A new LPTV episode from our North American Tour is up. Check out below and stayed tuned for more coming soon.
Find more videos like this on LinkinPark.com
Find more videos like this on LinkinPark.com
Linkin Park Heading to Jakarta
Linkin Park will be playing at Stadion Utama GBK in Jakarta, Indonesia on September 21.
LPUX ANNUAL MEMBERS TO RECEIVE PACKAGE, NO SHIPPING FEES
The LP Underground is thrilled to announce an exclusive LPU merchandise package will be a part of the $60 Annual membership offer, inclusive of all shipping/handling fees.
Introducing The Linkin Park Association Wiki
After nearly a month of hard work, and brainstorming between The Linkin Park Association and the Linkin Park fan community.
Sunday, February 27, 2011
Sunday, February 20, 2011
FACEBOOK TOWN HALL DISCUSSION
Hi guys,
On Tuesday, Feb. 22, at 3pm PST / 6pm EST, we will be joining experts from the United Nations and the folks at Facebook for a unique Town Hall discussion about the ongoing relief efforts in Haiti. It's been more than a year since the devastating earthquake, and there is still much to be done to help send aid to the region. We will be talking about the progress that our organizations have made, and about how you can support the UN and its partners in helping Haiti to continue to rebuild and transform.
This is a unique opportunity to hear from UN Secretary-General Ban Ki-Moon and a U.S. Government expert live on Facebook. Our conversation won’t be complete without your voice, so be sure to tune in, ask your questions, and be heard. Leave a comment here with any questions you may have for us about our efforts in Haiti.
Tune in to facebook.com/unitednationsfoundation to participate. We look forward to chatting with you on Facebook on Tuesday.
By : Phoenix
Source : Linkin Park
On Tuesday, Feb. 22, at 3pm PST / 6pm EST, we will be joining experts from the United Nations and the folks at Facebook for a unique Town Hall discussion about the ongoing relief efforts in Haiti. It's been more than a year since the devastating earthquake, and there is still much to be done to help send aid to the region. We will be talking about the progress that our organizations have made, and about how you can support the UN and its partners in helping Haiti to continue to rebuild and transform.
This is a unique opportunity to hear from UN Secretary-General Ban Ki-Moon and a U.S. Government expert live on Facebook. Our conversation won’t be complete without your voice, so be sure to tune in, ask your questions, and be heard. Leave a comment here with any questions you may have for us about our efforts in Haiti.
Tune in to facebook.com/unitednationsfoundation to participate. We look forward to chatting with you on Facebook on Tuesday.
By : Phoenix
Source : Linkin Park
Friday, February 18, 2011
Between Hard Rock and a New Place: Appreciating Linkin Park
Just when you think you know what to expect from Linkin Park, they change it up. ROB O'CONNOR follows the band's evolution, but will nu-metal fans go along for the art-rock ride?
W ith the exception of Led Zeppelin, who were an island unto themselves, hard rock bands have a tough time with appearing soft. It goes against their very definition: hard rock.
Agoura Hills, California’s Linkin Park have been gradually making that transition from your average mosh-pit variety nu-metal, rap rock band into an art rock band capable of U2-type seriousness and Pink Floyd-like conceptual heft.
Where tunes such as Hybrid Theory’s “In the End” and Meteora’s “Easier to Run” were the exceptions to their initial aggressive attack, years of mentoring under the production auspices of Rick Rubin have turned the group into a much more contemplative unit.
With that, critical respect for the band is ever so subtly changing. Where once the group was openly disparaged, according to Rolling Stone, as “must have (being) designed in a laboratory as the consummate rap-metal band,” they have since begun receiving positive notices in The New York Times.
Linkin Park certainly know that all forms of hard rock have been ostracized upon initial impact. From Blue Cheer, Led Zeppelin and Black Sabbath through Judas Priest, Iron Maiden and Motörhead, it takes a ridiculous amount of persistence or patience for bands on the louder end of the spectrum to get any respect. If you’re Marillion or Black Oak Arkansas, you’re likely waiting for eternity.
The band’s latest studio release, 2010’s A Thousand Suns, solidifies the shift toward varied tunes and tones. The album emphasizes atmospheric shades, apocalyptic concepts and electronica interests just south of Radiohead. Linkin Park are steadily marshalling the troops towards the epicenter of “artistic respectability.” Do they need to?
Fact is, LP were doing just fine on their own. Their debut album, 2000’s Hybrid Theory, got called plenty of names resembling “derivative,” but the sales and audience reaction justified the existence of a band that had received multiple rejections from major labels before finally signing a deal.
The kids will always know what the adults never understand. Hybrid Theory wasn’t just an explanation of the group’s sound – a hybrid of metal and hip-hop exemplified by the melodic singing of Chester Bennington and the rapping of Mike Shinoda – but an accurate description of the band’s bi-polar emotional outbursts. Bennington ached to be loved and expressed deep insecurities while Shinoda launched to the front of the stage to fend off all doubters with his raps of defiance.
