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Musician, Actor, Director, Producer, Artist, and Businessman Jared Leto is a unique individual who has achieved great success across many creative fields.
Known for his bold choices and intense, transformative performances as an actor, Jared Leto’s big screen presence was established in his compelling portrayal of a delusional heroin addict in Darren Aronofsky’s critically acclaimed Academy Award winning drama, Requiem for a Dream. He has also had the privilege to work with directors like David Fincher, Oliver Stone, Terrence Malick, Andrew Niccol, and Jaco Van Dormael.
As the lead singer and songwriter of Thirty Seconds to Mars, Jared has sold over 5 million albums worldwide and is the driving force in a truly global brand. Selling out arenas internationally, Mars has sold over (?) Tickets, toured for over two years straight winning the Guinness Book of World Records title for the most shows ever played for a single album cycle. Additionally, the band has the longest running single of the alternative chart ever with their song, “The Kill.”
As a director under the pseudonym, Bartholomew Cubbins, Jared has earned (how many) VMA nominations and (how many?) wins, including the 2010 VMA for Best Rock Video for “Kings & Queens” and an MTV O Award for “Hurricane” (update this). With over 150 million views on You Tube, these cinematic clips have become a massive part of the bands success.
In 2009, Jared started a digital guerrilla marketing company called The Hive.
Working both online and off they have set a new standard of audience interactive marketing inventiveness, and social media management.
Whether a launch of 2000 different album covers with fans faces on it or creating an interactive social recording experiment called The Summit in association with Twitvid where fans became a part of the album process, The Hive is creating along the front lines of the intersection between art and technology.
Jared is a leader in music and digital media and their connection with an emphasis in that place where online and off line collide.
On the philanthropy side, in 2007 Jared directed a video for a song called “A Beautiful Lie” which shot 200 miles north of the Arctic Circle to raise awareness about global warming and the impact on Inuit culture. He then launched ABeautifulLie.org which speaks about current environmental and social issues. Out of this, the band built the EnvironmenTour, an eco-friendly way of touring for artists to minimize waste. After the devastation of the earthquake in Haiti, Jared traveled to the region to volunteer and in turn created a photography book of his travels to raise money for the impoverished nation. As a child, Jared lived for a short time in Haiti so the country has always been close to his heart.
When he’s not on tour, Jared is based nowhere, since he’s always on tour.
(credits: http://caaspeakers.com/jared-leto/ )
FIRST LOOK: Jared Leto and Matthew McConaughey: Why My Weight Loss Was Worth It via @peoplemag [8/2/13]
Matthew McConaughey: Why My Weight Loss Was Worth It
By K.C. BAKER
08/02/2013 at 11:00 AM EDT
A burger never tasted so good.
“Extra mayo, extra jalapenos, extra dill pickles and extra ketchup!” he tells PEOPLE. “It was exactly as I wanted it.”
McConaughey also wanted to look as realistic as possible, losing a whopping 47 lbs. in three months to play Ron Woodroof, a heterosexual Texas electrician diagnosed with HIV in the 1980s who tracked down and smuggled non-FDA-approved drugs into the U.S. to try to save his life.
Woodroof ends up forming a club to sell the drugs to others with the AIDS virus – largely gay men, the very people he “deplores” at the start of the film, says McConaughey. Jared Leto lost about 30 lbs. to play his friend, a transsexual woman named Rayon, and Jennifer Garner plays Woodroof’s doctor.
“I really was intrigued by this wild, almost redneck Texan who was trying to be Scarface – drug-smuggling, dealing and rolling in the cash, trying to stay alive,” McConaughey says of Woodroof. “He was a bad ass.”
The film, which opens Dec. 6, “is serious subject matter, but it’s almost got humor in the most anarchic way,” he says. “It’s a great story.”
Thirty Seconds To Mars Postpone 2013 Australian Tour – New Dates Here!
19 July 2013
Sad news for the echelon this morning, Frontier Touring has announced that Thirty Seconds To Mars have had to reschedule their 2013 Australian tour dates.
The American pop-rock band were due to perform around the country next month, but have had to move their tour dates to March 2014 due to ‘unavoidable and unfortunate circumstances,’ as Frontier have revealed.
The band has always been known for staying close to their fans, and sent a personal message to soften the blow of the postponed tour.
“It is with a heavy heart and deep regret that we must reschedule the four shows in Australia. A member of the band will be undergoing a medical procedure and the time will be used to address this. Please know we are absolutely devastated and hope for your understanding and patience. Our sincerest and deepest apologies.
