want to make a firebreak.

We want to reach across a generation

and we want to address the young children

to give them hope

so that when those children grow up,

hopefully, hopefully,

they realize that they weren't forgotten

and that there was people from-from the outside world

who came to help them and look after them.

And maybe, just-just freaking maybe,

that will prevent the legacy of it happening again.

So that was our deep down mission.

Hence why we looked like a bunch of clowns.

Hence why we were...

we didn't just drop our food in the warehouse,

turn our trucks around and piss off.

We-we stayed and-and made contact.

That's it.

It was very difficult

to get food.

Very difficult indeed.

It took a while for the humanitarian airlifts

to really make an actual material difference.

Yes, the West brought in food,

but as one Sarajevan said to me, "You know, when the planes

"used to come in with humanitarian aid, you know,

they're just fattening us up for the slaughter."

It's really hard to hear that.

That motivated us

to tell the world what was going on

and make a difference.

Why, in the absence of a policy,

have you allowed the U.S. and the West to be held hostage

to those who do have a clear policy, the Bosnian Serbs?

And do you not think the constant flip-flops

of your administration on the issue of Bosnia

sets a very dangerous precedent

and would lead people to take you less seriously

than you would like to be taken?

No, but speeches like that may make them

take me less seriously than I'd like to be taken.

There have been no constant flip-flops, madam.

I ran for president saying that I would do my best

to limit ethnic cleansing

and to see the United States play a more active role

in resolving the problem in Bosnia.

The problem is,

most of the killing was going on in Bosnia

under a false historical narrative

on the part of the Serbs.

It-it felt like

we were abandoned.

That's, that was the feeling

that-that, um, we all shared.

The reason I went to Sarajevo was because

I was very in love

with a girl.

Corrina is her name.

And we had plans.

We had the future.

We had the whole...

...the whole dream planned out.

Bought a Volkswagen van,

and we were going to go to Mexico.

And... and then she took the van to go to our hometown,

and she had a tragic car accident.

And six days later, she died.

The problem with losing someone you love

is that you don't lose the love.

You lose the receiver of the love.

I think when I went to Bosnia, Sarajevo,

I found a way to put the love

to use.

At the very beginning, the reason why

we disliked anyone

who showed up in our, um, in our world was because

there are a lot of war tourists,

as we call them, who'd just show up with their cameras.

And whenever there is a dead body

or when something bad happens

while our lives are being destroyed,

they're just taking pictures

and they just leave and you never get to see them again.

And I guess it felt like we had these intruders.

Bill was a-a guy who lived in my neighborhood.

We thought that Bill was just, you know, one of them.

When the Road Trip first arrived,

we would go around our little neighborhood there

and play Ping-Pong and do all these kind of things.

And these kids would always, like,

throw rocks at us, call us all kinds of names.

My friends and myself,

we were little gangsters, obviously.

We were just trying to do things, you know,

that normal teenagers do and, um,

doing pranks. And, um,

that guy kept on showing up.

He became kind of like,

you know, a regular.

♪ Here is all my... ♪

♪ Here is my whole heart to you ♪

♪ I love you, I love Sarajevo. ♪

We let him into our world,

and you had to deserve it.

From that moment on, we became like besties

in a way.

So, that is Sarajevo Symphonic Orchestra.

They play here in, uh, TV building

because there is no place to play, uh, somewhere else.

I was journalist working for TV

in Sarajevo, and I was

very happy

because I was part of cultural flourishment of Sarajevo.

And then I met one guy

whose name was Senad.

We were engaged in the same project.

He was really good man.

He was very funny and he was very smart.

Every day when we walk to our TV building,

which was about one and half kilometer away,

the hundreds of tanks around us

and the thousands of snipers, et cetera, et cetera.

It was so dangerous, and sniper

shoot to us

from our left side

- when we go to a job

or from our right side

- when we go back to our home.

Senad, as a gentleman,

he always stay on the side of the sniper

"to protect me."

So he was really brave in my eyes.

But if you see realistically,

both of us could be killed every morning

and every afternoon.

So there was plenty of pathways in Sarajevo

that had, like, they went through people's rooms,

living rooms.

Like a back tunnel system.

They had subterranean paths

that would go beneath the ground

that you could use.

On the surface of Sarajevo, right,

is all the destruction,

all the gray

and all the running around.

We had friends, musician friends,

and they invited us to an underground disco.

And there's a door, and it went down,

down, down, down a bunch of stairs.

And you get downstairs,

it's like I was going through the, um, Alice in Wonderland,

- and it was just a roomful of people

in a disco with a generator playing music.

It was just full of life.

I want to ask you,

what's happening with the Indians in America?

I always thinking if snipers

shoot me, it's on me.

My fault, because we know the lines.

We know how to walk through the cities to keep us safe.

And Bill is always...

We met each other in some place in the city, but...

with-with his camera.

- Excuse me? - It's Bill.

Bill. So, Bill,

uh, do you think that, uh, Sarajevo

is a special kind of safari?

-Special kind of city? - Of safari?

- Safari? - Yes.

We used to see

foreign people every day

with, uh, different ambitions,

uh, what they want to do with themselves first.

So why are you in Sarajevo?

Why? Yes. To help people?

Of course.

- Rich people? - Everybody.

- To help me or somebody else? - If you need it.

- Yes. - You need it?

Okay. I need maybe, uh, $2,000.

- $2,000? - Yes. Yes.

- Why do you need $2,000?

So help me.

Soon you found out who is good person

and who is here just because he or her lost herself

and, uh, wants to be in this adrenaline location.

We can all help each other morally.

Yeah.

You got to figure out

what you're doing in this place

or you need to get out of this place.

