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Mark · Aug 17, 2004

Originally posted by [LinkinPark213]@Aug 16 2004, 10:40 PM
Viewers Choice Award Round 4 has begun. That last and final round wich Linkin Park's video 'Breaking the Habit' has made it to.

Vote now! http://www.mtv.com/onair/vma/2004/nominees...jhtml?catID=528

MTV.com
Click to expand...

The third round doesn't end until the 18th. And there's no link to vote for the fourth round anywhere there.

obiwanws2 · Aug 17, 2004

i got the same thing for the final five

http://www.mtv.com/onair/vma/2004/nominees...jhtml?catID=528

LinkinJunior · Aug 17, 2004

Linkin Park, now successful and comfortable, ponders where to take its music next Rooms to Go
By Fayola Shakes
Staff Writer

August 17, 2004

Every track Linkin Park touches turns to gold, platinum and multi-platinum. Their debut album, Hybrid Theory, crashed the music industry's mainframe when it dropped in late 2000, and went on to move more than 8 million units.

Its remixed version, Reanimation, earned the So-Cal sextet credibility in the hip-hop world and the respect of artists such as Jay-Z and the Roots frontman Black Thought.

Tracks from their latest offering, Meteora, continue to ascend the charts, and ticket sales for their annual "Projekt Revolution" tour, which stops at Sound Advice Amphitheatre today, are steady during a year that has seen massive tours like Lollapalooza crash and burn.

So what is it with these guys? Pinning down a theory on their success has been as hard as finding weapons of mass destruction. There are two schools of thought: one that praises the band's ability to connect with their massive fan base and the other that dismisses them as a non-offensive group pretending to be original, despite bands like Faith No More and Rage Against the Machine that already forged a link between rap and rock.

So is this a case of hating the player or the game?

"They're the `it' band and there's always going to be a small faction of folks who hate them," said Troy Hanson, 94.9 Zeta's director of rock programming. "We as Americans build things up so we can tear them down. There aren't enough quality new bands coming out these days. Linkin Park still acts like they did when One Step Closer came out. You have to get out there, shake hands and kiss babies, and a lot of rock stars don't do that."

Billboard's director of charts, Geoff Mayfield, thinks it boils down to their ability to relate to their fans.

"At the risk of sounding simplistic, the bottom line for an artist succeeding is delivering what consumers want to hear," Mayfield said. "Sometimes it's tricky when the first album is as successful as [Hybrid Theory] and its follow-up, Meteora. An example is Limp Bizkit. They had an underground cachet and were very successful but Fred Durst became a celebrity and that, and the loss of their guitar player, kind of put them in a different light with fans."

Linkin Park's songs are reflective of the sentiments of a post-Columbine, post-9-11 generation trying to make sense of the world.

The desire to explore these themes isn't surprising given the band members' individual interests. Bassist David "Phoenix" Farrell holds a degree in philosophy; emcee Mike Shinoda, a classically trained pianist, studied art; and guitarist Brad Delson studied mass communications. The group formed in 1996 when Shinoda recruited high school buds Delson, drummer Rob Bourdan and DJ Joseph Hahn to form a band.

Singer Chester Bennington, who paid his dues with bands on the Phoenix, Ariz., scene, joined in 1999. He's openly discussed his bouts with depression and abuse, and his guttural screams on songs like Faint are so intense you can almost see the veins bulging in his neck. Add Shinoda's raps, guitarist Delson's power chords and Farrell's unyielding bass and the result is a sharply orchestrated mix of rap, rock and ProTools wizardry that contains enough desperation and rage to rival the Book of Job.

"Historically speaking, a lot of great art has been inspired by the creator going through some struggle," said Hahn. "That kind of idea shows up a lot in our music. Dealing with frustration is obvious but it's not what we focus on intentionally. Something naturally comes out of [struggling] and people relate to it."

Songs like Papercut and One Step Closer are chronicles of paranoia, depression and struggles with a nebulous tormenting character named "You," a pronoun used by fans to apply the songs to a personal situation.

But while angst has made for great first and even second albums, what happens when your audience has gone through therapy, grown up and moved on?

"That's the question on the minds of every A&R exec right now," said Hanson. "They're trying to find the new sound, the new grunge, garage band. Music is such a cyclical thing, from the '80s hair bands to grunge in the '90s and nu-metal [in this decade]. I'm anxious to see what's gonna come out next."

And when the band grows up?

Ask him about the direction the band will take for their next album, and DJ Hahn waxes sarcastic.

"We don't want to pigeonhole ourselves," he said, the irritation rising in his voice. "Who knows where we're gonna take it? In the next few years, maybe we'll be doing shows on the moon with astronauts and living with aliens."

Well, they certainly make enough money to try to get there. Money and fame may not erase your woes but they certainly make a struggling artist much more comfortable. The fact that they have less excuse for an "orgy of self-pity," as one critic called Meteora, has some observers wondering how they'll continue to relate to their audience.

