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Another photo, Moses is behind her HELLO, KITTY B-day mom Gwyneth Paltrow maintains a handy connection with daughter Apple, 7, during a happy 39th birthday stroll through Manhattan on Tuesday. Source People

New photos Gwyneth, Moses and Apple, and both of them are getting so tall! :) http://www.popsugar.com/Gwyneth-Paltrow-Birthday-Pictures-Apple-Moses-Martin-19247429

No its not ridiculous at all, i think its great that they try to be together. I think it makes sense that Apple and Moses are in NY for school rather than hauling them back and forth. Also because the new movie Gwyneth's in called ' Thanks for Sharing ' has just started filming in NY http://www.onlocationvacations.com/tag/thanks-for-sharing-filming-in-nyc/

It is her birthday today, but i doubt that they are even here. Plus i don't think Parlophone would advertise it just for that, imagine the Paparazzi surge that'll be waiting for them. Like the twitter said ,It's just to advertise the album for a day.

Yes, Gwyneth and Courtney are friends they go way back From Gwyneth's twitter... Thank you for all of my happy birthday wishes, just read so many...you guys make my life great, thank you xgp

Ooohh definitely will be getting this thank you for letting us now. Question! I noticed that we have a thread called the "Reading Room". Why isn't it updated? The last scans were from 2008. It'll be nice to see some of the newer magazine scans there as well. :)

ohhh i saw that too! :) Is Chris taller than Jay? It's funny under that photo it says.. 'Write the best caption for this picture of Chris Martin from coldplay and Jay-Z' ..and someone said "Wow. Do you think anyone knows about us?"

HAPPY 39th BIRTHDAY GWYNETH! :) Courtney Love Cobain twitter taken from thefashionspot

Coldplay honors R.E.M. at Music Midtown With so many variables going into the return of Music Midtown – How many days should it be? Which artists would attract crowds while not bankrupting promoters? Will people still care about a festival that hasn’t existed for six years? Would the weather cooperate this time? – it’s a bit amazing that Saturday’s event fired flawlessly. That pesky Mother Nature, who received a chunk of the blame for the fizzling of the well-regarded music festival in 2005, seemed to be apologizing to Peter Conlon and the Live Nation crew, as the sun seared brightly and temperatures hovered at 80 during the day and dipped pleasantly into the 60s by the time Coldplay took the stage. Though this was a mini version of the Music Midtowns of yore –10 bands instead of dozens, one day instead of three – and the lineup was heavy on alternative rock acts popular among twentysomethings and the musically curious, it was enough to attract tens of thousands of people. Throughout the day, bands performed on two stages set about 200 yards apart – The Postelles, Walk the Moon, Band of Skulls, Young the Giant and Cage the Elephant on the slightly smaller Great Southeastern Music Hall Stage and The Constellations, The Joy Formidable, Manchester Orchestra, The Black Keys and Coldplay on the massive Electric Ballroom Stage. While the younger indie bands drew impressive crowds, by the time Chris Martin and Co. arrived at 9:15 p.m. – Jay-Z’s “99 Problems” played over the speakers moments before they took the stage – it was obvious that Coldplay’s star power was the significant draw of the event. In many ways, Coldplay was the perfect headlining choice. They’re a tremendously popular band, but not U2 or Paul McCartney mega-size. They’re stocked with an arsenal of hits, but not super-poppy and, thus, not polarizing. And, as evidenced from what appeared to be about 40,000 people lining the Meadow at Piedmont Park, their crossover appeal among generations is admirable. (Organizers didn’t release official crowd numbers as of midnight. We’ll update when we have that info.) During the opening trio of the new “Hurts Like Heaven” and classics “Yellow” and “In My Place,” the newly buff Martin skittered around the stage, racing from his graffiti-sprayed upright piano to the mic stand, acoustic guitar strapped high on his chest. “Thank you for everything you had to do to be here,” he said. “We publicly love playing Atlanta.” The quartet sounded crisp and beautifully layered throughout their 80-minute set. Their stage setup was surprisingly elaborate considering they’ve only done a handful of dates this summer to promote the Oct. 24 release of “Mylo Xyloto” – including Friday night at the I Heart Radio musical buffet in Las Vegas. Lasers, spastic lights and a massive video screen in addition to the two that flanked the stage for all of the acts highlighted many songs, and during the clip-clopping “Lost!” a cascade of colorful inflatable balls was unleashed into the audience (and these are a loyal bunch – one fan near the front had staked out her spot at 11:45 a.m. and another had been stationed since 1 p.m.). Though the band played a handful of tunes from “Mylo” – and they all sound like instant hits – Martin, guitarist Jonny Buckland, bassist Guy Berryman and drummer Will Champion didn’t neglect their catalog, even revamping “God Put A Smile Upon Your Face” into a locomotive-powered rocker. Perhaps the rougher edge was a response to those who poke fun at Coldplay’s soft underbelly. But the band’s introspective side has produced some of its best material – “The Scientist,” “Yellow” and “Fix You,” their majestic anthem of hope poking through despair played during Saturday’s encore. Coldplay also veered from their usual set list to say thanks to a musical influence – R.E.M. Calling the band one of his favorites of all time who “for some crazy reason have finished,’ Martin said, humbly, that he and Coldplay wanted to play a song, “with the most respect in the world, to show how much they meant to us.” With that came a lullaby-like rendition of “Everybody Hurts,” which didn’t sound overly rehearsed – as it shouldn’t. Martin spent plenty of time hunched over his piano keyboard like the Peanuts’ Schroeder, but his most important playing came with the opening melody of “Viva La Vida.” Still the band’s most lush song – and that’s saying something for these guys – it sounded slightly over modulated during Saturday’s show, odd considering the sound was so clean otherwise. But that didn’t deter the audience from singing along with the beloved “whoa-oh-oh-oh-ohhhh-a” refrain. Coldplay closed its main set with the pensive piano ballad “Life is for Living” before returning with the melodically rich “Clocks,” the aforementioned “Fix You” and the crazy-catchy “Every Teardrop is a Waterfall,” its new reigning anthem that was capped with a flurry of fireworks. http://blogs.ajc.com/atlanta-music-scene/2011/09/25/coldplay-honors-r-e-m-at-music-midtown/

