coldpatrix

Italy - Ghana 2-0 Scores: Pirlo 40', Iaquinta 78' Italy wins the match and demonstrate to all the other teams its supremacy in the world. Pay attention, Brazil! :D

Italy, of course!

Amid a strong line-up including Primal Scream, Foo Fighters, Lou Reed and The Prodigy, you might not have bet on Coldplay sweeping away the competition in their closing set at the 2006 Isle of Wight Festival. But there was no doubt of Chris Martin’s rapport with the crowd on Sunday night and the band was rapturously received. The singer was on playful form, at one point inviting a young blonde woman whom he called “crowd member of the year” to sit on stage for a few songs and drink champagne. He also entertained the crowd with an attempted Peter Crouch dance. The set progressed from anthem to anthem – through “Politik”, “Clocks”, “Yellow” and “In My Place” – suggesting that in just three albums the group has built up perhaps the best-known contemporary musical repertoire in the UK. During the ballad “The Scientist”, the band was almost drowned out by thousands of voices. Earlier in the evening, an uninspired Lou Reed had resolutely walked on the mild side, refusing to play the crowd-pleaser “Perfect Day” and leaving the audience bored at best. Coldplay, in a deft touch, gave an imperfect but apt improvisation. “He didn’t play it so we had to,” said Martin. That he didn’t appear to know the central guitar solo seemed irrelevant. Until the Coldplay set, the three-day event – blessed with a perfect combination of hot sunshine and cooling sea breezes – had produced two main highlights. One was Friday night’s head- liners, The Prodigy, insanely energetic against a glowing full moon, winning over a new generation with old tracks such as “Firestarter”. Another was Richard Ashcroft singing an acoustic “The Drugs Don’t Work”. Alone in front of a sea of people he gave the song true poignancy. You didn’t need to know that it was about his dying father to be moved by the occasion. Ashcroft was one of a handful of singers with anti-war stances reminiscent of the Isle of Wight festivals in the late 1960s. “Bring the boys back home, Tony,” he implored. It’s not clear, though, what the hippy generation would have made of an on-site Marks and Spencer stall selling prawn sandwiches and mango smoothies. Saturday night began well with a chirpy set from the currently much-favoured Kooks and reached a peak with Editor’s post-Joy Division melancholy. “Speak When You’re Spoken To” was a masterpiece of bleak grandeur and a cover of Talking Heads’ “Road To Nowhere” lent an air of existential angst to this once-chirpy number. From there, however, it was all downhill as Primal Scream – introduced by a purring Kate Moss – failed to sustain the opening high of “Movin’ On Up”. Lead singer Bobby Gillespie was the epitome of studied nonchalance throughout but the set sagged in the middle with a string of more obscure material and only really recovered at the end with “Rocks” and their recent hit single “Country Girl”. Later Foo Fighters, the headliners, put in a strong showing but were fatally undermined as some of the speakers conked out. The revived Isle of Wight festival has allowed numbers to grow substantially each year. With no Glastonbury this year, the crowd was swollen even further, with long queues late at night to get into the dance tents. It’s hardly 1970 – when 1m people overran the island, prompting an Act of Parliament banning future festivals – but the organisers should think hard before any future expansion. If they do decide to make it bigger, a second music stage would be a smart idea. On Saturday afternoon the crowd thinned out. With only one TV set in the whole site, at Virgin Radio’s backstage area, an estimated 10,000 people surged into Newport in search of somewhere to watch the football. As it was, given the dreary England match, they would have been better off catching a few musical acts instead. The 747s delivered an intriguing set of summery Beatles-style psychedelic pop. They were followed by Suzanne Vega, now resembling Yoko Ono but fortunately with better vocals. “Caramel”, a song about love deliberately lost, was a beautiful moment. And as England ploddingly held on to their 1-0 lead, music fans gave Scottish rockers The Proclaimers a cheery reception, in particular for “Five Thousand Miles”. With performances like this, the Family Church of Newport – which had set up turntables playing Jesus rave in a bid to entrance passers-by – didn’t stand a chance. Source: Financial Times (ft.com)

Peter Crouch...the worst player ever taken in a national football team...he's scandalous...

Hamburg song is a beautiful song, maybe the best on the new album...but in my opinion the best song ever written by Keane is 'Put It Behind You'...Do you agree?

Very Good!

What a wonderful world...

Anyway, it's an incredible album... for Flying Sparks....how is it 'The Feeling' album?