Despite the clean-cut, positive image they convey by excluding profanity from their lyrics and hanging with fans, they don't offer any solutions for the feelings of abandonment and depression that made their careers.

Mayfield believes Linkin Park's struggle to remain relevant is no different from what the Rolling Stones and U2 faced after the successes of their early albums.

"It's too early to tell but the fact that they sustained even this long bodes well for them," he said. "With that kind of audience, they have to stay true to themselves. I would think that it would be astute to follow musical instincts and not tailor their sound to what they think is popular. There's a tricky tightrope, trying to keep it from going to your head. What sounds cool in the studio might not sound good to fans because they're no longer that person."

Songs like the uplifting Breaking the Habit offer glimmers of hope.

Hahn, however, prefers to focus on the present.

"We've accomplished a lot so far," he said. "We're overworked and we get along great considering we're around each other all the time. If we're around in a couple of years that will be the real test."
Click to expand...

Source: www.sun-sentinel.com

LinkinJunior · Aug 17, 2004

Digital Blue Joins SoBe Adrenaline Rush in Summer Concert Tour; Projekt Revolution Fans Become True DJs with Mixman DM2
Tuesday August 17, 10:46 am ET

ATLANTA, Aug. 17 /PRNewswire/ -- Digital Blue is pumping up the volume this summer with the nation's number two ranked energy drink, SoBe Adrenaline Rush, in a partnership to provide offstage entertainment for the Projekt Revolution Music Tour featuring top artists including Linkin Park and Korn.

Digital Blue makes award-winning interactive devices for young people, including the Mixman DM2, ("Dee-M-squared"), a digital mixing board that turns any PC into a complete DJ-style music mixing studio.

In a nationwide promotion with SoBe Adrenaline Rush, concert fans attending Projekt Revolution shows are invited to step into booths outfitted with Mixman DM2 stations and take one out for a spin. Aspiring DJs can create their own unique mixes using exclusive vocals, music and beat samples from the actual bands on the tour. Final mixes are uploaded to the SoBe website (go to http://www.sobebev.com and follow Projekt Revolution and Mixman links) so concertgoers can show off their skills worldwide!

"Our Mixman DM2 fits perfectly with SoBe because they both appeal to hip, music-loving teenagers," said Tim Hall, CEO of Digital Blue. "Fans are having a great experience at the concert trying out the Mixman, and that is translating immediately into strong local retail sales for us."

"SoBe has always been about innovative, fun interaction with consumers," said SoBe Brand Director, Mike Joyce. "Our partnership with the Mixman DM2 offers SoBe consumers the unique chance to be a 'music-producer-for-a-day' at one of the most popular concerts of the summer. It's a way for SoBe fans to take the concert -- and SoBe -- home with them, and truly personalize the experience. We're glad to have the Mixman with us on tour."

The Projekt Revolution tour is a gala music festival featuring top artists including Linkin Park, Korn, Snoop Dogg, The Used and Less than Jake. The tour comprises 34 show dates crisscrossing the country from July 21 -- September 5. MTV is filming several of the concerts for upcoming productions.

Digital Blue co-markets the Mixman DM2 with Mixman Technologies, Inc., a leading developer of interactive music software and services. The product features a sleek, custom DJ controller with dual-independent scratching rings, W.A.R.P. Joystick for real-time FX , Crossfader and Transformer controls. The software features Mixman's patented synchronous remix engine with auto-beat matching, so any music fan can mix, match, scratch and perform styles like Hip-Hop, House, Drum n Bass and many more.

The Mixman DM2 is currently on sale at retailers including Best Buy and Toys 'R' Us, and can be bought online at http://www.playdigitalblue.com and Mixman.com. Other Digital Blue products include the award-winning Digital Movie Creator and QX3+ Computer Microscope, and the newly released Zoomshot Digital Snapshot Binoculars.
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Source: biz.yahoo.com
-----------------------------------

Music Icon Cher Signs on to Chair New Habitat For Humanity National Program
Monday August 16, 7:03 am ET
Raise the Roof to Impact Local Communities Where Artists Tour

.....Artists that have participated in Raise the Roof events to date include Blink 182, which worked on the 1,101st house in Pennsylvania and performed in Harrisburg; John Mayer, who worked on Angelia Brown's home and performed in San Antonio; and Linkin Park, which built for a family in need in Noblesville, Ind. The Dave Matthews Band will help build a Raise the Roof house later this month in Houston.

"Music artists have a record of charitable service that sets the bar for other entertainers and we are so happy that Cher has agreed to lend her name and support to this effort," said Kimberly Bowron, senior vice president, corporate culture and philanthropy at Clear Channel Entertainment. "With her leadership backing Raise the Roof, we know that the program will be a big success for Habitat."...
Click to expand...