Erm No, because the one that i saw i wouldn't call it 'simple' even though it was quick for me it was pretty colourful, i remember seeing Chris doing his usual dance stuff i think Guy or Jonny was there too. There were bits and pieces of the songs. As i said it was too quick for me to remember the details. Oh and i did remember at the end it said - available at Amazon! I'm currently watching something on this channel so i hope they show the advert again.

I was going to open a thread about this but you guys beat me to it! Yes, i just saw this advert too (on E4) sorry wasn't fast enough to record it. I just happened to change the channel and they were showing this Mylo Xyloto advert.

Oh i woke up at 6 on a Saturday morning to watch the 1/2 hour performance! :rolleyes: Someone recorded it, but missed a little bit at the beginning .. :) http://www.ustream.tv/recorded/17468567

What is he doing? Break-dancing? Oh Chris... :laugh3: I think there should be a name for his every dance move..AND this is called.. SOURCE (More Photos Here)

SOURCE (More Photos Here)

iHeartRadio Music Festival - Day 1 - Backstage (23/9/11)

SOURCE

SOURCE

I hope this hasn't been posted before, there are 2 clips if anyone wants to watch it! Jonny grunting is funny :) http://www.iheartradio.com/vegas/artists.html?uri=channels/463800/1479901#coldplay EDIT: whoops i just did a search and it's been posted on youtube :-)