They are idiot! Too Rocky? It's a huge error...

Poker game, auction, bloodbath - welcome to the LA screenings Published: 29 May 2006 Last week saw myself, the Five acquisitions team and executives from every other UK broadcaster transported to Los Angeles for the annual merry-go-round that is the LA Screenings. Every May we all decamp to the Hollywood hills for an event that is one part cattle auction, one part poker game and one part showbiz schmooze. Rather than topping up the tan by the hotel pool, sipping colourful cocktails and trying to spot film stars, the week is instead spent in dark, airless viewing theatres full of sweaty TV executives watching new show after new show. These are the series that American broadcasters are pinning their hopes on to be the big hits of the fall season.Each year British broadcasters come out to play a cagey game of cat and mouse where interest in shows is played down; competitors are bluffed, double bluffed and misinformation is spread. This year competition is keener than ever with the terrestrial broadcasters looking to fill their digital spin-offs and big spenders such as ITV more ready to splash the cash than ever before. At Five we've enjoyed a pretty good track record over the years picking up American series that have struck a chord with the British viewing public. The original Las Vegas-set CSI is the most popular Stateside show in the UK and is the icing on the cake of our acquired roster that also includes the two other CSI franchises; Law & Order and its two spin-off series; The Shield; Prison Break; House and Grey's Anatomy. All the studios and broadcasters try to identify the next big thing but as the herd mentality can dominate, it means distinct and identifiable trends tend to appear. Last year was very masculine with lots of sci-fi and high-concept potboilers such as Invasion and Threshold following in the wake of previously successful series such as 24 and Lost. And there's still some of that with new shows like Jericho, where the residents of a small American town come to terms with the aftermath of a terrorist-induced nuclear disaster. But this year the studios seem to have got in touch with their feminine side with a confetti-like blizzard of wedding shows. There are no less than five comedies or dramas: The Wedding Album; The Singles' Table; Big Day; Til Death and Rules of Engagement, all devoted to either nuptials or newly weds. Equally, musical trends appear throughout many shows. A couple of years ago you couldn't watch a show without Coldplay popping up. This year it's James Blunt with "You're Beautiful" plonking away in the background of every other pilot. So far what has stopped this year's Screenings being the bloodbath predicted is the lack of a stand-out show that everybody is desperate to get their hands on. There are interesting series such as Studio 60 on the Sunset Strip, the latest project from West Wing creator Aaron Sorkin which stars Friends' alumnus Matthew Perry, but nothing UK execs are ready to sell their grandmothers for. Then again, with everyone keeping their cards so close to their chest it's hard to predict what hands UK TV bosses will play when deals are done in the weeks ahead. Searching for the holy grail of ABCs The best thing about being the new terrestrial home of cricket, other than the Five hospitality box at Lord's, is the type of TV audience the game attracts. For commercial broadcasters the Holy Grail is both 16- to 34-year-olds and upmarket ABC1s - and cricket delivers posh men in spades. This week's ratings for our 7.15pm highlights, produced by Sunset + Vine, saw an average of more than 600,000 viewers tuning in every night. And more than half of those watching Mark Nicholas, Geoffrey Boycott and Simon Hughes's astute dissection of the day's play were ABC1 Adults. With Channel 4's weekly schedule of nearly 40 hours of Big Brother and the likes of ITV's Soccer Aid, X-Factor: Battle of the Stars and Love Island, it makes sense to give disenfranchised upmarket viewers an alternative. That's why Five's summer schedule features a host of series designed to appeal to this cultured and cash-rich audience. Hidden Treasure Houses returns this Thursday andBuildings That Shaped Britain, which looks at the evolution of British architecture, begins on Friday. The week after The Singing Estate follows conductor and choral scholar Ivor Setterfield's attempts to transform 40 residents of an Oxford housing estate into a classical choir. Meanwhile our resident art expert, Tim Marlow, is guiding viewers round the Tate Modern, making Five the only channel where you'll find Kevin Pietersen and Kandinsky this summer. Dan Chambers