And everybody there that was there had to ask that question.

And that made me ask that question in real time.

What am I doing here?

That was starting to gnaw at my brain,

and that... would inspire me

to try to figure out how to do more for the place.

Senad ran something

called Rat Art, which is War Art,

at the TV station.

And it was a TV show

of things that were going on in the war

that had to do with art.

Fashion shows,

comedy,

all kinds of crazy stuff.

I remember sitting around in Rat Art one day

watching MTV, and there was U2.

Hello, hello, to anyone in Bosnia watching.

We hear you watch MTV.

This is Bono and U2 in Dublin, Ireland.

We don't know what to say to you.

Uh, we'd just like to wish you well,

to wish you some kind of lasting peace.

We're not deaf, we're not blind to what's going on,

and we won't be dumb.

Huh.

That's interesting.

They're already tuned in.

♪ One man come in the name of love ♪

♪ One man come and go... ♪

My first U2 concert was Amnesty International,

which is, you know, Amnesty International.

Like, that's, what you're doing

is you're fighting for good things.

♪ In the name of love... ♪

I mean, I grew up with them in the sense that

I thought they were a force of good.

I thought their lyrics and their passion

was always trying to do something good.

So that, mixed with seeing them on MTV,

I had an idea that with the musicians

that I had known in Sarajevo and the power of that disco

and the power of the musicians and the art,

I thought if I could get this guy, Bono...

...in a room and just talk to him about these people

and how they were living in this place,

maybe he would react to it.

Maybe we can have a conversation.

That's... that's it.

I'm going to go interview Bono.

I'm going to go try to meet the band

and interview them about and tell them about Sarajevo.

Hear what I'm seeing.

And he said (chuckles), "Fuck off."

I understand if I ask as Bill Carter,

this guy who's running around Bosnia,

U2 is going to say no also.

Like, who am I?

Okay, Senad, how about this?

I write a letter using your name as the managing editor,

which he was not the managing editor of the TV station,

and I'm your foreign associate.

We send that because if it's on the letterhead

from the radio and TV station in Sarajevo,

who's going to ignore that?

"Fuck you, Bill, go outside."

Now I was getting angry with Senad.

So I went around him.

And in 15 minutes, there is phone call

from the head manager of radio and television.

"Hi, my colleague Senad." My colleague?

-"There is a Mr. Carter."

"Should you please be so kind to helping him?"

I said, "Okay."

And in a few minutes, Bill came on the door.

As a winner. "Hi, Senad.

- I came to make the..."

He left.

Wow, it's happening.

The idea now is officially in the air.

And then nothing happened.

Watch that box. It's kind of shaky.

Bill had talked to his friend who worked for the IRC,

and he told Bill that U2 were playing a concert

across in Italy, and that's not far away.

The concert was like in one week,

so my plan became really fast in action.

Downstairs from the Road Trip was an office, Equilibre.

It was a French non-governmental organization.

And Wally ran it, he's from Senegal.

And I knew they had a radio.

- Where? - Where?

- Upstairs in the office. - Oh. - Oh.

- Equilibre office. - Yeah, yeah.

And I said, "Wally... can I use your radio?"

I told him why, he's like, "No."

If I can just make this one call, I'll be on...

I'll be on it for like a minute.

So he does it, he sets it up,

he cranks it up, you know, calling Lyon.

It's just all this crap.

And he got 'em.

- We're talking to Ireland.

And it's this beautiful Irish voice, young woman.

And I said, "Do you have a fax from Sarajevo?"

Said, "Yes, we do."

And she said, "They sent a fax.

Bono wants to do an interview."

"One nation...

under God"

has turned into "One nation

under the influence of one drug."

♪ Television. ♪

I got a ticket.

I thought I had someone meeting me.

I didn't know what were the rules of engagement.

I just thought, I have a fax.

So that was my, like,

walking around card-- I looked like an idiot.

Everywhere I went, nobody would let me in

and everybody was like, basically, "F-O.

It's a fricking fax. Go away."

I was like, I-I cannot have come all this way

and this is going to fail.

So I just was talking to the Italian guard saying,

"Hey, I know this is weird,

"but I got a fax that says I'm supposed to do an interview.

"I just don't know how to get into the stadium

to do the interview."

And the guy says, "Where are you from?"

I said, "Well, I'm not from Bosnia,

but I'm representing them on this, doing this interview."

And he told me, "Well, they're all...

they're all murderers and thieves."

That did not go over very well at that moment with me.

And at this point, I just pushed him.

So we got into a little kerfuffle.

Whoever came into the dressing room said,

"There's somebody outside, and he's completely unreasonable."

Then these guys come out.

Said, "Hey, hey, hey, hey. What's going on here?"

And I'm like, you know, the guy

at the bottom of the rugby pile,

like, "I've got a fax.

I've got a fax, and I'm supposed to be in there."

And the guy's like, "Yeah, we're waiting for you.

Come on in."

-Thanks. -The man...

The man dressed as a condom.

I know, it... This is a bit, uh...

Well, it's actually leather, but it's...

- It is leather. - It is leather, but it feels like...

Right. Right.

This is the same outfit you've been wearing the whole tour?

- Yeah, does it smell like it? - It's the...

No, but it is like the tour outfit.

You all wear the same outfit every-every...?

Well, I got a... I got a few of them.

- Right, right, right, right. - Mm.

You know we're from Sarajevo television.

- Sure. - And, uh...

it's a big deal for these people to get this

because it's been 15 months

since they had anything new come on television.

Uh, so, quite exciting for them to get something like this.

- Well, I'm very happy to talk - Yeah.

to Sarajevo television.

To talk on Sarajevo television.

