Dejan

If their new kid will be a boy.........will be called BANANA :lol:

Franz Ferdinand will drop a live double-DVD November 14, according to NME.com. (That's the UK release date, a US one is still being determined.) The set will contain a slew of live performances, interviews, easter eggs, karaoke film versions of "Matinee" and "Take Me Out," and a behind-the-scenes documentary entitled "Tour de Franz" (oh come on guys, leave the puns to us, sheesh!) The second disk will also contain complete performances from London and San Fransisco. Hold up, though: a karaoke version of "Take Me Out"? Throw that on for your cousins during Thanksgiving dinner, and you got your own Kidz Bop! DVD tracklisting: Disc One: Franz Ferdinand Live 01 Michael (London - Brixton Academy) 02 Tell Her Tonight (New York - Pianos) 03 40 Ft (San Francisco - The Regency Grand) 04 Take Me Out (Scotland - T in the Park) 05 Cheating on You (Belgium - Rock Werchter) 06 Love and Destroy (Los Angeles - The Avalon) 07 Matinee (Scotland - T in the Park) 08 Van Tango (San Francisco - The Regency Grand) 09 Auf Asche (London - Brixton Academy) 10 Come on Home (Glasgow - Barrowlands) 11 Darts of Pleasure (San Francisco - The Regency Grand) 12 Shopping for Blood (Belgium - Rock Werchter) 13 Jacqueline (Glasgow - Barrowlands) 14 This Fire (Los Angeles - The Avalon) Disc Two: Franz Ferdinand Live At Brixton Academy 01 Michael 02 Tell Her Tonight 03 40 Ft 04 Your Diary 05 Take Me Out 06 Cheating on You 07 Matinee 08 I'm Your Villain 09 Van Tango 10 Auf Asche 11 Come On Home 12 Love and Destroy 13 Darts of Pleasure 14 Shopping for Blood 15 This Boy 16 Jacqueline 17 This Fire Franz Ferdinand Live At San Francisco 01 Cheating On You 02 Tell Her Tonight 03 40 Ft 04 Van Tango 05 Auf Asche 06 Matinee 07 Jacqueline 08 Love and Destroy 09 Take Me Out 10 Michael 11 Darts of Pleasure 12 Shopping for Blood 13 Come on Home 14 This Fire Franz Ferdinand and their label are attempting to lure all those godless file-sharers into buying You Could Have It So Much Better... on cold, hard plastic by prettying up the disc with all sorts of goodies. Those who pre-order the American version through Sony Music will receive a bonus CD featuring the B-sides for the "Do You Want To" single. And they are... 01 Your Diary 02 Fabulously Lazy 03 What You Meant (acoustic)

BEEN POSTED

Are you JOKING ? :lol: :lol: :lol:

Their house in l.a. will probably be in Beverly Hills,Bel air or up in the hollywood hills.