is Director of programmes at Five Last week saw myself, the Five acquisitions team and executives from every other UK broadcaster transported to Los Angeles for the annual merry-go-round that is the LA Screenings. Every May we all decamp to the Hollywood hills for an event that is one part cattle auction, one part poker game and one part showbiz schmooze. Rather than topping up the tan by the hotel pool, sipping colourful cocktails and trying to spot film stars, the week is instead spent in dark, airless viewing theatres full of sweaty TV executives watching new show after new show. These are the series that American broadcasters are pinning their hopes on to be the big hits of the fall season.Each year British broadcasters come out to play a cagey game of cat and mouse where interest in shows is played down; competitors are bluffed, double bluffed and misinformation is spread. This year competition is keener than ever with the terrestrial broadcasters looking to fill their digital spin-offs and big spenders such as ITV more ready to splash the cash than ever before. At Five we've enjoyed a pretty good track record over the years picking up American series that have struck a chord with the British viewing public. The original Las Vegas-set CSI is the most popular Stateside show in the UK and is the icing on the cake of our acquired roster that also includes the two other CSI franchises; Law & Order and its two spin-off series; The Shield; Prison Break; House and Grey's Anatomy. All the studios and broadcasters try to identify the next big thing but as the herd mentality can dominate, it means distinct and identifiable trends tend to appear. Last year was very masculine with lots of sci-fi and high-concept potboilers such as Invasion and Threshold following in the wake of previously successful series such as 24 and Lost. And there's still some of that with new shows like Jericho, where the residents of a small American town come to terms with the aftermath of a terrorist-induced nuclear disaster. But this year the studios seem to have got in touch with their feminine side with a confetti-like blizzard of wedding shows. There are no less than five comedies or dramas: The Wedding Album; The Singles' Table; Big Day; Til Death and Rules of Engagement, all devoted to either nuptials or newly weds. Equally, musical trends appear throughout many shows. A couple of years ago you couldn't watch a show without Coldplay popping up. This year it's James Blunt with "You're Beautiful" plonking away in the background of every other pilot. So far what has stopped this year's Screenings being the bloodbath predicted is the lack of a stand-out show that everybody is desperate to get their hands on. There are interesting series such as Studio 60 on the Sunset Strip, the latest project from West Wing creator Aaron Sorkin which stars Friends' alumnus Matthew Perry, but nothing UK execs are ready to sell their grandmothers for. Then again, with everyone keeping their cards so close to their chest it's hard to predict what hands UK TV bosses will play when deals are done in the weeks ahead. Searching for the holy grail of ABCs The best thing about being the new terrestrial home of cricket, other than the Five hospitality box at Lord's, is the type of TV audience the game attracts. For commercial broadcasters the Holy Grail is both 16- to 34-year-olds and upmarket ABC1s - and cricket delivers posh men in spades. This week's ratings for our 7.15pm highlights, produced by Sunset + Vine, saw an average of more than 600,000 viewers tuning in every night. And more than half of those watching Mark Nicholas, Geoffrey Boycott and Simon Hughes's astute dissection of the day's play were ABC1 Adults. With Channel 4's weekly schedule of nearly 40 hours of Big Brother and the likes of ITV's Soccer Aid, X-Factor: Battle of the Stars and Love Island, it makes sense to give disenfranchised upmarket viewers an alternative. That's why Five's summer schedule features a host of series designed to appeal to this cultured and cash-rich audience. Hidden Treasure Houses returns this Thursday andBuildings That Shaped Britain, which looks at the evolution of British architecture, begins on Friday. The week after The Singing Estate follows conductor and choral scholar Ivor Setterfield's attempts to transform 40 residents of an Oxford housing estate into a classical choir. Meanwhile our resident art expert, Tim Marlow, is guiding viewers round the Tate Modern, making Five the only channel where you'll find Kevin Pietersen and Kandinsky this summer. Dan Chambers is Director of programmes at Five Source: http://news.independent.co.uk/media/article621126.ece