Yeah, it won't go out right away

because there's no electricity,

but as soon as it comes on in the city,

we'll-we'll put it out.

Yeah, well, you know, it's, it's a tiny thing for me to do.

- Yeah. - And, uh...

I hear rock and roll is, um...

- is popular. - Big, big.

And I hear that when, when there's trouble outside

and people have to go indoors and even in the shelters,

they've got MTV.

They got MTV on satellite.

- People have satellite and generators. - Right.

- They've also got disco, and it's beautiful. - Wow.

It goes until 4:00 in the morning, everybody rocks,

forgets about outside, then goes outside

and-and deals with outside.

But basically people are really

trying to do anything to forget.

That's what the idea was

'cause they're losing their nerves.

Yeah, I'd say, yeah, it's really important,

I imagine, to, um,

to, uh, hold on to your... your sense of yourself

- and your sense of fun. - Yeah.

You know, and it's, it must be so hard to,

but, uh, I think somebody said, uh,

"Courage is grace under pressure."

And, uh, I always thought that's a good definition

of, uh, of the people of Sarajevo.

I could have been Bill

in another life.

I have that irresponsibility.

He's-he's smart, um,

but he has no sense of danger, it would appear.

It's like, you know, when you're a kid

and your parents say, "Now, don't be standing

on the street corner with them."

It's like they're, of course, the first person you go to.

But, of course, it's not, it's not about personalities.

It was that he contained, um,

a story and narrative

that I have felt connected to all my life.

I have a question in regards to this war,

- and your home country, - Mm-hmm.

and about the human cycle.

I find it a bit depressing that we have heroes,

we have wars, we have history,

but we don't seem to learn.

We just keep, after so many years,

- we have to have this killing. - Yeah.

Do-do you ever think about that?

I, well, it's the subject of a lot of our songs.

See, I mean, I come from Ireland.

Ireland is also divided.

And again, you know, they say it's religion,

but you know it's not religion.

And the human heart is very greedy...

Mm.

...and, uh, it seeks many excuses for that.

And religion is a convenient one,

color is a convenient one.

Uh, what's... you know,

I don't really understand what's going on.

And the... there must be an incredible urge,

you know, and I really, uh...

People deserve the right to defend themselves against evil.

- Right. - And they must decide how to do that.

But if there's any other alternative,

you know, obviously you've got to seek it.

And I know that's what you guys have been trying

and you haven't been allowed.

And, uh, I'm-I'm really, really, you know, uh,

s-sorry to hear about that.

And I understand any reaction.

But I just hope that even in the middle of that,

even in the...

is not to become like the animals.

To me, that was my mission, was to talk about

that part of what I was experiencing.

Tell him how much of a rock and roll city the city was,

how much culture was alive,

how much culture was the point, was resistance.

'Cause I thought that was

what they wanted to express to the world.

Dignity.

- Self-respect. - Yeah.

These are things that people can't take away.

And humor, humor is the evidence of freedom.

Sarajevo is the-the heart of surreal black humor.

It's unbelievable what people do there.

- Just keep laughing. Oh. - Is it?

- See, this is why... - They laugh.

You're talking about somebody

- who sees their mother die, - Yeah.

but that it's going to happen to their friends,

the next day, they're...

- you know, they-they try. - Yeah.

They have fun, they laugh, they try to do anything they can.

That's, you know,

that's-that's when you know people are,

you know, that's-that's when you're-you're winning

in one respect.

If... if-if they can't take that away.

- You'd love Sarajevo. - I think I would.

Yeah, they're good people.

I think I would. I'd love to get there.

- Yeah. We could arrange that. - Yeah.

It's difficult, but we can arrange it.

Yeah, I'd like to, uh...

Yeah, you know, there's a song, uh,

we've written called "One" on our last record.

I'll do that for... for-for the people of Sarajevo.

We're 200...

200 miles, 300 kilometers from Sarajevo.

And, uh...

these tonight are our next-door neighbors.

♪ Is it getting better? ♪

♪ Or do you feel the same? ♪

♪ Oh, oh ♪

♪ Will it make it easier on you now ♪

♪ You got someone to blame? ♪

♪ You say one love, one life ♪

♪ When it's one need in the night, I say... ♪

Incredible.

Somebody care of us.

And we publish numerous time

because we, in the newsroom of War Art,

so satisfied with the material

and published every few days, again and again and again.

They're all waiting for somebody to come to...

Yeah. I'd love to play there.

- Hey, that would be a great idea. - You know?

You know, maybe if-if you can, you know,

if there's, you know, if there's a way, uh,

- that would be a really nice thing to do - Right.

at some point in the future.

Bono did this interview,

and he came back, um, from the interview, said,

"I think we should go to Sarajevo."

And we were talking kind of about,

let's go to the disco,

just you and a guitar, kind of a punk thing.

I, of course, said yes.

The rest of the band said, "What are you talking about?"

"Isn't that, like, there's a war going on?"

He said, "Yeah, no, no, but I met this guy, Bill Carter.

"He says, he says he knows people

and we can get on a UN plane or something. We can get in."

We always liked the idea of doing guerrilla gigs.

It's part of the culture of U2,

of turning up places with a guitar and a tambourine

and doing something.

What we always look to is what is the...

what is the core value of this person?

Th-Their core values?

And-and if we agree with them,

we'll put up with any of the idiosyncrasies.

He's a bit crazy, but that's fine

because we can work with crazy.

They'd been calling several times,

and the... the message was they want to come.

I was already thinking that

them coming to Sarajevo was going to be

extremely difficult to do.

I don't want to be the guy that invites

U2 or Bono to Sarajevo, you know,

on the middle of a tour and then he, you know, he dies.

Okay, change the channel.