The band appeared to have a pinky swear with its audience to understand their grievances with growing up and the band’s second album, Meteora, further earned their audience’s trust with tunes like “Somewhere I Belong,” “Nobody’s Listening” and their concert fave “Numb.”
While the band spoke the language of youth in their lyrics, they also knew there were changes in the music world, subtle shifts that demanded remix albums and strategic alliances with others in neighboring genres. Their 2004 mash-up with Jay-Z for Collision Course, where Jay-Z’s raps are set to LP’s music, led to a hit and a Grammy Award for the track “Numb/ Encore.”
A Thousand Suns, like its predecessor Minutes to Midnight, was produced by Rick Rubin, the man who gives new life to aging legends and a critical pedigree to everyone he meets. The resulting album plays as intended, as one long concept album concerning that most joyous of topics, human extinction, where songs segue from one another and sampled speeches give the album a feeling of, gulp, elegant power. (Can fans forgive them for the piano ballad, “Iridescent”? Can critics get past the usual “extinction” clichés?)
The extra percussion and further reliance on keyboards suggest Linkin Park will continue to evolve. Sure, “Blackout” screams with the disgusted rage of yore, but even then it’s to increasingly computer-derived sound blocks that are far more futuristic than another guitar solo. That’s something you can’t say for many hard rock bands that believe mining the same territory, repeatedly, is the only way to get the job done.
LP’s audience may appreciate the doomsday scenario of “The Catalyst,” but can its Euro-disco aura really be any substitute for the tough gnarl of fan-favorite oldies such as “ Papercut,” “Points of Authority” and “Don’t Stay”?
Large audiences, though, have a way of surprising us often more than the bands they love. LP have always had serious musical undercurrents guiding their travels. Together, perhaps, they’ll discover a new musical planet. To hell with the nay-sayers.
Source : Fuse.tv
W ith the exception of Led Zeppelin, who were an island unto themselves, hard rock bands have a tough time with appearing soft. It goes against their very definition: hard rock.
Agoura Hills, California’s Linkin Park have been gradually making that transition from your average mosh-pit variety nu-metal, rap rock band into an art rock band capable of U2-type seriousness and Pink Floyd-like conceptual heft.
Where tunes such as Hybrid Theory’s “In the End” and Meteora’s “Easier to Run” were the exceptions to their initial aggressive attack, years of mentoring under the production auspices of Rick Rubin have turned the group into a much more contemplative unit.
With that, critical respect for the band is ever so subtly changing. Where once the group was openly disparaged, according to Rolling Stone, as “must have (being) designed in a laboratory as the consummate rap-metal band,” they have since begun receiving positive notices in The New York Times.
Linkin Park certainly know that all forms of hard rock have been ostracized upon initial impact. From Blue Cheer, Led Zeppelin and Black Sabbath through Judas Priest, Iron Maiden and Motörhead, it takes a ridiculous amount of persistence or patience for bands on the louder end of the spectrum to get any respect. If you’re Marillion or Black Oak Arkansas, you’re likely waiting for eternity.
The band’s latest studio release, 2010’s A Thousand Suns, solidifies the shift toward varied tunes and tones. The album emphasizes atmospheric shades, apocalyptic concepts and electronica interests just south of Radiohead. Linkin Park are steadily marshalling the troops towards the epicenter of “artistic respectability.” Do they need to?
Fact is, LP were doing just fine on their own. Their debut album, 2000’s Hybrid Theory, got called plenty of names resembling “derivative,” but the sales and audience reaction justified the existence of a band that had received multiple rejections from major labels before finally signing a deal.
The kids will always know what the adults never understand. Hybrid Theory wasn’t just an explanation of the group’s sound – a hybrid of metal and hip-hop exemplified by the melodic singing of Chester Bennington and the rapping of Mike Shinoda – but an accurate description of the band’s bi-polar emotional outbursts. Bennington ached to be loved and expressed deep insecurities while Shinoda launched to the front of the stage to fend off all doubters with his raps of defiance.
The band appeared to have a pinky swear with its audience to understand their grievances with growing up and the band’s second album, Meteora, further earned their audience’s trust with tunes like “Somewhere I Belong,” “Nobody’s Listening” and their concert fave “Numb.”
While the band spoke the language of youth in their lyrics, they also knew there were changes in the music world, subtle shifts that demanded remix albums and strategic alliances with others in neighboring genres. Their 2004 mash-up with Jay-Z for Collision Course, where Jay-Z’s raps are set to LP’s music, led to a hit and a Grammy Award for the track “Numb/ Encore.”
A Thousand Suns, like its predecessor Minutes to Midnight, was produced by Rick Rubin, the man who gives new life to aging legends and a critical pedigree to everyone he meets. The resulting album plays as intended, as one long concept album concerning that most joyous of topics, human extinction, where songs segue from one another and sampled speeches give the album a feeling of, gulp, elegant power. (Can fans forgive them for the piano ballad, “Iridescent”? Can critics get past the usual “extinction” clichés?)
