We Are The Champions - Stadium Rock 1965-1993 We Are The Champions follows the development of some the biggest names in Rock, among them, Bruce Springsteen, The Police and and shows how, through events such as Live Aid and the rise of MTV, rock achieved a global influence on culture and politics. The film concludes in the early 90s, as U2 effectively brought the era to a close by reinventing the big rock show so completely, that fifteen years later most major rock tours are still pale facsimiles. Director's notes Sebastian Barfield Director/Producer 'Stadium rock is not a genre - it exists somewhere far above the ebb and flow of genre and fashion, and is a term used to describe the music played by bands and artists as musically diverse as Led Zeppelin,, The Police or U2 - acts who can regularly perform to upwards of 50 000 people. In a strictly musical sense, there is little that connects these bands - the hopped up glam riffs of Kiss are far removed from the futuristic sonics of Bono and Edge. Rather, the link is in the outlook and actions of the musicians themselves.

Spybot Explorer File Scan Plugin. Opening credits to the children's TV series We Are The Champions from 1976. We are the Champions was a long-running children's sports programme that ran from 13 June 1973 to 25 July 1995. There was a full series every year until 1987, and one. The Champions is a British espionage/science fiction/occult detective fiction adventure television series. Nazis (a common theme of ITC 1960s and 1970s TV.

To start with, all these bands share a similar sense of ambition - a desire to use their music to connect with as many as they can. Showmanship is clearly a shared common element - all have figured out how to make a large stage work for them.

Performers like Springsteen, Freddie Mercury and Bono have gone beyond this, sharing a genius for performance that allows them to bond tens of thousands of individuals together - sending them home with a sense that they have been part of something greater than a mere rock'n'roll show. But at the heart of the best of these bands is, dare I say it, a generosity in their music: a sense that everyone is invited to the party.

All of this means that when a band reaches the heights of the stadiums, they face the accusation that they have 'sold out', and risk forfeiting whatever critical kudos they have built up over their career. Bands who are revered by rock purists - The Velvet Underground for example - often barely sold any records during their career. Yum Install Ant Without Openjdk Source. And yet all of the artists featured in the film found their own way to fill large spaces without diluting the essence of what made them great, and in some very rare cases (, Springsteen, U2), I would argue that the large venues magnified what they were projecting rather than diminished it. In approaching this film, I wanted to get a sense directly from the musicians themselves about how they learned to work these big spaces, how they connected with their audience, and how they dealt with their success. We got some remarkable interviews. Brian May shared his memories of Freddie Mercury, as well as explaining to us how 's career was built around their interaction with their audience - songs like 'We Will Rock You' were specifically written to allow the audience to become one with the band. Bob Geldof gave us his own perspective of Live Aid, while Gene Simmons charmed us with some of the most outrageous things committed to tape.

Mark Knopfler, in a typically modest and understated interview, spoke about how he fought hard to retain his band's integrity as one of their albums suddenly became one of the most successful in history. If I had to choose a favourite interview, it would be the one we filmed with Stewart Copeland, the drummer of The Police, who had obviously been thinking quite a bit recently about the ride that he'd taken with The Police over 25 years ago.

Not only had he recently produced a film memoir of his own about the experience (Everyone Stares: The Police Inside Out) but had just signed up for their current reunion tour, although we didn't know this at the time of the interview. He delivered the most precise and compelling dissection of what immense global success can do to a band and an individual that I have ever heard. Apparently the experience of being in an enormously successful band is like, 'being an Aztec sun god. You know it's only temporary. You're surrounded by all this luxury and yet you know one morning you'll be dragged to the top of a pyramid, and the priest will come and rip out your heart.'