It's been said there are only two sure things in life: death and taxes. Well, you can probably add another item to that list: massive first-week numbers for Coldplay albums. The band's much-anticipated third album, X&Y, moved more than 730,000 copies in its first week of release,only further cementing Coldplay's status as one of rock's few sure bets in an era of bling, Bentleys and general un-rockingness. In fact, you could make the argument that they are such a huge act that they don't even need to make a music video to sell records. And you'd probably be right. This only made director Mark Romanek's job a whole lot more difficult. Tapped to helm the video for "Speed of Sound", the first single from X&Y, his mission was to make a beautiful, stately, emotional video for a band that didn't really need a beautiful, stately or emotional video. Or a video at all, for that matter. But Romanek's talent lies in his ability to read between the company lines, somewhere beneath the profit margins. He knew that while Coldplay really didn't need a video, their fans did. After all, they'd been waiting for almost three years for the follow-up to the band's mega-smash A Rush of Blood to the Head, and had stayed loyal to the band though X&Y's initial recording — and subsequent scrapping (see "Coldplay: The Quiet Revolution"). To them, the video for "Speed of Sound" needed to be beautiful, stately and emotional, and a whole lot more. And obviously he succeeded. "Speed of Sound" is nominated for four Video Music Awards, including Video of the Year (see "Green Day, Gwen, Missy Nab Most Nominations For MTV Video Music Awards"). But back then, he had no idea how the whole thing would turn out, which is why, when he's asked about it even now, Romanek can still remember the unique kind of pressure he was feeling heading into the shoot. "I guess I did feel a little extra pressure on this one," he says. "There was a lot of anticipation for this CD, and the band took a long time recording and mixing it. They also put a lot of trust in me, so I guess with all these things, the pressure was definitely there. I do videos pretty rarely these days. I kind of wait for something special to come along, so I tend to put a lot of pressure on myself anyway. I do try and make something sincere, interesting and well-crafted each time." And just how would he choose to address all that pressure? Well, for starters, he eliminated everything flashy and over-the-top. Not the band's style, he says. And then, just for kicks, he decided to eliminate pretty much everything else. For a guy who's made a career out of taking risks — from Jay-Z being gunned down at the end of the "99 Problems" video to placing a fragile Johnny Cash front-and-center in the powerful "Hurt" clip — this was par for the course. "I really didn't see a way to convey the subtle theme of the song with conceptual imagery, so I decided to just let the lyrics speak for themselves. Instead, I tried — using light and color — to create a visual analog to the band's soaring, ecstatic sound," he says. "Since the entire video was to be comprised of shots of the band performing, I felt like a little mystery should be created, so that you don't see everything all at once too early." And so "Speed of Sound" opens in the pitch-black, followed by a single, solitary light framing frontman Chris Martin as he reaches skyward — Prometheus-like — out of the shadows. As the song begins to pick up steam, slowly building to its anthemic, Ebola-catchy chorus, viewers begin to notice a few soft twinkles of light framing the silhouetted bandmembers. Once the chorus hits, the lights erupt, swallowing the band in a very surreal, very expensive, luminous shower courtesy of a two-story-high LED wall. "This was the first time this many of these particular LED fixtures have ever been assembled anywhere. We had 640 of these meter-long fixtures. They were imported from Hong Kong," Romanek says. "They're not rentable, so we had to purchase them all. It took three days to construct and wire up the wall, and another four days to program the 'show.' We got an isolated track of Chris' vocals so that some of the animations could be literally triggered by his voice." If Coldplay were a bit unsure of Romanek's directorial decisions, they sure didn't show it. In fact they went with his pitch without even reading a proper treatment. Which is, well, very Coldplay of them. "The band were pretty trusting of me. I told them about it over the phone, and said there was really no way to describe it. They said, 'Sounds great!' " Romanek laughs. "They didn't see anything until they showed up the day before the shoot for their wardrobe fitting. It's not that they didn't care. They cared deeply. They just trusted me, which, as I said above, was a lot of responsibility." And Romanek rewarded their blind faith by producing a Video-of-the-Year-nominated clip. Though it's little more than the band performing before a massive wall of light, that doesn't take away from its austere-yet-awesome beauty. And for Romanek, who's gone flashy, high-tech and grimy in the past, making the clip was an exercise in shimmering restraint. The end result is a video that he's endlessly proud of. "The video is really just a document of the band performing the song with striking state-of-the-art lighting effects. By shooting hand-held, there were several instances where the band's movements and the camera's movement created these little elegant surprises," he says. "I do like the shot of Chris spreading his arms out in this ecstatic way with the lights changing in a rainbow of hues behind him. And the close-up images of [drummer] Will [Champion] are quite striking I think. I just tried to make something that created its 'meaning' using more abstract, less literal means, which, for me, is how Coldplay's songs impact the listener."

