Coldplay, Jay-Z to Rock New Year’s Eve in Brooklyn, NY

Jay-Z and Chris Martin of Coldplay. Photo: Kevin Mazur/WireImage

By Rolling Stone November 12, 2012

Coldplay will rock in the new year in style, with three shows to cap off 2012. The British rockers will visit Mohegan Sun Arena in Uncasville, Connecticut, on December 29th, then hit Brooklyn’s Barclays Center on December 30th and 31st. Co-headliner Jay-Z will join Coldplay on New Year’s Eve. Tickets for the Mohegan Sun Arena show will go on sale this Friday, November 16th, at 10 a.m. EST. Tickets for the two Barclays Center shows will go on sale this Saturday, November 17th, at 10 a.m. EST. Visit Live Nation for tickets and more details.

Coldplay Bring Comics to Life in ‘Hurts Like Heaven’
New clip is based on drawings from ‘Mylo Xyloto’ series

October 8, 2012 11:01 AM

Coldplay debuted their Mylo Xyloto comic series earlier this year, and now the band brings the drawings to life in the new video for Mylo cut “Hurts Like Heaven.” A group of five superheroes goes on the run, escaping oppressive futuristic police with their colorful superpowers. They’re eventually caught, leaving a world without inspiration. But a glimmer of hope survives, as a young boy seems to retain the same powers to preserve the rebels’ legacy.

The Who Stage ‘Quadrophenia’ at Triumphant Brooklyn Concert

The Who @ Barclays Center, Brooklyn

By Rolling Stone Thu, Nov 15, 2012

The Who’s 1973 rock opera, Quadrophenia, is one of their boldest and most fully realized albums, but it’s never quite gotten the live show it deserves – until now.

The previous two Quadrophenia tours, staged in 1973 and 1997, were stifled by overwrought presentation, but this time Pete Townshend left the creative decisions to Roger Daltrey, who wisely stripped out any narration or guest singers. Not a word was spoken during the 90-minute Quadrophenia portion of the show at Brooklyn’s Barclays Center on Wednesday night. The Who played the album from top to bottom, this time adding only five additional musicians to their current lineup. Every note from the album was reproduced, down to the boiling tea kettle and British newscast before “The Punk and the Godfather” and the squawking seagulls before “Sea and Sand.”

500 Greatest Albums: The Who, ‘Quadrophenia’

From the opening notes of “The Real Me,” it was also clear that Roger Daltrey’s voice, a bit rocky on recent Who outings, has benefited tremendously from his recent medical treatment. Furthemore, bassist Pino Palladino was appropriately high in the mix. This is crucial. The Who’s late bassist, John Entwistle, played bass like it was a lead instrument, and its thunder was a critical part of their unique sound. Palladino is a formidable musician, but over the past decade he’s been mixed way too low, and as a result the Who didn’t quite sound like the Who for a long time. His bass level went up and down in the mix throughout the night, but it was a huge improvement from the band’s recent tours.

On the original Quadrophenia tour, the Who played the vast majority of the double album without additional musicians, relying on primitive tape machines that drove Pete Townshend to the brink of madness. The guitarist also talked himself hoarse between songs, frantically explaining the complex story of Quadrophenia’s teen protagonist, Jimmy, to an audience that just wanted to rock out. When they tried it again in 1996, they brought along a 10-piece backing band, Billy Idol and (shudder) Gary Glitter to portray the Ace Face and the Godfather. Townshend brought in Jimmy Daniels – star of the 1979 Quadrophenia movie – to narrate between songs, and video screens showed footage from the movie and of the early-Sixties mod scene. The band sounded great, but Townshend overthought the presentation. He also stuck to acoustic guitar for much of the show, leaving most of his famous leads in the hands of his kid brother, Simon.

Some fans surely groaned when they learned the Who were trying it yet again on their 2012 tour, but after nearly 40 years, the band finally got it right. Screens did show archival video of mods and rockers battling on Brighton Beach in 1964, but mostly the images were completely disconnected from the story of Quadrophenia. They were largely focused on global struggles over the past half-century, from World War II through the Occupy Wall Street movement. Jimmy’s inner turmoil suddenly became the world’s.

Rather than have Palladino recreate John Entwistle’s famous “5:15” bass solo, the Who wisely opted to show video of the late bassist playing it at the Royal Albert Hall in 2000. It was a great reminder of Entwistle’s jaw-dropping virtuosity, and it fit in seamlessly. They also paid tribute to the late Keith Moon during “Bell Boy,” one of the only times in Who history his vocals were heard on an album. They showed video of him performing the song in 1974, with Moon’s vocals dubbed in from the LP.

After struggling a bit vocally during “Dr. Jimmy,” Daltrey stepped offstage for “The Rock,” an instrumental. Pete and Simon traded licks while the screens showed tumultuous moments in recent history, from the death of Princess Diana to Columbine to 9/11. Images of terrified New Yorkers fleeing the collapsing World Trade Center may have seemed exploitative (especially in New York), but it’s a song about finding resolve in the face of life-threatening danger and it was largely effective. The finale of “Love Reign O’er Me” (arguably the Who’s greatest song) is an incredibly demanding song for any vocalist. Roger Daltrey is two years away from his 70th birthday, but he returned from backstage determined to nail it. He can’t quite hit the high notes like he did back in ’73, but it was still stunning. He even hit the primal scream at the end.

There aren’t a lot of famous songs on Quadrophenia, so they packed the encore section with their biggest hits. “Baba O’Riley,” “Who Are You,” “Behind Blue Eyes” and “Pinball Wizard” have been played live roughly 50,000 times, but few songs in rock history work better in an arena setting. For the first time of the night, everyone was on their feet and screaming along to every word.

