Christa42

" tidalATTN US fans! Want to see @coldplay this summer? Stream “A Head Full of Dreams” on your TIDAL app & enter to win tickets in the pop-up! #TIDALXColdplay [MEDIA=instagram]BE9Fb81P__H[/MEDIA] Mobile Link: https://www.instagram.com/p/BE9Fb81P__H/?taken-by=tidal

[MEDIA=instagram]BE7sAVqqyvo[/MEDIA] Mobile Link: https://www.instagram.com/p/BE7sAVqqyvo/?taken-by=radiohead [MEDIA=instagram]BE8VGcuKyvA[/MEDIA] Mobile Link: https://www.instagram.com/p/BE8VGcuKyvA/?taken-by=radiohead

:escaping2: [MEDIA=instagram]BE7sAVqqyvo[/MEDIA] Mobile Link: https://www.instagram.com/p/BE7sAVqqyvo/?taken-by=radiohead

I put this in the AOAL thread but this is too much fun not share here [MEDIA=instagram]BCZa5iNr6aq[/MEDIA] Mobile Link: https://www.instagram.com/p/BCZa5iNr6aq/?taken-by=_andreyo

for those of you who enjoy the game of golf :) [MEDIA=instagram]BCZa5iNr6aq[/MEDIA] Mobile Link: https://www.instagram.com/p/BCZa5iNr6aq/?taken-by=_andreyo

I have been watching and obsessing all day long, it will drop soon if not tomorrow, better not be during GOT

[MEDIA=twitter]723426630614425600[/MEDIA] Mobile Link: https://twitter.com/coldplay/status/723426630614425600

[MEDIA=twitter]723426630614425600[/MEDIA] Mobile Link: https://twitter.com/coldplay/status/723426630614425600

The mail has been taking forever to get to some destinations and our Customs here is horrible