So... Italy - Ukraine 1-0 at 94' minute! Wow!

It's just as well it's cool to be dumb Dawn, Lea, Sezer, Bonnie, Glyn, Mikey, Nikki, Shahbaz and Pete - it's time for Big Brother. This time the seven million viewers have been told they will learn all about Tourette Syndrome from sufferer Pete, why boys like wearing girls' T-shirts and why Sezer loves kissing. Far more interesting, they will learn about British education. In the six years since the series started, the contestants have descended from sharp-thinking Jack-the-lad Scouser Craig and Nasty Nick with a brain but no heart, through to Jade Goody - who thinks that Rio de Janeiro is a person - to this year's Bonnie, who admits she can't even pronounce her own name. It's now cool to be dumb - yet how many Bonnies do we need? None of them displays any sign of education - though they have sat through at least 10 years of classes. They are ambitious - otherwise they wouldn't have auditioned - but they assume the only way to succeed is by having breast implants or wearing vests and cowboy hats. The MPs spending two days debating education in the House of Commons this week don't seem to care. It doesn't bother the Labour backbenchers that, after nine years in power, there are still five million illiterate children in Britain, that exam passes have risen but educational standards haven't improved, that 40 per cent of children now do no homework and that teenage football stars get knifed outside their schools. All these backbenchers care about are the niceties of selection. They are determined that bright children should gain no advantage from the education system just in case it benefits the middle classes, too. Yet what is happening is that able children from better-off families are managing to learn - through a combination of pushy parents, extra tutoring and faith schools - while children from housing estates with difficult families have been left floundering. A generation of schoolchildren has been lost because the most narrow-minded, ideologically obsessed Labour MPs have held the party to ransom while nervous ministers have just tinkered. Only yesterday, Estelle Morris wrote that the school problem could be solved if every school had two head teachers so they could cope with the extra red tape that she foisted on them as education secretary - forgetting that it is now impossible for many schools to find one head teacher. Meanwhile, Alan Johnson, the new Education Secretary, has, according to his civil servants, been shouting for "announceables" - eye-catching initiatives that will grab the front pages. His first was to demand that schools scrap junk food and bring back broccoli. It didn't seem to bother him that this announcement had been made seven times in the past nine years and has still not been acted upon. His next announceable was that pupils will be weighed at four and 10. Yet schools have been given no guidance about what they should do if they have a fat child on their hands. They could encourage the crisp addicts to take more exercise - but the Government has sold off nearly one playing field per day since it came to power. His third announceable (he is churning them out) is that vulnerable children from broken families should be allowed to go to boarding school. This was first announced in 1998 and was reannounced by Ruth Kelly just before the general election, but it will only ever benefit 2,000 out of the 60,000 children in care. Miss Kelly did manage to make one fundamental change to children's education. She introduced synthetic phonics - even though most schools had already returned to a predominantly phonics-based method. Teachers haven't been grateful for all this interference. They have been bombarded with targets, forms and initiatives that detract from their teaching. They have been forced to include children who are disruptive and dangerous, as well as those with special needs, who often require the sophisticated care of a specialist school. Meanwhile, children who do make it to further education not only have to face serious debts on graduating, they may not graduate at all this year after the pay strikes by lecturers. The Government's one big idea on education has been academies. Yet these too have been a failure. Lord Foster has been brought in at vast expense to build the new beacons. He has designed nine of them, costing more than £32 million each, double the amount available for a comprehensive. The architect is thought to have made £800,000 in fees from each project. Meanwhile, police are continuing to investigate the connection between donations from businessmen to academies and the handing out of honours. And finally, research this week shows that despite all this attention, academies have increased grades by only 0.2 per cent. The Labour Party should be about opportunity for all, as Mr Blair, a public school boy, once said. This should have united the Left and the Right of his party in a desire to give everyone the same chance. Public schools should have become an irrelevance as talent rather than background became the issue. Instead, under Labour, private school places have gone up. The private sector increasingly provides the high-flying politicians, lawyers and even Coldplay stars. Academic selection is the only answer. But this education Bill has missed that opportunity. It has been amended so many times that - to use Mr Blair's current favourite word - it has been marmelised. Source: http://www.telegraph.co.uk/opinion/main.jhtml;jsessionid=TXGG3LEYUJ0IJQFIQMFCFFWAVCBQYIV0?xml=/opinion/2006/05/24/do2401.xml&sSheet=/opinion/2006/05/24/ixopinion.html

LONDON (Reuters) - EMI Group <EMI.L>, the world's third-largest music company, said on Tuesday its full-year profits climbed sharply on the success of albums from Coldplay and Gorillaz. The company, whose $4.2 billion takeover bid for its smaller rival Warner Music <WMG.N> was rebuffed, said it continued to believe a deal "would be very attractive to both sets of shareholders but we will only pursue a transaction that delivers enhanced value and earnings accretion to our shareholders." EMI's pretax profit excluding amortization and exceptional items for the year to March 31 was 159.3 million pounds ($299.1 million), in line with analysts estimates, compared with 141.1 million pounds a year earlier. Revenue increased 3.9 percent to 2.08 billion. Digital music sales surged to 112.1 million from 46.9 million pounds. The music industry expects revenues from mobile phones and song downloads eventually to offset the continued decline in physical formats like CDs. Source: http://today.reuters.com/misc/PrinterFriendlyPopup.aspx?type=businessNews&storyID=2006-05-23T062714Z_01_WLB9666_RTRUKOC_0_US-MEDIA-EMI.xml