How do we do this differently?

Willkommen to ZOO TV.

Yeah.

Let's see what we got on TV tonight.

We'd seen the show the night before,

so we'd experienced what they were doing,

and what they were doing was beaming the world in

on these massive 90-foot televisions.

That's kind of ZOO TV.

You know, this was

the era of 24-hour cable news.

News was one of the central conceits of ZOO TV.

Let's see what they've got on for us tonight.

So it was sort of obvious.

It's like, well, if we can't go to Sarajevo,

let's bring Sarajevo

to our show.

Why don't we satellite into

the U2 concerts?

Let's do some news broadcasts.

The siege of Sarajevo was sort of slightly being ignored.

And we thought, well, if we bring it into the concerts

through our news feed,

we might be able to get it talked about again.

I went to EBU, European Broadcasting Union.

They had a massive room of satellite equipment.

I told them the idea,

and that's it.

In the city of Sarajevo,

they've got a dance hall under the ground

that's, I guess it's a shelter,

but they play rock and roll music,

play dance music, they play it loud...

...and, uh, this is to drown out

what's going on over their head.

The intention was to give,

it was to give a voice

to what was going on in Sarajevo.

We knew that this is what he wanted to do,

was to bring people to the studio

and for them to tell their story.

And that-that sounded great.

We got a friend in Sarajevo who, uh, came to see us play,

asked us to go to Sarajevo and play a gig there,

then asked us not to because things were so bad there.

So we didn't go to play,

but we sent a satellite dish from ZOO TV

into the city of Sarajevo

and, uh, we got a friend there who, a guy called Bill Carter,

rock and roll fan,

and we're going to try and get through to him right now.

You there, Bill?

Yeah, I hear you, Bono.

Well, you got, I don't know, 50,000 people here,

and we just wanted to say to you

that it might not be on the news as much as we'd like,

it might not be on the TV as much as we'd like,

but you are with us tonight.

I have some friends with me from Sarajevo.

This is Darko.

I want to say hello to all the peoples in Bologna.

And thanks to Bill, U2 and all you people,

we don't feel alone.

Vlado, who has been separated from his wife for 17 months

and she lives in Bologna,

and there's a good chance she could be there tonight.

So he'd like to say a little message to her.

I have a small message for my wife.

My darling Marita, I love you and I miss you.

I... still alive and I feel good.

Ciao.

It was real in a kind of

spine-chilling way.

And we gave them a serious dose

of uneditorialized reality bang in the middle of our show.

The audacity of asking these incredible

and courageous people these questions,

um, "What's going on tonight in Sarajevo?"

when you know the answer.

But their explanation, of course,

makes it real for everybody in the audience.

And if it makes it real for everyone in the audience,

it makes it real for that city that you're traveling through.

This is Lejla's apartment.

Nobody lives now here.

Bill came to me and said,

oh, we are doing

these satellite links, and they told me

you had a girl in Stockholm.

What do you think if you can, you know, address her?

I didn't believe

it was true.

Well, this is ZOO TV,

and we're going to try

and ask the television some questions

and try and put our fantasy here next to their reality.

You with us, Bill?

Hello, Bono.

Hello, Stockholm.

Tonight

I have a friend, Enes,

who is from the fire department here in Sarajevo,

which you can imagine is a very difficult job here,

uh, and he'd like to say some things to Stockholm tonight.

Okay.

Hello, Stockholm.

There's a... there's a girl there in that concert.

She's a girl from Sarajevo, and, um, she's my fiancée and

I want to say a few words to her, so...

Lejla, I'm, uh, I'm still alive,

as you can see, and, um, our families, too,

and, uh, everything's fine.

I just want to say to you that I love you so much.

The whole crowd in the stadium...

You know?

It was, it was... it was surreal.

This is for you, Lejla.

I hope you get your man home soon.

They're dedicating the song to Lejla.

And then when it finished,

they started playing this fucking song that I wanted to,

to ask them to play.

It was the song called "Bad."

Uh, it was... it was my favorite U2 song.

♪ If you tear yourself in two again... ♪

To me, to me personally, it was, it was...

kind of like a...

...like a Hollywood movie, you know.

Me being in the war, besieged, you know,

saying... I love you to my girlfriend

and having this big band

and... it was even...

more unbelievable.

It really gave me goose bumps.

What's happening today in Sarajevo?

I got a friend of mine here, Ciba,

who's a painter,

and is using his paint to get by.

You know, our town is a big prison

for the last 17 months, and...

I only want to say thanks, U2,

for the big window you give us.

I hope to see you one day in Sarajevo.

You will.

So what's been happening?

How's everybody's morale?

The morale is okay.

It's holding up as best as it can.

I know that you are having now a very nice time

listening famous music of U2.

We, in Sarajevo and Bosnia,

used to listen that kind of music.

Unfortunately, now we are listening

just sounds of grenades.

Can you hear me?

We are living on the front line,

and Serbian aggressor can see our door.

Two years ago, we were living like all teenagers,

listening to music, going out.

We had schools, friends, plans for a future.

Now we have shells, we have screams of children.

Our schools are burned down.

We in Sarajevo and Bosnian people,

we are not afraid of dying.

We are afraid what will happen after this.

How to live with this experience.

We don't know what to say to you.

We feel impotent.

We feel numb.

All we say to you is we're ashamed

to be Europeans tonight.

The world has decided that

the massacre in Bosnia can continue.

What do you really do for us?

Excuse me, I think nothing.

Do you, do you really know what's happened here?

I think you don't know

because you don't do anything for us.

Nobody knows what the fuck is going on.

All we know is we've left you there.