We are rescheduling for March 2014 as these are the earliest the dates are available.
Thank you for your faith, for your support, and for standing by us no matter what.
We ask you please respect our privacy through challenging times like these.”
A bit more info:
If you have tickets for the August concerts, they will be valid for the new March shows. Fans will not need to purchase or exchange their tickets to gain entry to the rescheduled dates.
The March Brisbane concert has been moved to Riverstage. Current tickets for the Entertainment Centre will be valid at Riverstage. Tickets for that show that were previously seated will now be general admission standing.
If you can’t attend the new dates, Frontier will offer you a full refund. Contact the ticket issuer by Friday 3rd August to get your money back. For venue specific instructions, simply head to: http://www.frontiertouring.com/thirtysecondstomars
Check out the new dates below!
THIRTY SECONDS TO MARS MARCH 2014 AUSTRALIAN TOUR DATES
Tue 25 Mar Perth | Challenge Stadium (All Ages)
http://www.ticketmaster.com.au | Ph: 136 100
Fri 28 Mar Melbourne | Rod Laver Arena (All Ages)
http://www.ticketek.com.au | Ph: 132 849
Sat 29 Mar Sydney | Entertainment Centre (All Ages)
http://www.ticketmaster.com.au | Ph: 136 100
Sun 30 Mar Brisbane | Riverstage (All Ages)
http://www.ticketmaster.com.au | Ph: 136 100
Please note: We are still giving away the chance to meet Thirty Seconds to Mars, but the prize will now be awarded in March when the band is in the country.
Watch our most recent interview with Jared Leto below!
Articolo a cura di Francesco De Sandre
Prosegue imponente la rassegna dell’Hydrogen Festival davanti alla lussuosa facciata di Villa Camerini. A Piazzola sul Brenta oggi tocca ai fratelli Leto e a Tomo Milicevic illuminare la piazza con scintille di passione e gioia, sentimenti sbrindellati dall’ultimo CD “Love Lust Faith + Dreams“, un inno all’alternativa baroccheggiante che ben si sposa con l’architettura circostante. I Mars tornano dunque in Italia, paese al quale, al di là delle note prelibatezze gastronomiche, Jared è legato in quanto uno dei primi ad aver supportato la band dagli esordi sino al successo planetario. Direttamente di ritorno dal Gunness dei Primati grazie al tour dell’album “This is War” (311 concerti in 60 paesi), vaneggiando tra dischi sparati nello spazio, video mistici tendenti all’assurdo, una simbologia araldica che lentamente lascia sempre più spazio alle bellezze della natura, i 30 Seconds to Mars danno vita a uno spettacolo completo ricco di riferimenti alla propria storia e al proprio universo, un mondo parallelo che nei live viene esaltato e ampliato con coreografie innovative e adattamenti sonori davvero notevoli.
Jared affida l’apertura della serata alla giovane LosangelinaSimonne Jones, la quale coadiuvata dal suo batterista mascherato da V per Vendetta propone un repertorio limitato di sue produzioni. La sorridente sirena dal corpo mozzafiato conferma la tendenza attuale di piazzare un duo semialternativo prima delle esibizioni degli headliners: Simonne, che ha già prenotato altre cinque tappe in Italia ad agosto, canta con voce profonda ed entusiasta, avvinghiata alla sua chitarra e facendo partire di volta in volta basi differenti dal suo mixer personale. Quando l’attenzione non è più totalmente focalizzata su di lei, ecco che mr. Leto, a sua insaputa, esce da dietro le quinte e solca il palco da lato a lato, provocando il boato del pubblico e la sorpresa di Simonne: una passeggiata, un breve saluto prima della grande festa.
Gli accorgimenti tecnici vanno per le lunghe, ma ad intrattenere il pubblico ci pensano prima i tecnici con qualche siparietto improvvisato, come il saluto dal buco del maxischermo durante la sostituzione di un pannello, successivamente i percussionisti illuminano la platea durante i test dei microfoni e dell’impianto luci. Sotto una spessa coltre di fumo colorato si allestisce una coreografia semplice che da subito richiama il video di “Up In The Air”, coi quattro tamburini allineati al centro del palco che supportano Shannon a battere ritmi incalzanti. Quest’ultimo, comparso durante la presentazione “Birth” con il corpo completamente dipinto da colorazioni sfumate, come di consueto posiziona la batteria lateralmente. Jared e Tomo arrivano sull’esplosione di “Night of the Hunter”, canzone con cui aprono sempre i loro spettacoli. In un vortice esagerato di luci e fumo, mentre lo schermo proietta panorami immaginari ad oltranza, inizia il concerto tanto atteso.