Source: biz.yahoo.com

LinkinJunior · Aug 18, 2004

History Projekt
Our panel of esteemed experts grills Linkin Park on its revolutionary ways.
BY ANNIE ZALESKI

Linkin Park
Tuesday, August 24.
Where: Verizon Wireless Amphitheater

In an unprecedented coup, the Pitch has obtained classified documents detailing the government's investigation into Linkin Park's third annual Projekt Revolution tour. In light of the Patriot Act, high-ranking officials concerned with any gatherings that might reek of cultural rebellion have ordered government scientists to assemble -- through any means necessary -- a group of the most notable revolutionary scholars in the history of history.

These memos describe top-secret plans to kidnap and smuggle Cuban dictator Fidel Castro into the country on Air Force One and to resurrect American founding father Thomas Jefferson and France's former monarch Louis XVI through a complex combination of quantum mechanics and DNA recombination.

Using the expertise and experience of those who know revolution best, the government wishes to discern the rationale behind Linkin Park's dogged insistence on subverting the musical status quo.

A hush-hush meeting among these three men, a translator and Mike Shinoda of Linkin Park took place earlier this summer, during which the vocalist-sampler-MC-guitarist described his band's sonic pursuits -- the rolling-and-scratching megaplatinum debut, Hybrid Theory; the Grammy-winning, Depeche Mode-having-a-psychotic-break, "Crawling"; and the group's successful 2003 follow-up album, Meteora. The hard-hitting history of Projekt Revolution, which in the past included appearances from Xzibit, Cypress Hill and Adema, also came under heavy scrutiny.

Published below is a partial transcript of the conference, which was found among the documents.

Castro (puffing on a cigar and pulling bits of food from his beard): "Señor Shinoda, I find the name of and concept behind your tour muy interesante. Talk about it, por favor."

Shinoda: "Projekt Revolution is really about showcasing revolutionary acts in music and people that have done things that have changed the face of music or are, in our minds, on their way to do so. We put the bill together with those things in mind. It doesn't really matter what genre people are in. You see that this year, from Ghostface and M.O.P. to Less Than Jake and Korn. You've obviously got a really interesting cross-section of musical talent."

Louis, muttering "Sacrebleu!" and mumbling something derogatory about ska before hawking a solid loogie to the side, rudely interrupts Castro's line of questioning with a query of his own: "Oui, oui. But, eez there -- how you say -- liberty, fraternity or brotherhood in theez fest?"

Shinoda: "We've got two stages and a lot of fun stuff in the village area we've never even had -- like a fairground area. And it's a great family atmosphere going on backstage and in the crowd, so we're really happy about it."

Louis scowls at the hippie-dippie liberal connotations as he sips a glass of wine and nibbles on some aged cheese. Jefferson, on the other hand, looks pleased. Adjusting his powdered wig, he thoughtfully wonders about the internal relations within the band -- whether their harmonious outside relationships translate into a balance of power within Linkin Park, as in any good democratic band.

Shinoda: "Generally when we get together and write, we just play what comes naturally and push ourselves to try and create new sounds and new-sounding parts. It's generally like -- you think about the things you want to hear out there in the world on the radio or wherever when you're listening to music trying to find new music. If I can't find something, I just try and make it myself. If there's a specific type of sound or song that I want to hear and nobody's making it, then I'll just go try and make it."

Looking concerned at this admission of nonconformity, Castro cues up Meteora. He becomes so incensed at its unique sonics that he comments about its merits in rapid-fire Spanish. Roughly translated: "Large amounts of brutal guitar riffs, electronica flourishes and screaming vocals."

Shinoda, sensing discomfort emanating from his questioners, is quick to defend Linkin Park's ambition: "Every time we go into the studio, we want to do something different. We knew what we liked about Hybrid Theory. And inevitably, when the six of us get together to write songs, we have a style that comes across in the music. So we figured we could really push our boundaries and it would still sound like Linkin Park, but we definitely wanted to try some new things."

Jefferson, listening to the Japanese flutes on "Nobody's Listening" and the 20-piece string section on "Breaking The Habit," nods happily in assent. He then reaches into a stack of papers and pulls out a document that shows detailed photos of Meteora, a series of beautiful monasteries perched on cliffs in Greece from which the album gets its name. Jefferson: "Good man, these plans were found among your personal effects -- they rival Monticello in attractiveness! Tell me about it."

Shinoda: "We saw that [Meteora] on a travel magazine and thought it was a really great idea ... this timeless structure that they say hovers in the air. We thought it was the type of album that we wanted to make, something that could stand the test of time and have this kind of epic quality to it."

Jefferson smiles again, but pragmatically expresses reservations that the rapped lyrics, coupled with the metallic chords, might lead some to dismiss Linkin Park as just another angst-ridden bunch of harsh anti-intellectuals.

Shinoda: "Obviously, there is rap in our music and there are heavy guitars. So if that's all you mean by rap-metal, then you can't avoid the label. However, I don't think that other rap-metal bands [are] writing songs like 'Breaking the Habit.'"

Louis and Castro, by this point pacing the room in disgust at the band's erudition and stubborn individualism, each ask Shinoda one last time to explain exactly who the members of Linkin Park think they are.