We have no answers for you,

and we feel rather ridiculous tonight

being in a rock and roll band in this fantasy of ZOO TV

with your reality there in Sarajevo.

Well, that's just the heaviest thing ever, you know.

Uh, it's, it was, it really was like,

it was like a smack in the face, you know,

and well-deserved

smack in the face.

NED Hello?

Hi, Ned. How are you doing?

Yes. Okay.

And I got the call that night while we were down there

ready to get, we were ready to do it,

and he said, "Hey, um, we're going to pull the plug."

And I was upset,

not at Ned and not at the band,

but just I was in this mindset like, more.

We got to get 'em heard.

Maybe we can turn the channel, maybe we can turn the wave,

maybe we can get people...

I was on a mission.

The feeling that, you know, it-it wasn't... wasn't

necessarily producing a groundswell

of-of activism, uh, in the audiences.

People sort of understood what it would be.

It was predictable.

PAUL McGUINNESS: We knew what we were doing

was-was, um, propaganda, um,

but, if you like, it was good propaganda.

And it started to look a little bit like reality TV,

using people's, um, pain and anguish as entertainment.

Today's 21st month of Sarajevo being, uh,

besieged, being trapped

and... I'm tired of it.

Can see it in my eyes.

I'm tired of it and, uh,

tired of living in this, you know,

just concentration camp, nothing else.

Here.

This was bathroom.

My friends, they came and they with water.

They tried to, no fire,

but everything is burnt, you know.

You're a hostage for four years.

Instead of waking up

to go to school,

you don't, you don't get to go to school.

You wake up to the sounds of grenades

and you-you fall asleep to-to those same things.

You never know if you're going to be woken up

by your parents at 3:00 a.m. because you have

to run to the basement to save your life.

You could, you could think that maybe,

you know, we get used to it.

We just act normally.

The war just went on and went on.

We were,

we were hoping it would stop,

it would stop, but it didn't.

It never stopped.

Too long under the siege.

People are going crazy.

How do human beings,

the town citizens of Sarajevo,

accept that kind of life as normal?

It's not normal dying every day.

Thousands died during the war.

30% the kids.

And your needs as a human being

to-to live your life normally.

It's like human needs...

to stay normal.

" by Ornella Vanoni playing)

- ♪ ♪

" continues playing)

- It was one of the best parties in the war.

" continues playing)

That's important.

And that's one of the reasons we decided

it was some kind of resistance...

of situation we had been.

Death is always omnipresent all the time,

but we didn't allow that feeling to interfere

the joy of life like this wedding was.

You see, in eyes of those people, you see life,

you see joy.

" continues playing)

For us in Sarajevo, that was

boosts of morality,

boost of faith, boost of winning against death.

People from my country, from this town,

they all have their way of fighting,

not just men with guns,

but also women with their beauty.

Th-That's our mentality, you know.

We decided

to do some work with Eno

on a kind of experimental record called Passengers.

And in the course of making that record,

we wrote the song "Miss Sarajevo"...

♪ For keeping your distance ♪

♪ A time to turn your eyes away? ♪

...inspired by

the Miss Sarajevo beauty pageant.

Every single person is surprised

how women here take care of themselves,

are trying to look nice, to be beautiful,

to be dressed nice.

Miss Sarajevo beauty contest,

it was one of the ways to show that to the world

and to the enemies and to us.

It was not just a beauty pageant.

This was pure

Andy Warhol, you know.

It was like Marcel Duchamp.

It was like this brilliant thought,

we'll do a beauty pageant in a bombed-out car park

in Sarajevo

and these beautiful girls

with a "Don't kill us" banner.

It was far more important than just entertainment.

♪ To take her crown... ♪

If defiance

is the essence of romance,

there is nothing more defiant

than putting on a beauty pageant

in the middle of a war as a giant "Fuck off."

Generation after generation,

when we meet these-these bullies,

these thugs, these terrorists pretending to be politicians,

that the artists are also attacked and threatened:

poets, writers, filmmakers, musicians.

Because they are a threat.

Because it-it can inspire people

to-to find the strength and courage to resist.

There is no one who can believe, uh,

what, uh, is mentioned as a, as a organized genocide,

even organized from Belgrade

and even organized by me.

It is really out of all consideration.

I believed truth was truth, lies were lies,

and if you just reported the truth,

then people would get it.

But in fact, what I learned in Bosnia

was the origin, for me anyway, of fake news.

The Serbs had a very, very profound

and professional propaganda machine,

and the stories they told

were very effective.

You know, your own people and your soldiers,

to them you're a great man, you're a hero.

To your enemies, you're somebody to be feared

and somebody to be hated.

How do you feel about that?

What we saw was

bending the truth, playing the victim

while they were killing,

slaughtering, murdering in Bosnia.

They said that fundamentalist of Sarajevo

feeds Serbian children to the lions in the zoo.

I heard this story repeated many times in one day.

It is official government propaganda.

If there's one thing I've learned, it is the cheapest,

surest way to political power

is to demonize the other

by promising that somehow you'll get rid of them

to empower these people.

It was on the front page of every newspaper for years.

It was on what we call the A block of all our

news broadcasts for years.

It's not like we didn't pay attention to it,

but it took more than three years of this slaughter

for the United States and the rest of the world

to actually get involved

to stop it.

There was a massacre in Screbrenica

that even these world leaders could not turn away.

July 1995,

the Bosnian Serbs exterminated Muslim boys

as young as 14

and men as old as 77.

Uh, Yugoslavia.

We were, uh, we are blamed

that we want to create Greater Serbia.

That was not in any time our policy.

8,000 Muslim men and boys were separated,

they-they were executed

in Screbrenica.

It was the worst massacre in Europe since World War II.