The morning after four bombs detonate in London, Chris Martin climbs aboard a Number Twenty-nine red double-decker bus and up its winding stairs. As we slowly putter south down Camden Road, Martin whips back the top of his hooded sweat shirt, smiles and says, "I haven't done this in so long." He's not talking about riding public transportation but rather about a visit to his old neighborhood, where he and Coldplay first started writing, rehearsing and performing the songs that would shape the group's rise to the top of the charts. Soon we are riding by the former Laurel Tree club, the site of Coldplay's very first gig -- a sold-out affair under the awful name Starfish -- and where they scored their first paycheck, for 80 pounds (about $130), and split it four ways. Further on, past the Lord Stanley pub, home to early band meetings and more than a few drunken nights, we hop off the bus and stroll up to a dingy three-story house at 268 Camden Road. Martin looks up to the second-story flat, once the headquarters of a Clash fan club. But in 1997, it was the apartment he shared with future Coldplay guitarist Jonny Buckland and two of their mates. "That's where we had our very first rehearsal," he says, pointing to Buckland's room. "We had drums and everything, and as long as we quit playing before midnight, no one complained. In no other house in London could you get away with that." For a moment he stands quietly as his brain floods with memories. "It's a dump, right?" he says, breaking the silence. "But we used to love it. I still love it with a passion. That's where we wrote the songs that got us signed. Right in there." Christopher Anthony John Martin was born 190 miles southwest of London. As a child growing up in the sheltered, white, Church of England-fearing town of Exeter, "I just didn't know anything about the outside world," he says. His mother was a teacher and his father an accountant, and one of Martin's earliest memories is of his parents returning from holiday in Venice and presenting him with a child-size guitar. But soon it was gathering dust, and Martin had developed an attraction to the family piano. His musical world was flipped upside down at age eleven, when a new music teacher, Steven Tanner, arrived at his school with keyboards. "Before that, our music teacher was very classically based," says Martin. "But Steven told us that music was for everybody, and just because you didn't have classical training doesn't mean you can't play. Which was incredible. No one ever told us that was possible." He quickly wrote his first instrumental piece, loosely based on the Beverly Hills Cop theme song, "Axel F," but he wasn't yet thinking of music as his calling. "When you're born into a middle-class white family in the county of Devon, there are things that you feel like you're not allowed to do," he says. "Like be a pop star or grow your hair long." But Martin was soon inching toward London, on to a stuffy British prep school called Sherborne. "My eye-opening years were between thirteen and seventeen," he says. "I was so cushioned until that. But at [sherborne], it was the first time I'd ever experienced somebody disliking me." He pauses. "Well, I used to walk funny, and, to be quite honest, I was a bit of a knobhead -- I wouldn't have liked me either." (This is Martin's way -- any self-revelation is instantly defused by a wisecrack. He spits out jokes all day, and he frequently worries that personal details are either "cheesy" or "irrelevant.") Martin spent a lot of late nights at prep school in rehearsal rooms, bashing away at the piano. Martin's spirituality also took a sharp turn. He was raised believing in a Christian God -- not the same God, he's quick to point out, as "those crazy American fundamentalists" like George W. Bush -- and at an early age he felt the collective power of singing in church. "Everybody singing together is the best feeling in the world," he says. At Sherborne, meeting kids of different colors and creeds, Martin found his beliefs had morphed into something more ecumenical. "I went through a weird patch, starting when I was about sixteen to twenty-two, of getting God and religion and superstition and judgment all confused," he says. "I think a lot of our music comes out of that. I definitely believe in God. How can you look at anything and not be overwhelmed by the miraculousness of it? Everything from that carpet to your nose to my balls is amazing. In fact, my balls are a particular miracle." (To set the record straight, there is no connection between my nose and Martin's testicles.) Martin could no longer wrap his head around the idea of hell, particularly when it was linked to sexual morality -- though that was hardly the only reason he wasn't getting laid. "To be perfectly honest," he says, "I didn't know what I was doing. I wish somebody would have come to me when I was fourteen and explained how to give an orgasm. And it's very strange being the world's sexiest vegetarian" -- as he was recently voted in an online poll by PETA, although it should be noted he does eat fish -- "because eight years ago, if I'd invite someone over to my place for a tofu burger, they wouldn't be interested." As we walk from his old flat back to the bus stop, Martin's mind turns to the London bombing. "Right now, forty families are grieving," he says. "It's fucked. I wish people would look further into the reason somebody would want to bomb London or New York rather than just how to catch them." The morning of the attacks, Martin was with family in France before playing a gig in the Netherlands that night. After