From The Guardian: http://www.theguardian.com/music/2016/apr/28/richard-ashcroft-i-wouldnt-trade-what-coldplay-have-achieved-for-any-of-my-songs Richard Ashcroft: ‘I wouldn’t trade what Coldplay have achieved for any of my songs' From careering around Wigan in his mate’s Mini to posing with a drip in his arm, the former Mad Richard has had a breakneck ride. He may now be living a quieter life but he still wants to be ‘bigger than the Verve’ he way we and our mates were living back then was crazy,” says Richard Ashcroft, remembering the days he was on the precipice of fame before the Verve’s third album, Urban Hymns, made them ubiquitous in 1997. “A scene in This is England brought it home. Shane Meadows faded in on this girl’s retina. It’s five in the morning, she’s watching some lads play a video game. She’s obviously wasted, and that shot just sums that period up. I feel lucky I got out alive.” The Verve had blazed out of the north-west, a product of both rave culture and psychedelia. Ashcroft, wild-eyed and shaggy-haired, was a man prone to ridiculous pronouncements who inspired incredible loyalty. Noel Gallager wrote the Oasis song Cast No Shadow about him and Chris Martin introduced him at Live 8 as “the best singer in the world” while the music mags nicknamed him “Mad Richard” after he claimed he could fly. If there’s an image of Ashcroft fixed in the public mind, it comes from the video for the Verve’s breakthrough single, Bitter Sweet Symphony which featured Ashcroft walking down a street, while everyone else walks the other way, his eyes fixed on the camera refusing to be pushed from his path. “Try to make ends meet / You’re a slave to the money / Then you die,” he sang. One last thing... Richard Ashcroft Read more It’s hard, now, to reconcile the cheerful, chatty, 44-year-old sipping water in a Richmond pub with the Ashcroft of two decades ago, the “Pete Townshend character, a northern soul, who could star in a musical, who’s still within me”. Richmond is where he has lived for the past 15 years, in unpsychedelic domesticity. “People wanted me to become this cliched Keith Richards, Iggy Pop character,” he says. “I wasn’t expected to marry a beautiful wife and have kids.” Ashcroft has always sought to confound expectations. When he was a young man, while his peers went to work in factories or offices, he formed the Verve – and it is worth remembering how out of time a band they were, performing long, freeform jams when they began to make an impression in the early 90s. They released two albums before truly crossing over with Urban Hymns, which sold 10m copies worldwide and became the 17th bestselling album ever in the UK. Yet Ashcroft walked away repeatedly, splitting the Verve three times. “I don’t want to be onstage when I feel like I’m cheating the audience,” he explains. He launched a solo career in 2000 with a hit album, Alone With Everybody, but began to falter with the 2002 followup Human Conditions. Then, while touring in 2010, he contracted pneumonia and felt himself mentally broken. He walked away from music again, seemingly for ever. All those stabs in the back and ceilings that have been put on me started building up again, so I’ve come back fighting Richard Ashcroft “There’s no point writing a suicide note like Kurt Cobain,” he says. “If you haven’t got it, take a break.” The big conundrum, he says, has been how to tame his old creative “desire to smash things up” to suit life as an adult with children. He’s spent the past six years “breaking myself down and building myself up again”, a process that he says has been painful. He stopped using the internet and threw away his mobile phone. Ashcroft isn’t known for humility, but says he asked himself: “Have I got anything to offer or am I just adding more shit to the pile?” Gradually, he regained the desire to make music. “All those stabs in the back and ceilings that have been put on me in my life started building up again, so I’ve come back fighting,” he says. Ashcroft’s new album, These People, reunites him with the Urban Hymns’ strings arranger Wil Malone, and has what he calls an “ancient and modern” sound. Several of the songs reflect his fears about the way society is going: “Privacy. We’re all being divided, set upon each other. Fear is being pumped daily on news channels. Everyone’s on edge. I feel it just like everybody else.” The album concludes with four songs influenced by the deaths of people including his long-time guitar tech, Rex, and his manager, Jazz Summers. “That was another reason for the long break. I didn’t want to put an album out while he was dying. I got very close to him in the end.” Ashcroft’s best songs are the result of extremes of emotion. When his long-standing girlfriend ran off with his childhood friend, he wrote the Verve’s sublime, strings-soaked “all in one go, this seven-minute outpouring with a bit of William Blake thrown in”. Around the time that the band first imploded, in 1995, he penned The Drugs Don’t Work as his wife’s father lay dying in hospital. Some years ago, Ashcroft was diagnosed with depression and prescribed Prozac but he is scathing about the modern rush to diagnosis. “You have a few bad days and suddenly it’s a ‘condition’. It’s a multibillion business with the meds. But I’m fortunate that instead of brooding and going downhill, there is an outlet. It’s not primal-scream therapy but get in a room with a guitar and two chords, pour out the poisons and you’ll feel a whole lot better.” When Ashcroft was 11 his father died suddenly of a brain haemorrhage, which he says, “opened a door that will never be closed”. When his own eldest son – now 16 – turned 11, it brought those memories home again. Ashcroft remembers being a young boy, sitting miserably in his metalwork class, thinking: “You’re not supposed to feel this bad as a kid.” He threw his emotions into the Verve – formed in 1990 with friends from Winstanley sixth form college in Wigan – playing pubs as if they were stadiums and telling anyone who would listen that they would be massive by their third album. “It was portrayed as arrogance – Mad Richard! – but I was trying to get across how much power you need to smash that ceiling.” After he collapsed from dehydrationon tour in Kansas City in 1994, he posed for photographers backstage with a drip in his arm, and he now speaks about the band’s tours like an army general recalling tactical errors in past campaigns. You should have seen Haigh Hall, lads that didn’t have tickets ramming the fences down, reversing that cap-in-hand shit Richard Ashcroft “They were my lads, but a lot of the problem in this industry is we don’t look after our young people,” he says. “We don’t realise that six or seven weeks together in a chrome bus with people that have just about managed to keep it together in their home town is too much. We send them off to that environment and they don’t come back the same people.” The rifts in the band deepened when Ashcroft began writing songs alone, forsaking . They held it together to play a triumphant homecoming gig in 1998 to 33,000 people at Haigh Hall, their local stately home. “It was like the peasants had invaded the palace,” he says. “You should have seen it backstage, all the lads that didn’t have tickets ramming the fences down. It’s reversing that cap-in-hand shit. Yeah man, brilliant.” Advertisement He’s particularly proud of Bitter Sweet Symphony but it still rankles that the song’s distinctive string hook cost him both the songwriting credit and all the royalties. The Verve had licensed a five-note sample from a version of the Rolling Stones’ The Last Time, performed by the Andrew Loog Oldham Orchestra, with a string arrangement by David Whitaker. The Stones’ former manager, Allen Klein, who owned their pre-1970 catalogue, claimed the Verve had used more than they were permitted to and sued. He won, pocketing all the royalties from Bitter Sweet Symphony, while the songwriting was recredited to Mick Jagger and Keith Richards. Has Ashcroft ever bumped into Jagger around Richmond? “I’ve never seen him. I’ve seen Pete Townshend. He’s a great guy. He gave me an email of what the breakdown would be if we sampled one of his songs, the way it should be. That was really cool. I got a dollar for Bitter Sweet Symphony.” When the Verve received $175,000 for the song’s use in an advert, against their wishes, they gave the money to charity. He’s hardly skint but making money made him a target for the tabloids. When he bought the 17th-century pile Taynton House in Gloucestershire, he says he was treated by the press like a “northern lottery winner. They even tried to get the local farmers to complain about my management of the building”.