And even the West,

which did not want to intervene,

was then shamed into intervening.

When they overran Screbrenica,

and you could actually see UN soldiers

sitting there with their blue helmets and hats

on top of tanks, watching the Serb conquerors

take the women and children and send them in one direction

and take the able-bodied men

and send them in the other direction...

for extermination.

What is our interest in Bosnia?

Well, if this does not represent our interests

and our values,

then nothing that has happened since the end of World War II

represents our values.

A month or so later,

there was another massacre in the marketplace in Sarajevo.

All right, time now for this morning's news.

Officials in Sarajevo this morning

report one of the bloodiest attacks

of the Yugoslav civil war.

They say a Serbian mortar shell

landed directly on the crowded marketplace

in the Bosnian capital

where people were lined up to buy bread.

August 28, 1995.

I went into the marketplace.

People were running out, screaming.

You-you have no words to explain

to people what really happened

because there is no word to explain.

What has to happen before the outside world

decides enough is enough

and takes action to end the bloodshed?

I have just completed a meeting with advisors

discussing the... the terrible and outrageous incident

in Sarajevo yesterday.

Within 24 hours, the UN commander,

what we call "flipped the key" and enabled NATO to come in.

We basically...

got the authority to bomb them for four days.

It was the beginning

of a new understanding

about what was and was not acceptable...

...in the Balkans and in Europe.

An absolute...

...unbelievable lay-down of bombs

turned the sky orange.

Alma ran up to the house to watch

this thing with me.

So we sat there together.

I'm sure we were crying.

Last night, I heard...

I woke up, you know, when I heard the sounds.

But I knew it's not from Chetniks.

It's from our guys on sky.

Do you think the war is over?

Yeah, I hope. I think.

Slobodan Milosevic had been falsely

holding the world hostage,

threatening even greater disaster,

threatening that the whole world would enter a world war.

They folded in a second because that's what bullies do.

We became aware, and I have become aware just over years,

that peace is just one of these kind of annoying words,

somewhat insipid, somewhat vague.

But actual peace, um,

is something that has to be brokered,

negotiated by men and women

under fluorescent lights, you know,

eating stale cheese sandwiches.

And you start to realize

th-that peace

is not at all romantic.

It's essential.

But the Dayton Peace Accord,

uh, was one of the most brutal,

uh, of peace accords.

And that... that lasts,

that's-that's the sting here in the tale.

In Dayton, we had to compromise

what some people defined

as a bad peace or a good war.

First of all, there's no such thing as a good war,

so we had to accept the peace that was offered as it is

or agree to continue a conflict

that was exhausting--

not just killing but exhausting-- citizens

of Bosnia and Herzegovina.

And now the issue wasn't about how to end the fighting

but really how to bring about real peace to Bosnia,

because stopping the killing is nothing more than a cease-fire.

Today, Mr. Presidents,

you have bound yourself to peace,

but tomorrow you must turn the pages of this agreement

into a real-life future

of hope for those who have survived this horrible war.

Once the siege of Sarajevo had been lifted,

that's when the hard work really begins.

It's not just about rebuilding the infrastructure.

It's about bringing people back together,

helping them deal with their trauma,

restoring confidence in each other,

restoring confidence in the future.

I was a member of Yugoslav skiing team.

I was 14 at the time when the war started.

The team left to France in April of 1992

to participate in the European Championships.

We all left with two pairs

of skis, and we came back home after four years.

I returned three months

after Dayton Agreement was signed.

Everyone sort of welcomed me

with this hunger and thirst to know what is life like,

because their lives literally stopped for four years.

Bono asked me to help organize a concert,

and I think we both saw this

as one of the ways to help bring people back together,

to make Sarajevo again the center of diversity

rather than the center of suffering.

At some point, I heard the words out of Bono's mouth,

"We are going to come and play Sarajevo."

And I was like, okay, I'm with that,

but that's a big thing to say.

They had to defeat what was in their own head

in order to withstand, um, what was outside of them.

I want to be there, I want to see,

I want to witness

with this hope that the next year

would be a new beginning for this country.

And I knew once we'd said it, um, that we would do it.

Actually, we got some news in, which is

that we are playing Sarajevo, and, uh,

that's pretty good, we organized that.

We've been trying to do that for a few years,

- so pretty happy about that.

I got this call

from Dazed & Confused,

guy called Jefferson Hack,

and he said, "Howie, uh, let's go, let's go to Sarajevo.

You can play on the UN radio station."

I went, "Okay, cool."

There was trauma everywhere.

The city had suffered through

four years of war and siege.

Almost all the infrastructure had been destroyed

and very little rebuilt.

The stadium that would host the concert

started out its life as an Olympic venue,

and then during the war, it had to be converted

into a graveyard, and now once again,

it would have to be

rebuilt to host 50,000 people.

I talked to the band,

and he goes, "What was it like?"

We had a conversation.

I told him, it's like no-holds-barred.

I said, "It's pretty fucked-up there."

From that point on, it became a logistical challenge.

On a map, it looks like an hour or two hours journey,

but, like, you could be talking 15 hours,

you could be talking an entire day to get there

because you don't know what's going to happen

on the particular roads.

I and the band

just said, we've made a promise to go,

we're going.

Once the decision was made,

first thing that was always asked was,

"Is it safe to go there?"

So the-the option was given to people, sort of saying

that if you didn't want to go to Sarajevo, that was okay

and it would not be held against you

in any shape or form.

Truck drivers, steelworkers,

advance people, caterers,

you name it, everybody went to Sarajevo.