the gig, when Coldplay's private jet landed in London, Martin briefly returned to his home in Belsize Park, only to go out to buy gas for his scooter. "What it must have looked like to see a guy in a hooded top walking along at two in the morning with a gas tank in his hand," he says. "Like if you're walking through the woods on your own at night and you're terrified. Then you think, 'God, if someone walks by and sees me, they're going to be terrified of me.' It's an X and Y thing -- how you can be two things at once." X&Y is the name of Coldplay's third album. The title conjures chromosomes and mathematical unknowns. "We're always looking for answers to our questions," says Buckland. "X and Y represents the answers that we can't find." Bassist Guy Berryman adds, "There's a running theme through the album, a sense of duality -- the idea that you can't have light without dark, or yin without yang." As it relates to Coldplay, it goes deeper than that. It's what's in their control vs. what's out of their control. It's their overwhelming commercial success -- their first two albums, 2000's Parachutes and 2002's A Rush of Blood to the Head, have sold more than 20 million copies worldwide, and each won a Grammy for Best Alternative album -- vs. the New York Times labeling them the "most insufferable band of the decade." For Chris Martin, it's being regarded as a serious songwriter vs. being referred to in tabloids as Gwyneth Paltrow's husband. According to drummer Will Champion, X&Y refers to Martin as well. "He's stunning and creative and incredible to be around," says Champion. "But the flip side of that is he can sink low and moody. There's not a lot of gray area in between the two." In October 2003, after sixteen months on the road supporting Rush of Blood, Coldplay hurried back into the studio with a handful of quality songs. Bad idea. "We'd just done too much touring and we needed to see our families, our friends -- just be normal," says Champion. "It's not like we hated each other -- we just weren't talking much, and things started to fall apart a bit." Eight months into the process, they held a band-only meeting and decided to refocus on and rediscover the initial chemistry they felt playing as a foursome in a sweaty rehearsal room. "In some respects it was quite a quick record to make," says Berryman about the year-and-a-half-long process. "It just took us a long time to figure out how to do it." Many of the songs on X&Y were inspired by the band's heroes. When I spoke with Martin earlier this summer, I was a little surprised when he told me that he considered Coldplay "incredibly good plagiarists." But that's not the whole story. As he did in childhood with his update on "Axel F," Martin has an incredible ability to ingest someone else's song, twirl it around in his brain and spit out a unique homage. (Strangely enough, Coldplay's first single from X&Y, "Speed of Sound," was topped on the British pop chart by a novelty song from Crazy Frog -- a cover of "Axel F.") "I remember an amazing article about Radiohead when I was first getting into them," says Martin. "Jonny Greenwood said that every song on OK Computer was an attempt to do someone else's song. And that's how it happens sometimes for us." In that tradition, "Talk" wouldn't have been possible without Kraftwerk, and "The Hardest Part" is an ode to R.E.M. (Martin is careful to pay tribute to Michael Stipe: "I've lost all respect for fame, but I haven't lost all respect for respect. So the one great thing about being famous is that I get to meet people who I respect. Our relationship is akin to a dog and its master. I'll always look up to him.") A highlight of Coldplay's show is "White Shadows," which was inspired by Tears for Fears' "Mad World." The title "White Shadows" was lifted from a Seventies TV series produced by Martin's late father-in-law, Bruce Paltrow. Even though Martin never met the man, X&Y is dedicated to him -- the CD sleeve reads, "For BWP." "It's meant to be subtle," says Martin. "It just has a way of making sense of death." What you won't find in X&Y's album sleeve are any of Martin's lyrics, a bit odd for someone whose visions of abandonment, apprehension, fragility and love have resonated with so many fans. "Because I'm not a great lyricist," says Martin with a laugh. "When you hear someone like Ian McCulloch or Bob Dylan...those are lyrics that should be printed. Mine are just a bunch of feelings." He writes constantly, though, to hone his craft. "That's my only way of making sense of the world," he says. Still, he says he's better at writing silly rhymes in birthday cards to his friends. X&Y debuted at Number One in more than twenty countries. "When the numbers started rolling in, it was brilliant," says Champion. In the U.S., where it's the year's fastest-selling rock record, it notched more than 737,000 sales its first week, and in England it posted the second-highest sales figure in U.K. history, behind Oasis' Be Here Now. The success of X&Y has wiped the bad taste of negative reviews out of Martin's mouth. He has come to a realization -- after admittedly being bummed out for a couple of weeks -- that the polarity of opinion about Coldplay is totally healthy. "I find that exciting," he says. "Some people are into bondage, and some people are into cross-dressing, and some people are into Coldplay -- I don't mind being a fetish. I don't mind not being cool. I've never been cool in my whole life. Being voted the world's sexiest vegetarian is about as cool as it gets." (Excerpted from RS 981, Aug. 25, 2005) Source: http://www.rollingstone.com