Shinoda: "Our music speaks for itself. If you really want to know who Linkin Park is, then you should come to the show and watch the concert. Because that's really what we're all about. That's us playing the music for you, face to face, one-on-one. It really comes back to the music. What we do in the studio and what we do onstage, that's really where we have a lot of fun and where we put so much energy."

Click to expand...

Source:http://www.pitch.com/issues/2004-08-19/interview.html

LinkinJunior · Aug 19, 2004

Linkin Park to Donate $5 From Every Ticket Sold at Wednesday, August 18 Ford Amphitheatre Projekt Revolution Show in Tampa to Hurricane Charley Relief
BURBANK, CA -- (MARKET WIRE) -- 08/18/2004 -- Sympathetic to the plight of Florida residents devastated by the ravages of Hurricane Charley, multi-platinum rockers Linkin Park have announced that they will donate $5.00 -- from every ticket sold for tonight's Projekt Revolution concert at the Ford Amphitheatre in Tampa -- to the Red Cross Hurricane Charley Relief Fund. The donation will be retroactive and will include all tickets sold for Wednesday's performance (the first show at the Ford Amphitheatre since Hurricane Charley), which will amount to a gift in excess of $65,000.00.

Linkin Park wants to do what they can to help those unfortunate people who have had their lives turned upside down by this terrible storm. This is a way for local Projekt Revolution fans to help their neighbors via a reliable relief effort.

Click to expand...

http://www.marketwire.com/mw/release_html_...elease_id=71534[

RX8LP · Aug 19, 2004

In an unprecedented coup, the Pitch has obtained classified documents detailing the government's investigation into Linkin Park's third annual Projekt Revolution tour. In light of the Patriot Act, high-ranking officials concerned with any gatherings that might reek of cultural rebellion have ordered government scientists to assemble -- through any means necessary -- a group of the most notable revolutionary scholars in the history of history.
These memos describe top-secret plans to kidnap and smuggle Cuban dictator Fidel Castro into the country on Air Force One and to resurrect American founding father Thomas Jefferson and France's former monarch Louis XVI through a complex combination of quantum mechanics and DNA recombination.

Using the expertise and experience of those who know revolution best, the government wishes to discern the rationale behind Linkin Park's dogged insistence on subverting the musical status quo.

A hush-hush meeting among these three men, a translator and Mike Shinoda of Linkin Park took place earlier this summer, during which the vocalist-sampler-MC-guitarist described his band's sonic pursuits -- the rolling-and-scratching megaplatinum debut, Hybrid Theory; the Grammy-winning, Depeche Mode-having-a-psychotic-break, "Crawling"; and the group's successful 2003 follow-up album, Meteora. The hard-hitting history of Projekt Revolution, which in the past included appearances from Xzibit, Cypress Hill and Adema, also came under heavy scrutiny.

Published below is a partial transcript of the conference, which was found among the documents.

Castro (puffing on a cigar and pulling bits of food from his beard): "Señor Shinoda, I find the name of and concept behind your tour muy interesante. Talk about it, por favor."

Shinoda: "Projekt Revolution is really about showcasing revolutionary acts in music and people that have done things that have changed the face of music or are, in our minds, on their way to do so. We put the bill together with those things in mind. It doesn't really matter what genre people are in. You see that this year, from Ghostface and M.O.P. to Less Than Jake and Korn. You've obviously got a really interesting cross-section of musical talent."

Louis, muttering "Sacrebleu!" and mumbling something derogatory about ska before hawking a solid loogie to the side, rudely interrupts Castro's line of questioning with a query of his own: "Oui, oui. But, eez there -- how you say -- liberty, fraternity or brotherhood in theez fest?"

Shinoda: "We've got two stages and a lot of fun stuff in the village area we've never even had -- like a fairground area. And it's a great family atmosphere going on backstage and in the crowd, so we're really happy about it."

Louis scowls at the hippie-dippie liberal connotations as he sips a glass of wine and nibbles on some aged cheese. Jefferson, on the other hand, looks pleased. Adjusting his powdered wig, he thoughtfully wonders about the internal relations within the band -- whether their harmonious outside relationships translate into a balance of power within Linkin Park, as in any good democratic band.

Shinoda: "Generally when we get together and write, we just play what comes naturally and push ourselves to try and create new sounds and new-sounding parts. It's generally like -- you think about the things you want to hear out there in the world on the radio or wherever when you're listening to music trying to find new music. If I can't find something, I just try and make it myself. If there's a specific type of sound or song that I want to hear and nobody's making it, then I'll just go try and make it."

Looking concerned at this admission of nonconformity, Castro cues up Meteora. He becomes so incensed at its unique sonics that he comments about its merits in rapid-fire Spanish. Roughly translated: "Large amounts of brutal guitar riffs, electronica flourishes and screaming vocals."