Not that long ago--a decade, maybe?--every single concert ticket contained a warning in big block letters: NO CAMERAS OR RECORDING DEVICES. Anyone who dared try to slip in even one of those disposable cameras (remember those?) risked being roughed up and ejected. I even remember going to gigs in the early days of cell phones where signs admonished people for even thinking about bringing something like that to a concert. Many venues and tours insisted that they be banned or be confiscated at the door. No, really. Eventually, though, the cell phone won. Now when you go to a gig, half the audience is watching the show through a tiny screen that they're holding up in front of their face. A couple of years ago, I went to a Green Day show on their 21st Century Breakdown tour. About halfway through the show, Billie Joe Armstrong got mad. "Put down those fucking cell phones! You're HERE! This is NOW! This is THE MOMENT! Don't experience this later through a stupid little video! BE HERE! NOW!" The dude had a point. People were so busy trying to capture the moment, they were missing it. These thousands Green Day fans were no different than those vacationers who miss their vacation because they're too busy framing it through the viewfinder. Naturally, Billie Joe was ignored and people went right on watching an amazing gig through a 4-inch LCD. And they paid money for this? Billie Joe's words came to mind last night as I watched Coldplay perform in the parking lot of MuchMusic on a promo tour ahead of their Mylo Xyloto release. Hundreds of people had waited hours and hours in the rain to get a good spot close to the stage. And what did they do when the band hit the stage? They watched the show through their iPhones and Blackberrys. I get it. You want to preserve the experience so you can relive it later. But what exactly are you preserving? You have a shakey, grainy private video of the band onstage with the audio in mono, adulterated by crowd noise. What about the emotional experience of a live performance? Did you preserve that? Or did you even have one because you were so busy trying to video the show? (Full disclosure: I'm guilty of this, too. But I never video more than a minute or so of any gig and the number of pictures I take is small. I'd rather take in what's happening around me. But maybe I'm just old-fashioned.) I love technology. I love the democratizing power of it. I love how technology has been a boon to music. But for the love of God, people, I wish you'd put down your bloody phones and just get into the music fer chrissakes! A professionally shot version of the show will be available on MuchMusic and elsewhere for years. Or are you telling me that you'd prefer your crappy little production complete with the drunk dude next to you who keeps going "WOOOOOOOOOHOOOOOOOOOOOOOOO?" Or maybe you do like the guerilla video. My recommendation is to let someone else worry about it. Just Google "Coldplay MuchMusic" and you'll find plenty of bad audio and video. http://www.alancross.ca/a-journal-of-musical-things/2011/9/22/coldplay-cell-phones-and-cameras.html EDIT: I'm sorry if this should be here or not so feel free to delete (to mods) but i think this is a great article to read.

I love this week Goop, her behind-the-scenes journey is always amazing. It's great of her to share this :) http://goop.com/newsletter/144/ edit: GOOP, MYLO XYLOTO what other names are they inventing?

everyone loves Chris but there should be more love for Guy...tsk tsk tsk..

i'm kinda disappointed watching the crowd, people are too busy taking photos and all that sh*t instead of enjoying the concert. hmm...

VIDEO VAULT: LOOKING BACK AT COLDPLAY IN 2002 In August of 2002 Coldplay were in Montreal getting ready to play a sold out show. The success of Parachutes had shot the four friends to fame seemingly overnight and on the eve of their sophomore release, Coldplay were on the tips of every music journalists tongues. MuchMusic VJ Hanna Sung talked to Chris Martin and Will Champion and found out what the guys thought about the success of Yellow, why listening to their own album is like watching yourself have sex, and how the song Politik came about. Best part? Chris Martin saying that no one is interested in who he is dating. Oh Chris, if you only knew what your future had in store… http://blog.muchmusic.com/video-vault-looking-back-at-coldplay-in-2002/