In a show that ran over two hours, with the exception of “Who Are You” (1978), “Pinball Wizard” (1969) and the final encore of “Tea and Theater” (2006) every song of the night came out between 1971 and 1973. It was a ridiculously fruitful period for Townshend, even if his mighty ambitions at the time were often greater than the ability of any band to execute them. For decades Quadrophenia has been seen by many as a slightly inferior rock opera to Tommy, and this tour seems partially motivated by Townshend’s desire to prove the two works are, at the least, equally worthy. If anything, Quadrophenia is the more cohesive and compelling work.

The show ended with Townshend and Daltrey alone onstage. As is custom at recent Who shows, they played the nostalgic “Tea and Theater” from 2006’s middling Endless Wire. Like so much Who activity since their 1982 split, it’s about looking backwards. “The story is done/Getting colder now,” Daltrey sang. “A thousand songs still smolder now/We played them as one/We’re older now.” Even Quadrophenia (written when Townshend was just 29) is about looking backwards at the Who’s early days. This endless reliving of history may have hurt the Who’s legacy (imagine if they’d split in 1978), but now that they’re reaching the end of their journey it feels truly poignant. They are survivors of a bygone era, and they have endured tragedy after tragedy. Any tour now feels like a justified victory lap.

While others have Paris and Rome, we’ll always have Brooklyn.

The Grand Army Plaza – Brooklyn, NYC

While others have Paris and Rome, we’ll always have Brooklyn. But justifiable pride of place should not make us reluctant to look deeper and examine serious challenges to Brooklyn’s well being. ~ Marilyn Gelber

There’s no shortage of pride in Brooklyn. Whether you’re a fan of pizza from Di Fara’s, Spumoni Gardens, Roberta’s or Lucali’s; or you claim to know where to find the very best taco and dim sum in Sunset Park, the next big music act out of Bushwick or Williamsburg, or the block in Dyker Heights with the most stunning Christmas lights—it’s pride in the vitality and character of our communities, their rich history, the perfect scale and look of our old buildings and the sharp elbows of the new ones, which adds up to the always fascinating and seldom dull landscape of 70 distinct neighborhoods that is Brooklyn.

While others have Paris and Rome, we’ll always have Brooklyn — a borough of bridges, brownstones, and boardwalks; a home with endless wonders to explore, just a walk or subway ride away.

But justifiable pride of place should not make us reluctant to look deeper and examine serious challenges to Brooklyn’s well being.

While Brooklyn is booming—rapidly rivaling our neighbor across the river as the place to live and work—it’s still home to sky -high poverty rates, too many low-performing schools, under resourced public housing developments, shaky health facilities, young people out of school and out of work, and a tragically large number of seniors barely getting by.

When we launched the Brooklyn Community Foundation just over two years ago, we wanted to be a force for good. We wanted to bring resources and ideas to strengthen communities and engage Brooklynites in giving and service to others. But we knew that in order to do this we needed to help Brooklynites look through a more accurate lens on issues and trends in the borough to help us all be more deeply informed about the place we live: what’s affecting our neighborhood schools, how local businesses are faring in this economy, and how are decisions being made about future development. Francis Bacon was right: Nam et ipsa scientia potestas est. Knowledge is power.

So our sights were set on generating more easily accessible local information—data, reporting, analysis—to empower Brooklynites to get active and be part of making Brooklyn better for all who live here.

To lay the groundwork for an information renaissance in Brooklyn, we took two major steps. First, we funded and created the Center for the Study of Brooklyn at Brooklyn College, a research institute solely focused on Brooklyn. Second, we teamed up with City Limits to get a grant from the John S. and James L. Knight Foundation to build the Brooklyn Bureau, a new source of serious investigative journalism for all of Brooklyn.

Right now in the media there are two Brooklyns: the Brooklyn of artisanal cheese shops and the Brooklyn of murder and mayhem.

While we love that there’s no shortage of ink on how “cool” Brooklyn is, there’s an egregious lack of reporting dedicated to civic and social issues in what would be the nation’s fourth largest city. We’re not comfortable with the idea of Brooklyn being split apart by income disparity and selective investment, and the general media paying attention to just a sliver of what’s happening here.

We need to hold everyone to a higher standard. And the Brooklyn Bureau, with its dedication to investigating local issues particularly in underserved communities across our borough, is a key part of our work to do that.

While City Limits’ reporters are canvassing Brooklyn for untold stories and new perspectives, researchers at the Center for the Study of Brooklyn at Brooklyn College are completing work on a series of Neighborhood Profiles for each of Brooklyn’s 18 Community Districts. These information-rich profiles look at key civic indicators over the past decade, so that we can begin to see trends and identify needs across neighborhoods, the borough, and the City.

The Neighborhood Profiles will premiere on the Brooklyn Bureau later this month. In the spring, we will build on this neighborhood-level work to publish the first ever Borough-wide Brooklyn Trends Report, examining the strength of our collective local economy, housing stock, health and healthcare, public safety, education system, environment, and the arts.

We invite you to join us at the Brooklyn Community Foundation as we create a chronicle of 21st century Brooklyn life.

In subsequent columns we’ll take a thorough look at each of Brooklyn’s 18 Community Districts through the lens of City Limits’ reporting, the Center for the Study of Brooklyn’s data analysis, and the Brooklyn Community Foundation’s knowledge of the nonprofit community and key public policy issues.

We hope you’ll accompany us on this journey to explore one of the liveliest, most interesting places on the planet—sometimes referred to as the people’s republic of Brooklyn—and we hope it inspires you to Do Good Right Here.