Shinoda, sensing discomfort emanating from his questioners, is quick to defend Linkin Park's ambition: "Every time we go into the studio, we want to do something different. We knew what we liked about Hybrid Theory. And inevitably, when the six of us get together to write songs, we have a style that comes across in the music. So we figured we could really push our boundaries and it would still sound like Linkin Park, but we definitely wanted to try some new things."

Jefferson, listening to the Japanese flutes on "Nobody's Listening" and the 20-piece string section on "Breaking The Habit," nods happily in assent. He then reaches into a stack of papers and pulls out a document that shows detailed photos of Meteora, a series of beautiful monasteries perched on cliffs in Greece from which the album gets its name. Jefferson: "Good man, these plans were found among your personal effects -- they rival Monticello in attractiveness! Tell me about it."

Shinoda: "We saw that [Meteora] on a travel magazine and thought it was a really great idea ... this timeless structure that they say hovers in the air. We thought it was the type of album that we wanted to make, something that could stand the test of time and have this kind of epic quality to it."

Jefferson smiles again, but pragmatically expresses reservations that the rapped lyrics, coupled with the metallic chords, might lead some to dismiss Linkin Park as just another angst-ridden bunch of harsh anti-intellectuals.

Shinoda: "Obviously, there is rap in our music and there are heavy guitars. So if that's all you mean by rap-metal, then you can't avoid the label. However, I don't think that other rap-metal bands [are] writing songs like 'Breaking the Habit.'"

Louis and Castro, by this point pacing the room in disgust at the band's erudition and stubborn individualism, each ask Shinoda one last time to explain exactly who the members of Linkin Park think they are.

Shinoda: "Our music speaks for itself. If you really want to know who Linkin Park is, then you should come to the show and watch the concert. Because that's really what we're all about. That's us playing the music for you, face to face, one-on-one. It really comes back to the music. What we do in the studio and what we do onstage, that's really where we have a lot of fun and where we put so much energy."

Click to expand...

http://www.pitch.com/issues/2004-08-19/interview.html

Omar · Aug 19, 2004

Tthat already posted two spots up and it's the most ridiculous thing I've ever read on LP.

thanks for trying though

LinkinJunior · Aug 19, 2004

A wet, wild revolution
By GINA VIVINETTO, Times Pop Music Critic
Published August 19, 2004

--------------------------------------------------------------------------------

TAMPA - Rain almost halted the revolution.

A storm erupted Wednesday afternoon over the outdoor Ford Amphitheatre, soaking many of the fans seated in the uncovered lawn section of the venue. As an onstage DJ kept spinning tunes, the crowd, there to see the summer's much ballyhooed Projekt Revolution tour, featuring multiple acts, danced to thematic songs such as Rock You Like A Hurricane and Should I Stay Or Should I Go?. Would the show go on?

At that point, only one band, Less Than Jake, had performed.

Luckily, the thunder, lightning and rain ceased. The revolution was revved up again.

The tour's theme may not be clear. Its acts are a hodgepodge. But one thing's for certain, each act Wednesday stressed the importance of having a good time.

From Bert McCracken, lead singer of punky upstarts the Used, encouraging those in the crowd of 15,500 who brought best friends to embrace and kiss each other, to headliners Linkin Park using time between songs to gush props to the bill's other acts, to rapper Snoop Dogg, who had the crowd chanting his name and dancing, it was clear the revolution, for most, was about good vibes.

Save for grumpy old Korn. Not much has changed for lead singer Jonathan Davis and his four cohorts over the decade since the gothy nu-metal band emerged. Korn's music is still the same hybrid of menacing, angst-fueled lyrics, pummeling rhythms and splintery guitar lines.

Live, the Southern California band is energetic, with Davis, in a black kilt, spinning his long braids in circles, dragging out bagpipes, and dynamic drummer David Sylvaria getting hyperkinetic on his kit. Highlights of Korn's set included, ironically, cover songs. The band got loose and limber on a note-for-note rendition of the 1986 R&B jam Word Up by Cameo. Later, the band got the audience to stand and sing along to Pink Floyd's Another Brick In The Wall.

Snoop Dogg stole the show with a riotously funky set featuring his 10-member band the Snoopadelics. Snoop's stage set featured both a gigantic doghouse and a dangling bone above the stage. The rapper and his band beefed up the hits Snoop's Upside Ya Head and Gin and Juice with plenty of slap-happy bass, percussion and horn blasts.

Linkin Park closed the show with a busy set. The rap-rock band features both a lead singer, Chester Bennington, and emcee Mike Shinoda, rapping in a strong baritone while whiny-voiced Bennington sings of his ennui and a sense of alienation - an odd combination, but when it works, it's compelling. Fueled by skittering hip-hop beats, the duo galloped between the band's musicians and incited fans with call-and-response sessions. It was controlled chaos. It was perfect for a revolution of this kind.

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http://www.sptimes.com/2004/08/19/Artsande...evolution.shtml

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Linkin Park offers audience cutting edge visuals
By Sean Piccoli
Pop Music Writer

August 19, 2004

If the future of all communications promises more sound, more visuals and less text, then Linkin Park is definitely the band of the future. These six young men play live, but with a computer-literate, drag-and-drop command of different genres of music, around which they have constructed a world of color-saturated, video-game landscapes and anime-style visuals.

