gai

Serves them right does imply that the band cares about getting number one and are somewhere crying over not getting it. While if that was in fact the case, they wouldn't have released the album on the heals of an adele release. I think most of us, including me, expected coldplay not to reach number one even before the release because of that.

You know this is quite the ignorant statement considering how they seen not to care about chart positions, etc. It's all in the fans' heads. Coldplay seem just happy to do their thing and be content making music in their own little group.

Oh no! Am I in that weird section in YouTube or coldplaying?? Not coldplaying too!

My favorite part is only got this moment you and me guilty of nothing but geography Love that. And the overall vocal performance and basically everything about birds.. :awesome:

Benedict Cumberbatch, Stephen Fry, Bob Geldof and Chris Martin? They're pompous, hypocritical and self-obssessed says Theresa May's former special adviser Nick Timothy, former special adviser to Theresa May, launches astonishing attack on left-wing celebrities who intervene in political matters Benedict Cumberbatch in Hamlet By Michael Wilkinson, Political Correspondent Celebrities such as Benedict Cumberbatch, Charlotte Church and Bob Geldof who intervene in political matters are “pompous, hypocritical and self-obssessed”, according to Theresa May’s former special adviser. "If I had a wish for 2016, it would be that these pompous, hypocritical, self-obsessed political celebrities would take a vow of silence." Nick Timothy, former special adviser to Theresa May [/url] Nick Timothy, writing for ConservativeHome, questioned why Sherlock Holmes and Hamlet star Cumberbatch felt he was qualified to “opine so forcefully on every political matter of the day”. His attack comes after the actor shocked crowds after using foul language in front of schoolchildren during an impassioned speech to theatregoers urging them to support to Syrian refugee crisis following his performance of Hamlet. During the rant he lamented the “utter disgrace of the British government” for not doing enough to ease the crisis. Mr Timothy accused celebrities such as Cumberbatch of “hypocrisy” for wanting to regulate the press that they have used to “build up” their own profile. Cumberbatch’s “artsy liberalism” was matched by Coldplay frontman Chris Martin’s on-stage “provocative” political messages. Chris Martin of Coldplay Photo: REX Turning his attack on TV personality Paul O’Grady, Mr Timothy added: “Then there are those celebrities who, every time an election comes round, threaten to leave the country in the event of one party winning or another.” He also criticised singer Charlotte Church for protesting days after the Tories were returned to government with a majority and former James Bond star Sean Connery, the “proud patriot” who lives in the Bahamas as a “tax exile”. Singer Charlotte Church added her voice to the protest (PA) Stephen Fry’s views on Isil, Bob Geldof’s suggestion that he would take in a refugee family and George Clooney’s “expert” advice on what to do with the Elgin Marbles also came under fire. Stephen Fry's views on Isil were criticised He said: “So if I had a wish for 2016, it would be that these pompous, hypocritical, self-obsessed political celebrities would take a vow of silence. If that proves impossible, surely it is time for our politicians and the media to stop humouring these vain and ignorant liberal luvvies. Doing so would be good not just for my sanity but the standard of political debate in this country – which might at last reflect the full complexity of the problems we face, rather than whatever happens to come across the half-witted mind of a public school-educated actor.” the telegraph

gosh people, there are only rumors and nothing concrete! just take a breather and let them do their thing! we all knew when this was announced with this being the epitome of mainstream, we won't get something in the vein of lp1-4 coldplay, specially considering the later output. we'll just have to wait and see. also, don't forget that this is not completely in the hands of coldplay, when it comes to the show that they'll put out. a lot of people are working on it with them. not to mention a lot of corporate suits. one thing we can count on is that this won't be a show aimed at pleasing the long-term, hard-core coldplay fan base. it can go many ways, let's hope they do surprise us in a good sense.

way to go stephen! our hero! :clap::vuvuzela::bliss:

and that's the chris we know and love. hahaa!

the third picture is him after getting the beta teeth upgrade. now finally he has gotten the stable release and looks like the 2nd pic.

Ah :) thanks. Will add that video there as well.

can't remember which was the original interview thread. so will post here

ermmm... this can't be true right?? or can it? [MEDIA=twitter]681092592608612352[/MEDIA] Mobile Link: https://twitter.com/coldplayzoneit/status/681092592608612352

are we making a come back cakey? ;) that'd be lovely!

crated new thread.

congrats everyone who won!

let's be honest, the british critics being wary or downright against coldplay is nothing new. this has been persistent since parachutes. even when viva came out, how many actually recognized it's accomplishment. so this is nothing, or very minimal, to do with feeling "betrayed" by ahfod.

there is a chance that some held back tickets will be released closer to the concerts. so keep a look out for that.

ahh.. got it :) thanks for the clarification.

add o to that and i agree.

i appreciated that. the more obvious question is, how can you call music that resonates with so many in a timely manner, banal? music is visceral. so that makes this whole article nonsensical (although i agree with some points). and justin bieber has 3/5 top singles positions this week. and they are going after coldplay. again.

hahaa! well said. but i find it interesting how the worst of the criticism comes from England.

yup, the guardian is at it again.. how many of these "how the hell are coldplay this big and successful despite them obviously being crap" articles can they write? they do have a few fair points, but all together is just over the top don't you think?