“Faith is coming, that I know
Time is running, got to go
Faith is coming, that I know
Let it go
Here me now
Under the banner of heaven, we dream out loud
Do or die, and the story goes”
Dimenticate i crestoni apocalittici delle scorse esibizioni estive: Jared sfoggia una chioma sciolta e per questo spesso gioca a fare il Messia, salutando i numerosi fans e battezzandoli lanciando diverse bottigliette d’acqua. Dimenticate anche il basso tra le mani di Tomo: solo chitarre e sintetizzatori, a conferma del fatto che il sound dei Mars ha preso una distanza netta dai tempi di “A Beauiful Lie“, e proprio di questo album non si fa menzione nella prima metà del concerto, ma il genio di Jared poi ripagherà questo iniziale sbilanciamento verso i singoli più attuali. Il coinvolgimento più energico si attua con l’esecuzione del nuovo inno “Do or Die”, quando Jared, confessando la registrazione di un nuovo videoclip, si fa innalzare dalle voci soavi del ritornello ripetuto all’unisono da migliaia di giovani. Un’altra grande prova è la realizzazione di “City Of Angels”: come spesso accade, il frontman propone delle rivisitazioni dei suoi stessi pezzi, generando vocalmente nuove sonorità davvero gradevoli e alienanti. Dopo una parentesi di dolcezza, amore e ricordo, la band lascia il palco per permettere ai percussionisti di esibirsi con veri e propri numeri da circo: prima con salti mortali sulla pedana, poi con evoluzioni al limite della gravità dentro un cerchio rotante. C è tanta scena in questo show, che è davvero completo anche per mezzo dei continui flash con spezzoni di video musicali e istantanee di misticismo proiettati dal maxischermo.
Break me down
Bury me, bury me
I am finished with you
Look in my eyes
You’re killing me, killing me
All I wanted was you”
Terminata la parata circense, Jared torna sul palco con una chitarra acustica. Scambiando qualche battuta, salutando tutti i fans, anche quelli più distanti che lo osservano dalla terrazza sopra la piazza, ammirando poi il fascino della villa illuminata a giorno, conquista sempre di più il suo pubblico. Come se non bastasse, annuncia in anteprima la nuova data autunnale a Milano, e sull’onda dell’entusiasmo chiede che canzone performare in quel momento, citando tra le varie opzioni “The Kill”, “Hurricane”, “From Yesterday” , “Capricorn” e altri singoli immancabili. Poi, in un alone palpabile di aspettativa e tensione, Jared fa qualcosa che dal vivo non aveva mai fatto: con chiaro riferimento alle esibizioni in Unplugged sui canali MTv e contestualizzando tanta passione nel suono leggiadro della sola chitarra, esegue “From Yesterday”, “Echelon”, “Witness” e “Hurricane” concatenandole una ad una con la sua acustica e saldando le catene con i cori ammaliati degli spettatori, in uno scenario inedito, magico e commovente. La parentesi acustica prosegue con “The Kill”, e il risveglio più intenso scuote improvvisamente la piazza quando all’inizio del secondo ritornello il palco viene nascosto da ondate di fumo, e in un boato Tomo e Shannon si riappropriano dei propri strumenti, scatenando Jared che incontrollabile si fa strattonare dalla potenza di una batteria impazzita e una chitarra perforante, sostenuta dalle migliaia di coristi sottostanti, in estasi perpetua tra sorrisi e lacrime.
Con questo flash il concerto riprende a volumi più consoni, con “Kings and Queens” e il video girato in bicicletta, poi l’intensissima “Closer To The Edge” e ancora l’ultimo singolo “Up In The Air” con decine di ragazzi sul palco dietro a Jared gasatissimo che ripropone poi “Do or Die” chiedendo a tutti i presenti di reggere qualcuno sulle spalle. È questo il saluto con cui i Mars si congedano, forse un po’ brusco e affrettato, dopo lo schiaffo durante “The Kill”, ma è un chiaro “arrivederci” alla prossima tappa.