Linkin Park's live show on Wednesday night at Sound Advice Amphitheatre, west of West Palm Beach, was an extension of the tele-visual language that informs the band's music and videos. In one sequence, a mammoth screen at the back of the stage projected futuristic cityscapes reminiscent of Fritz Lang's Metropolis cross-cut with the sleek, willowy beings of "Japanime" cartooning.

In the foreground, four bandmates roamed the stage dressed like regulars at a pick-up basketball game, in loose-fitting, hip-hop styled clothes, while a DJ and a drummer anchored the middle of the floor. By the looks of Linkin Park, one guesses the six imagine themselves as a close-knit society of foragers and hackers, living on the margins, but resourceful as all get-out, endlessly tinkering with bits and pieces of technology -- new and castoff -- to create a little fortress for themselves.

Even the songs -- played on Tuesday with admirable punch and fealty to the recordings -- had the quality of industrial design. Linkin Park erected whole facades of sound: large and reverb-soaked, with slow-turning, turbine rhythms that fused arena rock and hip-hop; walls of guitar; and booming vocals. To call songs such as Time, Fate and Crawling grandiose is to understate the obvious.

Two vocalists carried the expository load: Mike Shimona rapped about inner torment and insecurity, and handed off to singer Chester Bennington for the emphatically screamed -- but catchy -- choruses: "Crawling in my skin/ these wounds/ they will not heal."

Bennington and Shimona embodied Linkin Park's cut-and-paste confederacy. Shimona rapped but also played pensive piano. Bennington sang in a wounded croon (think J.C. Chasez of `N Sync) and a puncturing wail (think Sebastian Bach of Skid Row), and also strapped on a guitar for a couple of numbers.

Live, Linkin Park came off as more seasoned and assured than its meager discography -- two studio albums -- would suggest. But the band has quickly captured the imaginations of millions of young fans. As headliners of the Projekt Revolution tour, which attracted 15,000 people on Tuesday, they had top billing on a rock and rap lineup including two veteran acts: Korn and Snoop Dogg. Korn singer Jonathan Davis joined Linkin Park onstage for the finale.

If anything threatens to derail completion of Linkin World, it's an over reliance on formula that could eventually condemn the band to the slow decay of repetition. The rapped-verse-sung-chorus sequencing sometimes rendered one song indistinguishable from the next. It may be time for these adept, self-trained musical engineers to get back to their hideaway and start looking for something new to slap together, lest the future leave them behind.

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http://www.sun-sentinel.com/features/lifes...tures-headlines

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Say you want a Revolution?

Linkin Park may have taken their name from a site in Chicago, and the group may call California home. But bassist Dave "Phoenix" Farrell says Texas has a place in their hearts, too.

That is, after all, why the enormously popular rap-rock outfit recorded their CD and DVD set Live in Texas during shows in the Lone Star State. It was taped in Dallas and Houston, during the group's 2003 stadium tour with Metallica.

"We didn't really know how well we'd be received, to be honest," Farrell says. "Anyone who opens for Metallica has got a tough job ahead of them, their fans are so devoted. But we were absolutely amazed at how well the shows were going, and we really wanted to capture it. And Texas, for us, has always been one of our strongest areas. We knew the crowds there would be great."

Linkin Park, obviously, has a thing for multiact festivals. After the Metallica tour wrapped up, the band announced they were again embarking on their own Projekt Revolution Tour. This'll be the second go-round for the festival, which comes to Dallas on Friday and features Korn, Snoop Dogg, the Used, Less Than Jake and others.

Farrell says he's especially happy to be on tour with Korn, one of Linkin Park's biggest influences. It'll be a little weird, Farrell admits, seeing one of his favorite bands open for his.

"It's just funny how that stuff works out," he says. "But they're a humble group of guys. They're nothing but excited. One thing about being on tour with them is that they're such a tremendous live band, it challenges you to raise your performance. They push everybody to be the best they can."

After this tour, the group will take a breather from the road, then begin work on their third studio album and follow-up to last year's Meteora, which, after 71 weeks on Billboard 200 album chart, is still parked at 49.

"We're gonna be sitting at home for a little bit, resting," Farrell says. "We're infamously slow at putting out records, but we're a group that's always writing. Hopefully, we'll have some ideas by the end of the year. At least, that's the goal."