Coldplay exclusive: band talk to MW about new album Coldplay exclusive: band talk to MusicWeek about new album When Chris Martin hinted the last Coldplay album might just be exactly that – their last – producer Brian Eno had other ideas. Guitarist Jonny Buckland explains: “Brian’s a very inspirational character. He wrote us a letter actually after we finished the last album saying, ‘That was good, but I think we can go further, we can do more’ and so, in a way, he got the ball rolling for this.” Drummer Will Champion adds: “Chris always has a knack of saying that this could be our last album but at the time, after we’ve just finished an album, it genuinely does feel like there’s nothing left in the tank – there’s no more ideas, so the idea of recording another record is terrifying.” It is to Eno’s credit that he has eked more mileage from the Coldplay juggernaut as Mylo Xyloto, the band’s fifth studio album, is arguably their most exciting, best flowing and enthralling listen since 2002’s A Rush Of Blood To The Head. Threatening more potentially classic Coldplay hit singles than its predecessor, 2008’s Viva La Vida And Death To All His Friends, it is not only likely to confirm their position as the world’s biggest band but potentially better its 9 million worldwide sales. Chatting at their Bakery Studio in Hampstead – having just finalised the tracklisting over lunch - the band appear relaxed although admittedly nervous how the world will respond to a record which began life as a “quiet acoustic record”, at one point was intended to be a soundtrack to a Yellow Submarine-style animated film (abandoned because it would take five years to make) and now sees life as a progressive synth-infused pop “concept album” that still rocks; Buckland’s guitar is arguably more prominent than on previous outings. Bassist Guy Berryman reveals: “It was going to be a kind of soundtrack album to a film we were writing which had a story through it and we got quite far down the line with designing characters and then we abandoned that idea and moved into a different direction, retaining elements of the acoustic album and the soundtrack album, so what we’ve ended up with is an album that we arrived at in quite an unusual sort of way. So it’s kind of a hotchpotch of all those different phases.” Frontman Chris Martin – who last week revealed to Music Week how the Rihanna collaboration on future single Princess Of China came about – does not baulk at the idea of describing Mylo Xyloto as a concept album; indeed against a climate of downloading individual tracks he says they deliberately set out to make a body of work which fans would want to listen to in its entirety. “I think if you wanted to use that word you wouldn’t be wrong,” Martin says. “It’s about people who are lost in a big scary environment and find each other as a form of getting through it. It’s a love story basically. But it hasn’t got many dragons or mountains, which I think is what people associate concept albums with. “We really felt like the album is so under threat as a format that we should really make an effort to really tie it all together. And even if they don’t want to own it all, it makes sense as one thing, should anyone be interested in that. So if you want to find a narrative through it you can, which is something that we just enjoyed doing.” Production was entrusted to their established team: Markus Dravs, Daniel Green, Rik Simpson and Eno who is credited with “enoxification and additional composition” with former manager Phil Harvey – the band’s unofficial “fifth member” – in a crucial creative director role. Berryman adds: “There were elements that were the same but it feels like a completely different page.” Indeed, recording sessions have not just included time experimenting at The Bakery with Buckland noting: “We can spend weeks on end with Brian doing songs based on campanology or, you know, barber shop” – and their other nearby larger studio The Beehive. Instead they have worked on the album while on tour in Miami, New York, Los Angeles and Tokyo, where they completed the album just last month (see track by track). Champion adds: “It was crucial really because we could see that the deadline was getting closer and closer and those hours that we had in those studios around the world were really priceless.” Parlophone president Miles Leonard, the band’s A&R man, agrees the band have made a benchmark album. “This has been a long while in the making but the band came off a huge touring schedule straight into writing and playing around with songs and that’s where Brian comes in and deconstructs songs and rebuilds them again. Then someone like Markus comes in and takes charge and gets behind the desk and delivers that rock sound,” he says. Meticulous planning meetings between the record company and management for a minimum 18-month campaign – possibly taking the band to yet uncharted territories including South Africa, Eastern Europe, south-east Asia and China – have occurred weekly since February. Leonard stresses, despite having 50 million album sales under their belt, nothing with Coldplay is taken for granted. He is particularly complimentary about 3D Management’s attention to detail and approach to the two singles prior to the album release (see box) – and especially allowing the band to preview new material on tour during the summer including during their Glastonbury headline where they delivered U2 a masterclass in how to enthral a festival crowd. Leonard says: “We see it as an advantage, not a disadvantage, to have more music out there. Nowadays people need to hear more than one single to be convinced to purchase a record.” But, frankly, it is likely