Il concerto, tra palloni d’aria danzanti sul pubblico e gonfiabili alzati “in the air” quasi a ricordare i tempi non lontani quando la formazione americana era vista esclusivamente come un fenomeno Pop, fotografa alla perfezione la situazione della band in questo momento: Tomo dirige, crea, genera. È lui il direttore dell’orchestra di Jared, è lui il mentore del nuovo sound. Nel silenzio del suo carattere, il compositore Slavo si gode la sua creazione, ottimamente interpretata dai fratelli Leto. Shannon esegue instancabile, famelico, trasformando la pelle colorata in un alone di sudore fluorescente. Jared, che spesso non canta le parti più alte delle sue canzoni, è un attore, si sa, ma nonostante il sottile velo di vanità è sempre professionale e la complicità che crea coi suoi fans è ammirevole. Il tutto, magistralmente eseguito tra luci sconvolgenti e coreografie spettacolari, incorniciato dall’abbraccio della villa cinquecentesca, incorona definitivamente i Mars a pionieri di questo Far West che è la musica Alternative contemporanea, in cui tra stravolgimenti e continui mutamenti, il punto fermo ed imperturbabile è ben definito nell’universo, a soli trenta secondi da Marte.
Night of the Hunter
Search and Destroy
This Is War
Do or Die
Depuis Le Début
End of All Days
City of Angels
Pyres of Varanasi
Kings and Queens
Closer to the Edge
Up in the Air
Do or Die (bis)
Between outfit changes, Leto dematerializes for a moment and reappears with a tray of Godiva chocolates, which he delivers in the style of a French waiter to everyone in the room. He remembers names and is courteous even though he’s feeling fragile. He spent all of the previous night editing the music video for his band Thirty Seconds to Mars’ new single “Up In the Air,” an eight-minute amalgam of contemporary imagery that includes but is not limited to: Dita von Teese riding a mechanical bull, Taiko drummers in Pussy Riot balaclavas, artist Maxwell Snow with a blowtorch, one of Damien Hirst’s spot paintings, U.S. Olympic gymnast Jordyn Wieber, and a dazzle of zebras. He takes a few minutes to explain to the shoot’s photographer why he loves the wall-sized, tar- and feather-covered mixed media installation by Dan Colen that hangs near his popcorn machine. When people address him, he sometimes puts a reassuring hand on their arm or shoulder to more properly convey the act of listening. If there were a puppy around, he’d probably be very nice to it.
The point: In every way except for the pubescent explosion of desire that comes from somewhere deep in the core of my hypothalamus upon seeing his smooth, beautiful, gravity-agnostic face, it is clear that Jared Leto is not Jordan Catalano. It was nearly 20 years ago that Leto was given his textbook Hollywood break playing the flossy-haired bad boy, and became the paragon of teenage longing in the criminally short-lived television series My So-Called Life. And it is a disservice to his enduring, variegated career to conflate Leto with his first memorable character.
Still, there’s a pretty good chance that when you say his name aloud to anyone who was breathing air during the 1994-1995 broadcast season, you’ll be met with the response, “Oh yeah, Angela Chase’s boyfriend.” Leto’s speaking cadence becomes matter-of-fact when asked to ruminate on how the show changed him, and he is quick to point out that his My So-Called Life gig only lasted a few months. “You know, I was a poor kid,” says the 41-year-old Leto, who was born in Louisiana. “I came out to California with a couple hundred bucks in my backpack. I slept on the beach, stayed at a youth hostel, did that whole thing. I was just happy to pay my rent, to tell you the truth.” Here he pauses for a long time. “How do I put this? That show taught me that the impossible is possible.” When an actor says a bromide like “the impossible is possible,” or, later, when he muses that there is “salvation in creativity,” one’s eyes start to glaze over. But coming from him, there is a plain truth to it.
Leto has changed into a soft gray shirt with the PBS logo on it and a pair of jeans. We’ve moved to the upper portion of his home in the Hollywood Hills and are now sitting at a diplomatic distance on a rose-colored couch, its petal-like puffs giving it a slightly vaginal tinge. Hanging on the largest wall is a blown-up photo of king palm trees set against a twilight background, taken by his friend, infamous photographer Terry Richardson. Instead of a coffee table there’s a six-foot pine casket piled high with books like Sun Tzu’s The Art of War and Jon Krakauer’s Into Thin Air.