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http://www.dfw.com/mld/dfw/living/9434641.htm?1c

LinkinJunior · Aug 19, 2004

August 19, 2004 06:00 PM US Eastern Timezone

Clear Channel Radio To Auction Autographed Guitars On StormAid.com

SAN ANTONIO--(BUSINESS WIRE)--Aug. 19, 2004--Clear Channel (NYSE:CCU)

-- Proceeds from 43 Autographed Guitars to Benefit Victims of Hurricane Charley

As part of Clear Channel Radio's ongoing support of relief efforts for the communities effected by Hurricane Charley, the company is auctioning off 43 celebrity-signed guitars on www.StormAid.com. The site will feature one of the largest charity auctions in radio history with guitars autographed by Robert Plant, George Thorogood, Tom Petty, Sammy Hagar, Stone Temple Pilots, ZZ Top, Kenny Rogers, Wynonna Judd, Incubus, The Strokes, Linkin Park, Britney Spears and many other artists and celebrities. All proceeds will go directly to displaced families and the Red Cross.

The auction on www.StormAid.com begins promptly at 3PM ET today and will end at 3PM ET on September 20, 2004.

"Clear Channel Radio is participating in local relief efforts and holding a variety of local fundraisers across the country to aid Florida hurricane victims," said John Hogan, president and chief executive officer of Clear Channel Radio. "Our Florida radio stations have been especially active. They were broadcasting around the clock before, during and after the hurricane, and are participating in and promoting ongoing relief efforts. This auction is another way for individuals to support those in need. At the same time, the guitars are great pieces of memorabilia for any music fan."
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http://home.businesswire.com/portal/site/g...643&newsLang=en

Omar A · Aug 19, 2004

Download the 3rd wallpaper Here

blurredxnotes · Aug 20, 2004

On ..Monday, when LP is on Rockline, I'm pretty sure you can listen over the internet. On www.wrif.com

Mark · Aug 21, 2004

Originally posted by SpiffyHybrid@Aug 20 2004, 12:34 AM
On ..Monday, when LP is on Rockline, I'm pretty sure you can listen over the internet. On www.wrif.com
Click to expand...

You're going to have to provide a direct link, not jsut to a website's main page.

blurredxnotes · Aug 21, 2004

Originally posted by Mark+Aug 21 2004, 01:25 AM--></span><table border='0' align='center' width='95%' cellpadding='3' cellspacing='1'><tr><td>QUOTE (Mark @ Aug 21 2004, 01:25 AM)</td></tr><tr><td id='QUOTE'> <!--QuoteBegin--SpiffyHybrid@Aug 20 2004, 12:34 AM
On ..Monday, when LP is on Rockline, I'm pretty sure you can listen over the internet. On www.wrif.com
Click to expand...

You're going to have to provide a direct link, not jsut to a website's main page. [/b][/quote]
http://www.wrif.com/pages/listenlive.asp

x__x · Aug 21, 2004

lp's breaking the habit rises to no.1 in muchmusic canadian charts...

source: http://www.muchmusic.com/tv/countdown/

Ander · Aug 21, 2004

Originally posted by x__x@Aug 21 2004, 12:59 PM
lp's breaking the habit rises to no.1 in muchmusic canadian charts...

source: http://www.muchmusic.com/tv/countdown/
Click to expand...

Posted with credit.

LinkinJunior · Aug 21, 2004

Rock, rap pound Smirnoff crowd

By Jay Webb
Special to the Star-Telegram

DALLAS - The cancellation of this year's Lollapalooza tour was attributed to poor ticket sales. Part of the unspent money probably went to last week's Curiosa Festival, which featured bands that attract a slightly older crowd.

Lollapalooza's younger dollar probably went to Friday night's Projekt Revolution package tour at Smirnoff Music Centre, starring hard rockers Linkin Park and Korn along with hip-hop stalwart Snoop Dogg.

Linkin Park's set was a propulsive barrage of sound, light, personality and energy that blasted away at the crowd of about 16,000. Lead screamer Chester Bennington and rapper Mike Shinoda wove a vocal tapestry of angst and melody.

Bennington unleashed his vein-bursting yowl and completed a series of spinning jumps across the stage. Shinoda was slightly more subdued and was a nice balance with his smoother vocal delivery.

There was nothing smooth about Korn. From the moment drummer, and sometimes Calvin Klein jeans model, David Silveria kick-started the set with a drum solo, it was clear that the audience was in for a beating, mostly from other audience members.

While the band members tore through thrash-metal hits like Got the Life, A.D.I.D.A.S. and Freak on a Leash, the audience exploded, from the mosh pit in front to the back of the lawn.

The crowd got a real workout jumping up and down. Smirnoff security guards earned their keep ejecting eager seat-jumpers trying to get closer to the stage. One particularly brutal stage rush left one concertgoer lying in the aisle for a few minutes before security decided he was well enough to be carried out.

Korn's choice in cover songs got mixed reactions. They played a strangely faithful version of Cameo's funky R&B hit Word Up! that seemed lost on the crowd. Korn and Cameo obviously don't share much of a crossover audience. They also played all three parts, not just the more famous second part, of Pink Floyd's Another Brick in the Wall, with which the audience was obviously more familiar.

More novelty act than musical talent, Snoop Dogg delivered his hit Gin and Juice along with an entourage that couldn't be counted because they were lost in the smoke on stage. Snoop lazily waltzed around the stage while two guys on trick bicycles rode around between the rapper and the musicians.