Soooo glad you got it! :)

I come here just for you Thalia :wacky:

Marcus posted quite a few pics on Instagram but here is one with RYAN!!:dazzled: [MEDIA=instagram]BEjNEtpAjI3[/MEDIA] Mobile Link: https://www.instagram.com/p/BEjNEtpAjI3/

If you watch one cover / tribute let it be this

The cast of Hamilton last night better vid

[MEDIA=twitter]723506524522446848[/MEDIA] Mobile Link: https://twitter.com/richardashcroft/status/723506524522446848

From Fader Magazine FYI I did not know what "Mawkish" meant so -" sad or romantic in a foolish or exaggerated way" Prince's Radiohead Cover Is A Reminder He Was Watching Us Too In 2008 he performed “Creep” at Coachella. In 2008, Prince covered Radiohead’s “Creep” at Coachella. Camera phones, affordable 3G, and social media had gone mainstream by then, but it would be years before most of us were finally able to see the eight-minute clip. Prince, protective over his work in a way that now feels prescient, monitored YouTube and Instagram and had footage taken down by claiming copyright violations. He was often called a technophobe for taking a hard line on the digital platforms that were actually upending the music industry, but he recognized that genius was a commodity to protect. “There is nothing minor about you,” he said in his acceptance speech for Artist of the Decade at the 2000 Soul Train Awards. “You are a blessed people, you are the most talented on Earth and you are still grateful. That is why upon winning in their game, you always thank God.” He may have been particular about his business, but he wasn’t miserly. If you ever basked in Prince’s purple charisma live—I did, just once, in 2011—you'd know. From hour-long encores to audience members dancing on stage, celebrity guests, and unexpected covers, Prince could hold down a show. So I think we thirsted after the Radiohead cover not because we couldn't have it, but because it was the rare reminder, outside of being at a Prince concert or hearing him speak at an awards show, that he was watching us too. “Creep” might be Radiohead's most mawkish song but, like Coldplay’s “The Scientist” or Lauryn Hill’s “To Zion” or Adele’s “Someone Like You” or Prince’s own “Purple Rain,” it’s unique in its ability to speak to the inner voice of literal billions. These are songs we privately cry to, together. Vulnerability can be isolating, but it’s not a solitary condition. And watching him cover “Creep” feels like a profound moment in Prince fandom. We didn’t know him like we wanted because he didn’t participate in the sinkhole of modern celebrity; . His ineffable courage in being black, alpha, flamboyant, ageless, feminist, genius, private, and sexy, was so great we thought he couldn’t possibly be of our time—our world, even. But that video of Prince covering “Creep” at Coachella stands out because, from the soft opening riff to his closing, fishhook of a solo, it was a reminder that he might know what it was to be merely mortal like us.

[MEDIA=twitter]723454639316725760[/MEDIA] Mobile Link: https://twitter.com/BBCNewsbeat/status/723454639316725760 [MEDIA=twitter]723446211563261954[/MEDIA] Mobile Link: https://twitter.com/BBCNewsbeat/status/723446211563261954

If you have Sirius Radio: [MEDIA=twitter]723324587598090241[/MEDIA] Mobile Link: https://twitter.com/SIRIUSXM/status/723324587598090241

From Xylobands Instagram [MEDIA=instagram]BEf7KA6pgn7[/MEDIA] Mobile Link: https://www.instagram.com/p/BEf7KA6pgn7/?taken-by=xylobands

This is fabulous [MEDIA=twitter]723232720403369984[/MEDIA] Mobile Link: https://twitter.com/BuzzFeed/status/723232720403369984

https://www.youtube.com/watch?v=XfpkbjDwpsY Mobile Link: https://www.youtube.com/watch?v=XfpkbjDwpsY

[MEDIA=twitter]723227968131227650[/MEDIA] Mobile Link: https://twitter.com/L4LM/status/723227968131227650

This pic - he was glorious

https://www.youtube.com/watch?v=EsRUAoUvP10 Mobile Link: https://www.youtube.com/watch?v=EsRUAoUvP10