♪ Let 'em know... what goes on ♪

♪ Rolling Stones of the rap game, not bragging ♪

♪ Lips bigger than Jagger, not saggin' ♪

♪ Spell it backwards, I'm-a leave it at that ♪

♪ That ain't got nothing to do with rap ♪

♪ Check the facts, expose those cats ♪

♪ Who pose as heroes and take advantage of Blacks ♪

♪ Your government's gangster, so cut the crap ♪

♪ A war going on so where y'all at? ♪

♪ "Fight the Power" comes great responsibility ♪

♪ "F" the police, but who's stopping you from killing me? ♪

Could you imagine

that people are coming to the streets

on the, on the villages

and cheering them, welcoming them.

♪ Get up and show no fear ♪

♪ Get up if y'all really care... ♪

The response they got from the local people,

it was phenomenal.

Till that very day,

most people doubted

that U2 was ever going to show up in Sarajevo.

Nothing was a guarantee.

The moment we saw those lights--

I get shivers even now.

The moment we saw those lights approaching the-the stadium,

that was the moment it all became real.

The band,

now they have to come.

You know, this has

to happen.

And then, when they drove into the stadium,

the local crew just cheered and clapped.

Because no one believed

that those trucks would come to Sarajevo.

Younger kids, kids my age,

all the generations were talking about U2.

It was more important than anything else.

We were literally

saying, like, "Oh my God, it's happening, it's happening."

Just feel, oh, yeah, I can't believe we're here.

It's like, uh, I can't believe we managed to pull it off.

I didn't even, I don't even believe it. Yeah.

We knew about ten seconds before I got here.

Bono and Paul McGuinness and the band

had given me the privilege and the responsibility

of choosing the other acts.

I chose one.

The band was called Sikter.

No way.

No way.

But then we realized it was true.

There's a physical way you describe Sarajevo,

and then there is something that you describe

that's in the minds and hearts of people.

There are Orthodox churches, Catholic cathedrals,

synagogues and mosques

that are built right next to each other.

That's done over decades and centuries.

That's not done because people are fighting each other.

That's done because they believe

in coexistence.

So then I felt that it was important

to show that Islamic Muslim element of Bosnia, to propose

the idea of the Islamic choir.

The type of music we perform

is Islamic spiritual music.

This concert gave us the opportunity

to join these two things together:

pop rock music with spiritual music.

Nothing comes without a risk, and it was clearly a risk

to ask an Islamic choir to play

on the same stage with a rock band.

But if you don't show them the benefit of diversity,

of sharing the marketplace

of ideas, that they could again be brought to division.

Walking on the stage,

we were shaking...

...trembling.

When we performed it, there was silence.

A couple of seconds.

The audience up front

started clapping in rhythm.

Joining the rhythm that we had and joining

the intonation of it.

They made sure that that choir

understood not only that they were welcome

but that they were at that moment connected.

All these different tongues,

speaking with the same voice, with one voice.

This tapestry of peoples.

It was sort of said very much at the time

that-that the reason the community wanted

the concert was because it would normalize

life in Sarajevo in-in the postwar period.

They just wanted to feel normal.

They just did not want to feel

like they couldn't stand next to the person

because of where they were on the religious divide.

The music metaphor works

because everybody plays together.

The instruments are different,

the abilities may be different,

but you agree enough on what the common threads are

that you can make something beautiful.

That's the way human life is.

And for us, it was important to play

this national anthem of Bosnia and Herzegovina,

which was forbidden just a few days before the gig,

because the high representative,

he said that all the nations have to agree

about the national anthem.

Some bullshit like that.

- And so our guitar player,

he came out on the stage and he played

the Bosnian national anthem

and the whole stadium sing with him.

That moment, if you ask me, you know,

honestly, during the gig,

that was the most emotional moment for me.

-Whoo!

Sikter!

In-in one moment,

in one moment,

- the lights of the stage... - Mm-hmm.

never seen in my life.

The people, they just

scream.

Everybody scream.

♪ I was on the outside when you said ♪

♪ You said you needed me ♪

♪ I was looking at myself ♪

♪ I was blind, I could not see... ♪

I saw, including me,

- the tears of joy, of happiness. - Yeah.

♪ I will follow ♪

♪ If you walk away, walk away ♪

♪ Walk away, walk away... ♪

- Viva Sarajevo!

Fuck the past.

Kiss the future.

Viva Sarajevo!

- Viva Sarajevo!

There was this nervousness

in this place, and, of course, it affects

Bono's voice.

"I've a little bit of a,

"a voice thing. I'm sure it'll be fine,

but just be ready."

♪ All is quiet on New Year's Day ♪

♪ A world in white gets underway... ♪

When his voice suddenly broke.

♪ It's true ♪

♪ Say it's true, it's true ♪

♪ And we can break through ♪

♪ Though... ♪

I told Senad, he's under such emotion.

♪ I ♪

♪ Will be with you again ♪

♪ I ♪

♪ Will be with you again. ♪

He just went,

"Fuck it.

"Okay, I'm going to use the crowd.

"I'm going to... I'm going to actually share this feeling

and be honest."

And it was, that was a mental moment.

Mental, mental, mental moment when that happened.

" playing)

♪ In the name... ♪

It's not about you, dude.

It's not about your singing.

It's their singing.

Thank you.

I think this message from this concert,

with all of us participating,

sent the best message that we can live in peace

no matter how different we are,

how different our music tastes

or what kind of religion we are.

It doesn't matter, really.

It doesn't matter.

We can live in peace.

Going up.

♪ I wanna run ♪

♪ Yeah, I want to hide ♪

♪ Yeah, I wanna tear down the walls ♪

♪ That hold me tonight ♪

♪ I wanna break through ♪

♪ Into a new frame ♪

♪ Where the streets have no name... ♪

It was like a dream.