He set a nice, easy-going vibe before the oncoming rock onslaught but seemed a little distracted, almost as if he wished he was somewhere else.

Click to expand...

http://www.dfw.com

Ander · Aug 22, 2004

Originally posted by LinkinJunior@Aug 21 2004, 03:56 PM

Rock, rap pound Smirnoff crowd

By Jay Webb
Special to the Star-Telegram

DALLAS - The cancellation of this year's Lollapalooza tour was attributed to poor ticket sales. Part of the unspent money probably went to last week's Curiosa Festival, which featured bands that attract a slightly older crowd.

Lollapalooza's younger dollar probably went to Friday night's Projekt Revolution package tour at Smirnoff Music Centre, starring hard rockers Linkin Park and Korn along with hip-hop stalwart Snoop Dogg.

Linkin Park's set was a propulsive barrage of sound, light, personality and energy that blasted away at the crowd of about 16,000. Lead screamer Chester Bennington and rapper Mike Shinoda wove a vocal tapestry of angst and melody.

Bennington unleashed his vein-bursting yowl and completed a series of spinning jumps across the stage. Shinoda was slightly more subdued and was a nice balance with his smoother vocal delivery.

There was nothing smooth about Korn. From the moment drummer, and sometimes Calvin Klein jeans model, David Silveria kick-started the set with a drum solo, it was clear that the audience was in for a beating, mostly from other audience members.

While the band members tore through thrash-metal hits like Got the Life, A.D.I.D.A.S. and Freak on a Leash, the audience exploded, from the mosh pit in front to the back of the lawn.

The crowd got a real workout jumping up and down. Smirnoff security guards earned their keep ejecting eager seat-jumpers trying to get closer to the stage. One particularly brutal stage rush left one concertgoer lying in the aisle for a few minutes before security decided he was well enough to be carried out.

Korn's choice in cover songs got mixed reactions. They played a strangely faithful version of Cameo's funky R&B hit Word Up! that seemed lost on the crowd. Korn and Cameo obviously don't share much of a crossover audience. They also played all three parts, not just the more famous second part, of Pink Floyd's Another Brick in the Wall, with which the audience was obviously more familiar.

More novelty act than musical talent, Snoop Dogg delivered his hit Gin and Juice along with an entourage that couldn't be counted because they were lost in the smoke on stage. Snoop lazily waltzed around the stage while two guys on trick bicycles rode around between the rapper and the musicians.

He set a nice, easy-going vibe before the oncoming rock onslaught but seemed a little distracted, almost as if he wished he was somewhere else.

Click to expand...

http://www.dfw.com
Click to expand...

Posted with credit.

Paul · Aug 22, 2004

No Warning is signed to "Machine Shop Recordings"...?

http://www.vh1.com/news/articles/1490444/0...2004/id_0.jhtml

LinkinJunior · Aug 23, 2004

The summer of 2004 was nearly remembered as the year Lollapalooza was abruptly canceled, possibly never to return. But now it's likely to be remembered as the birth of Project Revolution, hosted by rock 'n' rap headliners Linkin Park.
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Sunday at the Cynthia Woods Mitchell Pavilion a muddy, sweaty horde of kids and young adults enjoyed the debut of this all-day concert festival. Project Revolution gathered a lineup of hard-charging styles that complemented Linkin Park's mix of metal blasts and bass beats well. Joining the band were Korn, Snoop Dogg, the Used, Less Than Jake, Ghostface, Funeral for a Friend and an army of second-stage baby bands.

Lollapalooza's two-day lineup of classic modern rock and jam bands collapsed under its own weight. But Project Revolution's roster of still-vital veterans and new blood was broad and strong enough to bring diverse fans in early and keep them rockin' for nearly nine hours.

Unlike so many old-school rappers like P. Diddy and Redman, who seem to think their mere presence is entertainment enough anymore, Snoop Dogg is a better entertainer now than when he was getting his start.

Taking a stage that held a human-size doghouse with a DJ booth on its roof and dog biscuits hanging from the rafters, Snoop's entourage was a business crew of guitarists, drummers, horn players and his always-dancing Uncle Junebug. He touched on songs from his entire career, but it was Gin & Juice, What's My Name? and other hits from his debut that got the loudest cheers.

The brooding metalheads of Korn might think the band has been out of the game for too long, but its set of singles and covers was a fiery announcement of its greatest-hits album to be released in October. Lead singer Johnathan Davis was a Highlands villain in a leather kilt. On A.D.I.D.A.S., his screams sounded like a mix between Danzig and Trent Reznor of Nine Inch Nails. The group is dark, but lightened up for a covers of funky disco hit Word Up and Pink Floyd's Another Brick in the Wall (Pt. 2).

At press time, Linkin Park had only been onstage for about 30 minutes, but tracks like Don't Stay and Lying From You sealed the group's ascendency to keepers of the rock-rap bridge. Chester Bennington and Mike Shinoda's wails and rhymes were a perfect complement.
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