COLDPLAY PRODUCTION RIDER 2003 http://www.thesmokinggun.com/backstagetour/coldplay/coldplay1.html

u u u

they'll be in between gigs.. travelig from CA to MI .... they have about 4 days before they play Michigan from California.. but if they fly down to Miami.. it might not give them much rest.. time changes and all... but you never never know... :sneaky: :sneaky: A "thank you for the award" clip has been already recorded during the afternoon of one of their u.s. gigs

They should release a North American live dvd and another one about the european gigs,what do y'all think ?

It has been confirmed in the diary section of the coldplayer...... :(

If concert tours were Hollywood summer blockbusters, then Coldplay's North American amphitheater swing would be "War of the Worlds." With an amiable, photogenic superstar (who jumps — although not on couches),flashing lights, heart-tugging drama and even some explosions, the band's show Tuesday night at Riverbend Amphitheater had no shortage of crowd-pleasing drama. The sixth stop on their Twisted Logic Tour (they didn't even play the song from which the trek takes its name — that's twisted logic for ya!) felt like a well-choreographed 90-minute popcorn flick, from the blinding lights to a rain of confetti and singer Chris Martin's sprint to the cheap seats near the show's end. The band that would be U2 already has a stadium-worthy show — it's just been resized for 20,000-seat amphitheaters. With a wraparound screen at the back of the stage flashing a random sequence of numbers, the black-clad band made a quiet entrance, trailed by Martin, who alternated between a foppish skip and bouncing on his toes like a boxer as he leaned into the microphone for "Square One," the lead track on the band's latest album, X&Y. In perfect voice, Martin glued himself to the edge of the stage, his right arm outstretched, his face turned skyward, as if he were singing directly to the stars above the audience. Like many of the night's songs, Martin ended "Square One" at his piano, rocking back and forth on the stool like an autistic savant, his head bowed perilously close to his busy hands. Drummer Will Champion introduced a chilling "Politik" with a barrage of beats accompanied by enough flashing white lights and videos of explosions to make the stage look like the site of an alien landing. Bassist Guy Berryman asked for his bass to be turned up mid-song, providing a rumbling undercurrent that gave the band's delicate songs a beefier presence throughout the rest of the show. "This is the song that brought us to America the first time," Martin said by way of introducing "Yellow," Coldplay's 2000 breakthrough hit. Compared to the more elaborate compositions on their latest album, "Yellow" seemed almost quaint, a straight-ahead rock song played in a bare-bones style. But the band found a way to up the drama by dropping confetti and a dozen huge yellow balloons on the audience midway through the song. Holding a falsetto note for an uncomfortably long time, Martin vowed to keep singing until every confetti-filled balloon was popped, jokingly scolding the audience as he and the band were forced to vamp for a few extra minutes until the task was completed. Martin might receive the lion's share of attention, but Coldplay proved they were a cohesive unit on the stirring "God Put a Smile Upon Your Face," with guitarist Jonny Buckland ripping off some Edge-worthy guitar riffs while Martin strummed away on acoustic guitar, giving the song a country-ish jangle. And though the other three bandmembers were fairly stern-faced throughout, Martin worked the crowd and smiled often, projecting the