LONDON, England (CNN) -- Long admired by critics and more successful contemporaries, Australian musician Grant McLennan -- co-founder of The Go-Betweens -- wrote lush, poetic songs that could break hearts and mend marriages. But when he died earlier this month at the age of 48, most people had still never heard of him. Following his fatal heart attack at home in Brisbane, scores of fans and celebrity admirers, who have in the past included U2, R.E.M. and Coldplay, logged on to the band's Web site to share their grief, while highbrow newspapers such as Los Angeles Times and Britain's Guardian rattled off deeply affectionate obits. And in the stuffy corridors of power, even Australia's politicians paused from debates on transport, waste management and, yes, kangaroo-culling, to remember the "outstanding musical legacy" of one of the country's greatest songwriters. It is hard to believe many other rock stars would command such posthumous respect, let alone one whose chart-avoiding records never made much cash. So why have McLennan and his surviving Go-Betweens partner Robert Forster won so much acclaim and wielded so much influence while remaining largely unknown? Says Andrew Mueller, a London-based Australian music journalist -- whose sleeve notes to a re-issued Go-Betweens classic album calls them "bizarrely and scandalously underrated" -- the answer lies in the band's sheer originality. Emerging in the early 1980s, the band initially stumbled as a derivative punk act, but soon added melodic and literary flourishes of their own to create a cliche-free sound that shimmered with romantic images of a vanishing Australia while generating a broader emotional appeal. Driven by the Lennon and McCartney-style dynamic of the two songwriters, the Go-Betweens released six critically lauded albums including "Spring Hill Fair" in 1984, "Liberty Belle and the Black Diamond Express" in 1986, attracting a dedicated, if penniless, following. Lack of sales Their second album, 1983's "Before Hollywood" included the track "Cattle and Cane," McLennan's sublime reminiscence of "a schoolboy coming home/through fields of cane/ to a house of tin and timber/and in the sky/a rain of falling cinders." The track was recently named one of the greatest Australian songs of all time and, for better or worse, is said to be U2 singer Bono's favorite. But with commercial success eluding even the band's glossy "16 Lovers Lane," in 1988, they disbanded a year later, partly out of disappointment at lack of sales. "A lot of it was to do with bad luck," Mueller told CNN. "The Go-Betweens were never quite dumb enough to get played on the radio. I don't mean that in a pejorative sense, but they were very arch, very intelligent with unpredictable songs that didn't meet the bland requirements of radio. "Most acts that tend to sell well sound like other bands. The Go-Betweens were not like anything that went before them, and most people didn't know which box to put them in," he added, acknowledging that music writers seem to be almost alone in their appreciation of the band. "Very few people heard the Go-Betweens, but the ones that did became rock journalists." That sells the band a little short. Alongside U2 and Coldplay, indie rock royalty such as Teenage Fanclub and Everything But The Girl cite the Go-Betweens as a key influence, while successful Scottish collective Belle and Sebastian have even written a song about them. Had McLennan's musical career ended in 1989, it is unlikely that his death 17 years on would have had as great an impact, but after a decade of prolific solo song-crafting, he and Forster reformed the Go-Betweens, producing three albums that contained what has been hailed as some of their best work. Their final offering, 2005's "Oceans Apart," swept the board with four- and five-star reviews and earned the band long-sought recognition at home with a "best adult contemporary album" accolade at the Australian equivalent of the Grammys. Naturally predisposed -- through listening to his songs -- to dwelling on life's cruel ironies, McLennan's loyal fans have taken little comfort in the fact that his death came as the Go-Betweens were finally benefiting from the recognition they had always been deemed to deserve. And, according to Forster, McLennan's best was yet to come. "Cracking songs were pouring out of him," he said shortly after his partner's death. "He really was a master melody writer, and he was searching for that magic combination, the magic pop song." Says Mueller: "The records they made since reforming in 2000 really did slot in well with the rest of their material and I believe they would have carried on producing terrific work." And, he adds, as existing fans continue to spread the word, perhaps McLennan's fame will finally meet expectations in the years after his death. "I've been listening to them since I was 16 years old and I can't imagine a time when I won't want to listen to them. It's the same for a lot of people, the Go-Betweens have written the soundtrack to their lives." Source: http://edition.cnn.com/2006/SHOWBIZ/Music/05/22/music.mclennan/index.html