A whole piece

of dream for me.

Really.

♪ Burning down love ♪

- ♪ And when I go there ♪ - ♪ Go there ♪

♪ I go there with you ♪

♪ With you ♪

♪ It's all I can, I can do ♪

These people had not been together for six years.

You know,

this is an unimaginable

moment.

I was standing with Bill, and...

you know, you look at these people...

...reunited again and you're looking at, like,

you're-you're in the center of the city

that was under the siege

and all of a sudden,

life is back there.

Like, people are together,

singing together...

...dancing together, laughing, smiling.

Like, people from the region, the whole region.

Nobody cares about the name or ethnicity.

We're all the same there, and that's the point.

That was the point.

That's why the war

was pointless.

It-it... it never made sense.

And here we are together again.

My voice...

is gone.

But your voices are strong.

I ask you...

...to carry me

like you carried each other

in those weeks, months and years,

and sing with me this song.

That's the moment

lives are dominate.

Because we saw the new chance, new hope

that war, it's really over.

♪ Is it getting better ♪

♪ Or do you feel the same? ♪

♪ Will it make it easier on you now ♪

♪ You got someone to blame? ♪

♪ You say one love ♪

♪ One life ♪

♪ One need in the night ♪

♪ One love ♪

♪ We get to share it ♪

♪ Leaves you, baby ♪

♪ If you don't care for it ♪

♪ Did I disappoint you? ♪

♪ Leave a bad taste in your mouth? ♪

♪ You act like you never had love ♪

♪ And you want me to go without ♪

♪ Is it too late ♪

♪ Tonight ♪

♪ To drag the past out into the light? ♪

♪ We're one, but we're not the same ♪

♪ We get to carry each other ♪

♪ Carry each other ♪

♪ One ♪

I am not saying that song

stops the war.

However, if enough of us start singing

and actively participated in stopping insanity,

insanity will stop.

♪ Did I ask too much? ♪

♪ More than a lot? ♪

♪ You gave me nothing, now it's all I got ♪

♪ We're one ♪

♪ We're not the same, yeah ♪

♪ We hurt each other, then we do it again ♪

♪ You say love is a temple ♪

♪ Love a higher law ♪

♪ Then you make me crawl ♪

♪ I can't be holding on ♪

♪ To what you've got ♪

♪ When all you got is hurt ♪

♪ One love ♪

♪ One blood ♪

♪ One life, you get to do what you should ♪

♪ One life ♪

♪ With each other ♪

♪ Every man my sister ♪

♪ Every woman my brother ♪

To be united is a great thing.

But to respect difference

may be even a greater thing.

So, for the city of the future...

Sarajevo!

- City of the future!

Sarajevo!

City of the future!

♪ You hear us coming, Lord? ♪

♪ You hear us call? ♪

♪ Hear us knocking ♪

♪ We're knocking at your door ♪

♪ Yeah ♪

That was not just a concert.

That was...

that was something totally extraordinary.

♪ Oh ♪

♪ Oh, my love... ♪

What the band did that night,

bringing us all together

to be together, to-to heal together,

to reconcile.

♪ A long... ♪

That was something... that never happened again.

♪ And time goes by... ♪

On one hand, it was a very serious reminder

that one and only thing that matters,

that universal,

unconditional love

and the fact that

that night we were all one

and everyone knew it and everyone felt it.

I-I felt like it was...

a perfect spark that was ignited for this

collective healing that had to happen,

for this reconciliation that had to happen.

But I also have to say,

I seriously wonder in this moment whether...

...whether we need that concert more today

than we needed it in '97.

...his divisive presidential campaign.

♪ Here she comes ♪

♪ Heads turn around ♪

♪ Here she comes ♪

♪ To take her crown ♪

♪ Is there a time to run for cover? ♪

♪ Is there a time for kiss and tell? ♪

♪ Is there a time for different colors? ♪

♪ Different names you find it hard to spell. ♪

♪ Old pirates, yes, they rob I ♪

♪ Sold I to the merchant ships ♪

♪ Minutes after they took I ♪

♪ From the bottomless pit ♪

♪ But my hand was made strong ♪

♪ By the hand of the Almighty ♪

♪ We forward in this generation ♪

♪ Triumphantly ♪

♪ Won't you help to sing ♪

♪ These songs of freedom? ♪

♪ 'Cause all I ever have ♪

♪ Redemption songs ♪

♪ Redemption songs ♪

♪ Emancipate yourselves from mental slavery ♪

♪ None but ourselves can free our minds ♪

♪ Have no fear for atomic energy ♪

♪ 'Cause none of them can stop the time ♪

♪ How long shall they kill our prophets ♪

♪ While we stand aside and look? ♪

♪ Ooh, some say it's just a part of it ♪

♪ We've got to fulfill the book ♪

♪ Won't you help to sing ♪

♪ These songs of freedom? ♪

♪ 'Cause all I ever have ♪

♪ Redemption songs ♪

♪ Redemption songs ♪

♪ Redemption songs ♪

♪ Emancipate yourselves from mental slavery ♪

♪ None but ourselves can free our mind ♪

♪ Whoa! Have no fear for atomic energy ♪

♪ 'Cause none of them-ah can-ah stop-ah the time ♪

♪ How long shall they kill our prophets ♪

♪ While we stand aside and look? ♪

♪ Yes, some say it's just a part of it ♪

♪ We've got to fulfill the book ♪

♪ Won't you help to sing ♪

♪ These songs of freedom? ♪

♪ 'Cause all I ever have ♪

♪ Redemption songs ♪

♪ All I ever have ♪

♪ Redemption songs ♪

♪ These songs of freedom ♪

♪ Songs of freedom. ♪