Eschewing the more conventional routes offered to actors listed among Peoplemagazine’s 50 Most Beautiful People (twice), Leto founded his career on deep, transformative character studies in mostly independent movies. He received critical buzz for dissolving into the role of long-distance runner Steve Prefontaine in the 1997 biopicPrefontaine. Three years later, he was nominated for a New York Film Critics Circle Award for his harrowing portrayal of a heroin addict in Darren Aronofsky’s Requiem for a Dream. David Fincher tapped him for Fight Club, in which Leto’s Angel Face was so brutally pummeled that he spends the latter half of the film looking like Billy Idol after a run-in with Mike Tyson. Instead of relying on prosthetics, he put on more than 60 pounds to play John Lennon’s killer Mark David Chapman in the 2007 film Chapter 27. Later this year, he’ll play a transsexual woman infected with HIV in Jean-Marc Vallée’sDallas Buyers Club, the true story of Ron Woodroof (played by Matthew McConaughey), who fought the U.S. medical and pharmaceutical companies in the mid 1980s after being diagnosed with end-stage AIDS.
“I like a good challenge,” he says. “I read a lot about climbing Mount Everest. I’m interested in potential and how far we can push ourselves. When I read about people who summit these mountains around the world, it’s often a very unenjoyable experience. It’s painful. They’re sick. They lose a finger, or more. They die. They hate it every step of the way. And even when they get to the top, some people are like, ‘Okay, let’s get down now.’ There’s not even a moment of celebration. But I think that sometimes there is a moment—there’s a sense of fulfillment that arrives. You’ve walked a different path and you’re greater for it.”
In 48 hours, Leto will leave Los Angeles for Europe to debut LOVE LUST FAITH + DREAMS, the fourth studio album from Thirty Seconds to Mars, a three-piece rock outfit fronted by Leto, with his older brother Shannon on drums and Tomo Milicevic on guitar and keyboard. LOVE LUST FAITH + DREAMS will be the band’s second offering since EMI slapped them with a $30-million lawsuit in 2008 for failing to deliver the third of their five contracted albums. (“There was a point after we had sold millions of records around the world, where not only were we never paid a single penny, but we learned that we were millions of dollars in debt,” Leto has said of their reason for cutting ties with the record label.) After 200 days of dispute, the band and label reached an agreement, and Leto sublimated his angst into the 2009 release This Is War and the documentary Artifact, which Leto directed under the Seussian pseudonym Bartholomew Cubbins. The film chronicles the brouhaha with EMI, and earned a coveted spot at the Toronto International Film Festival, where it won the 2012 People’s Choice Documentary Award.
But critical ambivalence surrounds the band: the BBC called Leto’s vocals on This Is War“nondescript” and his lyrics “hackneyed,” while Alternative Press hailed it as an “artistic triumph.” Slant, meanwhile, conceded that the album was “made serviceable by its polished showmanship.” Add to that the kneejerk skepticism that comes from any actor assuming the mantle of musician and you’ve got a challenge that matches climbing Mount Everest. Despite this—or perhaps because of it—Thirty Seconds to Mars is a ludicrously successful undertaking, and has the stats to back their legitimacy: a decade of profitable touring, a handful of Billboard hits, 10 million albums sold, and an MTV Video Music Award for Best Rock Video. In 2011, the band made it into Guinness World Records after playing 311 shows in a little over two years—the longest concert tour ever by a rock band. “I’m just a working stiff, to tell you the truth,” he says. “I’m not basking in the glory of access to some VIP room, which I could give a shit about.”
Anything but ambivalent are the fans of Thirty Seconds to Mars, who call themselves The Echelon, after the sixth track off the band’s self-titled debut album. In March, a particularly diehard fan allegedly sent Leto a severed human ear with a note that read, “Are you listening?” Though certain Internet sleuths claim it’s a hoax, there was a reliable-looking shot of it on Leto’s Instagram account (it’s since been deleted) with a hole punched through the top so that he could wear it around his neck on a rope if he so desired. I ask him if he’ll show me the ear. “It’s in safekeeping,” he says. I promise not to tell anyone where it is. “I don’t think that would be safe. Besides, I’ve gotten stranger things. Like vials of blood. I’ve gotten very expensive items—like very rare collectible books made of metal.” But none of that matches the grotesquerie of a severed ear. “It’s true,” he admits. “Those things are titillating and odd and funny and bizarre, but people make a lot of creative things, whether it’s photos or drawings. There’s a big art and design community around Thirty Seconds to Mars. Some people have screaming girls, but with us you’re more likely to find someone who brought a piece of art to a show than someone who wants to come back to your hotel at night.”
Photography by ERIK HART & TATIANA LESHKINA, Styling by KATIE BURNETT