NEW YORK -- The musician whose favorite color is that of an eggplant has been voted the world's "Sexiest Vegetarian" by the People for the Ethical Treatment of Animals. Prince is tied for the honor with Kristen Bell, who said she'd rather have brussels sprouts than meat any day. The runners-up in the annual PETA poll include Natalie Portman, Nicollette Sheridan and Joaquin Phoenix. Last year, Coldplay singer Chris Martin and "American Idol" season four winner Carrie Underwood shared the top honor. source: http://www.wdsu.com/entertainment/9255851/detail.html

Hospitals with high rates of caesarean deliveries are riskier than those where more women deliver naturally, research has shown. An investigation of caesarean births, which are increasing worldwide, has revealed that dangers to both mother and baby are increased in hospitals where the procedure is most commonly carried out. Mothers were more likely to require antibiotic treatment and to suffer illness after a caesarean while their babies were more likely to be delivered prematurely. Deaths were increased in mothers and babies. The findings will fuel the debate over caesareans in Britain where women are increasingly demanding the right to choose their method of delivery. Campaigners say that as mothers are getting older and babies are bigger, the risks of natural birth have increased. In Britain, the rate of caesarean births has more than doubled in 20 years to more than one in five (22 per cent) of all births. It has been driven by fear of litigation, the increasing medicalisation of childbirth and the demand from some women for a convenient, pain-free method of delivery. The actress Gwyneth Paltrow, who is married to the Coldplay singer, Chris Martin, opted for a caesarean for the delivery of her second child, Moses, last month after a 70-hour labour with her first child, Apple. Ms Paltrow, who lives in London, had Moses in New York but other celebrities have chosen the private Portland Hospital in the capital for caesarean deliveries including Victoria Beckham, Stella McCartney and Claudia Schiffer. The latest research was conducted in South America where caesarean rates are higher than the UK, at an average of 33 per cent of all births. Well-heeled Latin American women are more anxious about the potential effect of a vaginal birth on their sex lives than British women and in some private hospitals the rate is up to 60 per cent. Writing in The Lancet, the researchers say the study of 97,000 deliveries in eight countries in Latin America showed the risks to the baby began to increase as caesarean rates rose from 10 to 20 per cent. Just under half were "elective" or planned caesareans, while the remainder were emergencies carried out during labour when the women got into difficulties. They say their findings "should be generalisable beyond the participating institutions." Jose Villar and colleagues from the World Health Organisation say the number of caesareans performed "reflect a complex social process, affected by clinical status, family and social pressures, the legal system, availability of technology, women's role models". They add: "High rates of caesarean delivery do not necessarily indicate good quality care or services. Our results show how a medical intervention that is effective when applied to sick individuals in emergency situations can do more harm than good when applied to healthy populations." In Britain, the rise in the caesarean rate has been most severely criticised by the Royal College of Midwives which says it is depriving women of the experience of a natural birth. In 2004, the National Institute for Clinical Excellence (Nice) launched guidelines aimed at curbing the rise. A caesarean costs about £3,200 compared with £1,700 for a vaginal birth. The evidence submitted to NICE showed that women who had a caesarean were slightly less likely to suffer incontinence or prolapse of the womb but more likely to suffer thrombosis - blood clots in the legs or lungs - bladder injury or to require further surgery. Babies born by caesarean were more likely to have breathing problems at birth. source: http://news.independent.co.uk/uk/health_medical/article570208.ece Personally, i was born with a Caesarean...and i never had problems!

Wow....It's a spectacular idea!

5000 £ is not too expensive...i can offer 10000 if Chris can come in Italy to make a dinner with me....and to play, for example, I Ran Away acoustic...

Hi friends, last week, in Rimini (Italy) i took part in a special event, a tchouckball international tournament, that involved some foreigner teams. Someone was here?

SI!

Slowly...but the important is to make it....

Già è vero scusa

Yes..i've seen the difference photo on ebay, if i remember correctly...

Even in plastic smallcase, but i don't know exactly where and why!

Yeah, i'm italian and in italy the consciousness of the hugeness of Coldplay are stronger than ever! In Italy now day by day on coldplayzone.it we register several fans, 'cause i think that with X&Y the italian people have realized that Coldplay music it's very good!