to be the album purchase of 2011 for which many will need least convincing.. POP APPROACH: THE ALBUM'S UNUSUAL SETUP Against a backdrop of declining sales for rock bands, Coldplay manager Dave Holmes risked a “pop approach” to release two singles – Every Teardrop Is A Waterfall (June 3) and Paradise (September 12) – ahead of their new album on October 24 in an unusual setup. He explains: “When I know we have enough songs for the album, I start thinking about the ideal time for release and in this case I had a non-traditional approach which I thought about, taking a really long setup. We decided on a single out in June – no talking about the album during an “around the world buzz gig tour” if you will – as they test-drive the new material. I said, ‘Let’s just let the music do the talking.’” "I wanted to be grass roots. I said to them, ‘You have to be out there wearing two hats as you tour and finish the record.’ But people these days have such a short attention span – I see rock acts put out one single and then one album and then it disappears and then in pop they take two singles... I suppose they have to persuade people to buy the album. But by taking that couple of songs approach you feel engaged, and there’s not a lot of that going on with rock records at the moment.” While Holmes – now entering his 11th year of managing the band – agrees that his sense of excitement around Mylo Xyloto is reminiscent of that prior to A Rush Of Blood To The Head, his ambition with the record is not just to sell more albums. “I do think this will do better than the last, I would like it to do better, but it’s not just about sales. It’s about having more songs which stand the test of time. It would be great to walk away from this campaign with more songs in their repertoire.” MYLO XYLOTO: Exclusive track-by-track rundown with Chris Martin 01 MYLO XYLOTO It means whatever you want it to mean. [To me] it means a freedom of expression and you can think up new words if you want to. There’s still things that you can invent and words beginning with X are few and far between so we thought we might try and add one. 02 HURTS LIKE HEAVEN That’s the opening track, really. That’s kind of our call to arms to each other. I think it’s calisthenics musically for us. It warms you up. 03 PARADISE If we ever won The X Factor, that’s the song we might sing. We never will, of course, but that’s what we would do. I think, if truth be told, we’re not really handsome enough to go on it. 04 CHARLIE BROWN This is the only song we ever wrote in a doll’s house. I was staying in a place with a Wendy House and I turned it into a studio ‘cos my daughter didn’t like it. And I came back from a Bruce Springsteen show in LA and I was like, ‘Okay, let’s see if anything came out of that day.’ 05 US AGAINST THE WORLD The whole thing is supposed to be a kind of story so they all fit together and that is the two characters from the previous two songs when they meet each other. It’s about meeting someone you love and feeling powerful, when you meet someone and suddenly everything feels alright again. 06 M.M.I.X. It doesn’t stand for 2009. It came from (long-serving guitar tech) “Mat McGinn is awesome” so I don’t know why the fuck it got called that. It has nothing to do with anything… it stands for nothing; it’s just a collection of letters. 07 EVERY TEARDROP IS A WATERFALL So the central theme of the record – Paradise is kind of about this as well – is trying to turn bad things into good things somehow. We as a band have been through some funny incidents in terms of people being aggressive towards us or whatever. And a lot of the record is fuelled by a kind of fire which comes from turning that negativity into positivity. And I think everyone in their life has something like that. 08 MAJOR MINUS That’s like a Bond villain of a song. A bad cousin of the album. It’s the nasty one. 09 UFO That’s the acoustic… that was the first song written for the album actually and the chord sequence in it pops up a few times. And that’s a kind of prayer “times” kind of song. There’s a lot of feeling lost on the album but also being found as well and that’s very much a bit of both. 10 PRINCESS OF CHINA (FEAT. RIHANNA) I actually sort of wrote it for Rihanna and then I liked it too much. And then it became clear it was like a sort of back and forth between a couple. It took about a year to pluck up the courage but eventually I asked her and she was not unwilling. I played it for her on piano in Los Angeles. That was quite nerve-wracking, I’ve got to say. And so she said, ‘Oh okay, yeah!’ 11 UP IN FLAMES We wrote that about four weeks ago and then we recorded it in five countries in seven days. That was fun. That was when we knew we could finish the record because Will – who’s the hardest to please of the band – when he heard that he said, ‘Okay, we can finish now’ because I think he liked the space on it. 12 A HOPEFUL TRANSMISSION/DON’T LET IT BREAK YOUR HEART Well, I think we wanted to do an album this time with a happy ending and I think we’ve actually done it, which we never thought we’d do. For whatever reason it is, it’s happened and that was very late in the day and it’s nice that song ‘cos you just hit everything as hard as possible – which for a band like Coldplay is a very pleasurable thing. 13 UP WITH THE BIRDS That was when we were sort of thinking about a story that seemed like the end of a movie type thing http://www.musicweek.com/story.asp?sectioncode=2&storycode=1046690&c=1

aahhh are you guys watching this stream right now, Coldplay's induction to the Edge Rock of Fame..and i noticed that Jonny is wearing a ring on his pinky finger just like Chris ahahahha how cute...