image of a guy truly in love with his job. They showed their sense of humor during "Low," when the screen flashed the warning "Get your cameras ready," then counted down to a live shot of dozens of fans holding up their camera phones and snapping shots of themselves. Coming out of the earnest, folky "Warning Sign," Martin joked that he and his college chums were "not the most attractive" band in the world. Amending the lyrics to "Everything's Not Lost," he sang, "When I counted up my demons/ Saw there was one for every day/ I wish we looked more like the Backstreet Boys/ And a little less like Coldplay." Bent over his piano during the jazzy section of the song, Martin cracked a smile as the audience broke into an unprompted round of the song's refrain. That kind of earnestness stretched to Martin's stage moves as well, which ranged from a spinning sort of rain dance during "White Shadows" to a spastic swimming motion and mimed hands during "Clocks." The band huddled together at the front of the stage for a mini-unplugged set, dedicating the X&Y hidden track " 'Til Kingdom Come" to the late Johnny Cash, for whom it was written. The 70-minute set ended with a hypnotic rendition of "Clocks" — as the screen flashed the color blocks from the new album's cover, it combined with the rapidly increasing beat and Martin's blinding piano playing to evoke the climactic ending of "Close Encounters of the Third Kind." The band returned for an encore that included "Swallowed in the Sea" and "In My Place," during which Martin leapt from the stage and made his way to the barrier in front of the packed lawn, where he induced the crowd into the same "whoa-whoa!" call-and-response he initiated at the Live 8 concert last month (see "Jay-Z, U2, Madonna, Pink Floyd Deliver Live 8 Highlights"). Seated under a bare light bulb, Martin ended the show at his piano for a hymn-like rendition of "Fix You." For all the good vibes Coldplay stirred up, their opening act generated an equal amount of raised eyebrows. Black Mountain, the scruffy stoner-rock quintet that is opening the first leg of the tour at Coldplay's request, played to a mostly full house, the front of which began to empty out about halfway through their 45-minute set (see "Who Are Black Mountain — And Why On Earth Are They Touring With Coldplay?"). Combining the dinosaur stomp of Led Zeppelin with droning Moog keyboards and fuzzed-out guitar solos, songs like the druggy "No Hits" and pummeling anthem "Druganaut" drew a combination of confused looks, polite applause and a few knowing smiles. Coldplay's set list from August 9, Cincinnati: "Square One" "Politik" "Yellow" "God Put a Smile Upon Your Face" "Speed Of Sound" "Low" "Warning Sign" "Everything's Not Lost" "White Shadows" "The Scientist" "Til Kingdom Come" "Don't Panic" "Clocks" "Talk" Encore: "Swallowed in the Sea" "In My Place" "Fix You"

IM REALLY EXCITED ABOUT THIS JACKET :rolleyes:

i really love this topic,damn it's fuckin cool and interesting.

bunch of groupies !!!!

WOW THIS TOPIC IS REALLY COOL :rolleyes:

Ok..... GROUPIE! :P :P

My threads are much better than the other 234102391013941230 about "how cute is apple" "how hot is guy" and the other ones about "chris martin jacket". Now:GET OFF MY NUTS! :angry:

WHO THE FUCK ARE YOU ? GET A LIFE!

Look @ all the fantastic venues of this tour.......

With different shows on different stages with different productions and maybe three different set lists with tour documentaries and bonus footage. A release like that would be an AWESOME gift for all their fans,they're on top right now. What's your thoughts ?

There's nothing wrong about 2 live dvs in my opinion