Coldplay: how can something so banal be so powerful? There is a context to the band’s huge success. The worse life gets, the more they seek to reassure us ‘Coldplay capture something fundamental to contemporary living.’ Photograph: Marcelo Sayao/EPA Contact author @johnharris1969 One should always hesitate before quoting the words from pop songs. Obviously, lyrics are not written as poetry; in the absence of music, even Bob Dylan’s words can occasionally seem like the work of a chump. But sometimes the temptation becomes overwhelming. Take, for example, Up & Up, the closing song on the latest Coldplay album, A Head Full Of Dreams, which came out on 4 December. Its second verse runs as follows: “Lying in the gutter, aiming for the moon / Trying to empty out the ocean with a spoon … How come people suffer, how come people part? / How come people struggle, how come people break your heart?” I don’t know what that riot of mixed metaphor and cheap sentiment means; its chief author, Chris Martin, probably doesn’t either. But whatever: as the song tumbles to its climax and massed voices assure us that “we’re gonna get it together”, you can hear the stuff of assured international success. What is the meaning of Coldplay? The question may seem absurd. Certainly, the lyrics that adorn the band’s songs – mostly “cliches and generalisations”, as theGuardian’s Alexis Petridis recently put it – and the interviews they give only seem to confirm an overwhelming sense of blankness. There again, as any cultural theorist could tell you, what they may or may not have come to tell us isn’t the point: when you’ve sold 80 million albums, it’s legitimate to ask why. What does Coldplay music do to people? What needs does it meet? Will it ever go away? Before we go any further, a confession. I like some of Coldplay’s music. They have a gift for melody and a knack of evoking emotion that makes their biggest hits almost irresistible. Sometimes – as on Fix You, arguably their defining song – the music becomes lachrymose. Often, it drifts into absolute nothingness. But when it comes to their hits, they usually locate the correct spot. This is partly because their best compositions are liberally sprinkled with what the modern vernacular terms earworms. But at the heart of Coldplay’s allure is a talent for capturing something fundamental to contemporary living. The most I can say is this: their best songs make me feel like I am in a mobile phone advert, or sitting in a gleaming airport terminal, luxuriating in a brief moment of respite from sensory overload. They specialise in fuzzy, redemptive qualities that are almost indefinable, captured in the refrain at the end of Clocks, still their single greatest achievement: “Home, home, where I wanted to go.” But God, their latest music is doing my head in. For A Head Full Of Dreams, they drafted in the Norwegian production duo Stargate, who have created music for Rihanna and Beyoncé. The residual earthiness in Coldplay’s music traceable to their origins as an indie-rock band has now disappeared: their songs now sounds gossamer-light, and so easy on the ear it sometimes threatens to disappear. FacebookTwitterPinterest ‘In 2002 and beyond, the world was in need of existential balm, and Coldplay delivered.’ Photograph: Sarah Jeynes/BBC/PA The album’s sleeve art is a rainbow-coloured mess of exotic birds, planets, and clouds. And the words! The lyrics are smattered with angels, diamonds and Egyptian pyramids. By way of proving that Martin is free of earthly pettiness, there are vocals from his ex-wife Gwyneth Paltrow on a song called Everglow, an apparent celebration of the fact that love can endure even after divorce, whose title is a word for bliss he got from an American surfer. The back of the CD booklet apparently features the band’s name in Hindi; a track built around a 13th century Sufi poem popular on mindfulness courses (which, says Martin, boils down to the idea that “every feeling that we have as humans is ultimately a blessing”) also includes a sample of Barack Obama singing Amazing Grace. Of course it does. Coldplay arrived in 2000. They became international stars with the release of A Rush Of Blood To The Head, in late 2002. In between lay 11 September 2001, the sudden curtailing of an era of giddy hedonism, and the arrival of realities that were altogether more worrisome. Martin and co proved to be capable lightning rods for all this. Again, basic cultural theory will tell you that need not be a matter of intention, and in this case, it almost certainly wasn’t. But the world was in need of existential balm, and they delivered. Almost every Coldplay record since has dealt in much the same qualities: reassurance, redemption, an insistence that what it is to be human will somehow see us through (to take one example among many, witness a new song titled Amazing Day and its cringeworthy lines: “Hope has its proof / Your hand in mine / Life has a beautiful crazy design”). Their songs seem to become lighter and more blithely optimistic in direct proportion to the troubled nature of the world. The worse everything gets, in other words, the more they seem driven to reassure us, in language often so banal it beggars belief. This is perhaps why they are still here, now much bigger than the fading U2, booked to play four nights at Wembley Stadium, and scheduled toentertain the crowd at the 2016 Superbowl. On one level, this bothers me. It looks like another sign that popular music can now carry little more than emotional doggerel. To risk sounding hopelessly sniffy, that comes with a sense of musicians doing pretty much what serves the interests of power – “The Man”, as the hippies put it – and assuring us everything’s going to be OK when it plainly isn’t. But from another perspective, it might also suggest music re-emphasising what draws in most of its devotees: escapism, empathy and the simple acknowledgement that the sun always rises in the morning. One of the most-reported human stories of the year came when a man called Davide Martello took his piano from Germany to the Bataclan in Paris after hearing about the terrorist attacks. He played John Lennon’s Imagine – that saccharine secular hymn, well suited to almost any occasion – and made people cry. But Coldplay had got there first, covering the same song within hours of the atrocities, at a gig in Los Angeles. : the four of them at the lip of the stage, missing out the “no religion” line, delivering the song with their customary brand of guileless sincerity. As with just about everything they do, it suggests Noel Coward’s oft-quoted point about the potency of cheap music, though it needs a bit of elaboration: in times as uneasy and fearful as ours, Coldplay’s unlikely magic is about how context – and enormous popularity – can give outwardly shallow art a power it almost doesn’t deserve. source

moved the posts over from lp7.