The extra percussion and further reliance on keyboards suggest Linkin Park will continue to evolve. Sure, “Blackout” screams with the disgusted rage of yore, but even then it’s to increasingly computer-derived sound blocks that are far more futuristic than another guitar solo. That’s something you can’t say for many hard rock bands that believe mining the same territory, repeatedly, is the only way to get the job done.
LP’s audience may appreciate the doomsday scenario of “The Catalyst,” but can its Euro-disco aura really be any substitute for the tough gnarl of fan-favorite oldies such as “ Papercut,” “Points of Authority” and “Don’t Stay”?
Large audiences, though, have a way of surprising us often more than the bands they love. LP have always had serious musical undercurrents guiding their travels. Together, perhaps, they’ll discover a new musical planet. To hell with the nay-sayers.
Source : Fuse.tv
Thursday, February 17, 2011
LAS VEGAS MEET & GREET AND OFFICIAL AFTER PARTY
Linkin Park will be doing a meet & greet at Club Tattoo in Las Vegas on Saturday, February 19 before their show that night from 6-8pm. Be sure to get there early. Wristbands will be given out starting at 10am. First-come, first-served. Details at www.clubtattoo.com.
After the show head over to the official after-party at Haze Nightclub at the Aria Hotel and Casino. Joe Hahn will be spinning. Don’t miss it. Details at http://www.arialasvegas.com/nightlife/haze-nightclub.aspx
After the show head over to the official after-party at Haze Nightclub at the Aria Hotel and Casino. Joe Hahn will be spinning. Don’t miss it. Details at http://www.arialasvegas.com/nightlife/haze-nightclub.aspx
Vegas is on; see you there.
I just got an email from management saying that the Las Vegas show is definitely on. Happy to hear Chester is feeling better–we’ll see you all at the concert.
Side notes: Dallas and Houston have been rescheduled. Dallas at the American Airlines Center is now on Wednesday March 2nd. Houston at the Toyota Center is now on Thursday March 3rd. Info for people attending the rescheduled shows is HERE.
Also: our Madison Square Garden show will be airing on the FUSE network this week (tomorrow, Friday Feb 18th, at 9:30pm / 8:30 central). Here’s a taste:
http://fuse.tv/ontv/shows/linkin-park/what-ive-done.html
---
PRESS RELEASE:
After having to cancel and postpone several shows due to illness of co-lead singer Chester Bennington, LINKIN PARK will resume its A Thousand Suns world tour at the MGM Grand in Las Vegas Saturday February 19th. Bennington was hospitalized last week with a viral infection and complications from treatment but has been cleared by his physicians to return to the stage.
“I’d like to thank our fans for all the kind wishes I’ve received,” says Chester Bennington. “I’m looking forward to being back on stage, which is a lot more fun than being in a hospital. I also want to apologize to our fans in the cities affected by the cancelations and postponements and let them know we’ll be back as soon as we can.”
Linkin Park’s live show is a transformative multi-media experience, with visual technology that befits the power of their music. MTV.com praised the tour as “a hit-packed pummeling set” while Artist Direct observed that “rock in the 21st century was defined by Linkin Park tonight.”Joining Linkin Park from February 19th through 26th will be UK legends, The Prodigy.
Source : Linkin Park
Side notes: Dallas and Houston have been rescheduled. Dallas at the American Airlines Center is now on Wednesday March 2nd. Houston at the Toyota Center is now on Thursday March 3rd. Info for people attending the rescheduled shows is HERE.
Also: our Madison Square Garden show will be airing on the FUSE network this week (tomorrow, Friday Feb 18th, at 9:30pm / 8:30 central). Here’s a taste:
http://fuse.tv/ontv/shows/linkin-park/what-ive-done.html
---
PRESS RELEASE:
After having to cancel and postpone several shows due to illness of co-lead singer Chester Bennington, LINKIN PARK will resume its A Thousand Suns world tour at the MGM Grand in Las Vegas Saturday February 19th. Bennington was hospitalized last week with a viral infection and complications from treatment but has been cleared by his physicians to return to the stage.
“I’d like to thank our fans for all the kind wishes I’ve received,” says Chester Bennington. “I’m looking forward to being back on stage, which is a lot more fun than being in a hospital. I also want to apologize to our fans in the cities affected by the cancelations and postponements and let them know we’ll be back as soon as we can.”
Linkin Park’s live show is a transformative multi-media experience, with visual technology that befits the power of their music. MTV.com praised the tour as “a hit-packed pummeling set” while Artist Direct observed that “rock in the 21st century was defined by Linkin Park tonight.”Joining Linkin Park from February 19th through 26th will be UK legends, The Prodigy.
Source : Linkin Park
"What I've Done" Live from Madison Square Garden
Check out Linkin Park performing "What I've Done" live from Madison Square Garden. Catch the entire show on FUSE tomorrow, February 18, at 9:30pm EST. Check your local listings.
Don't Sleep On Linkin Park
Over the last 15 years there have been many acts that have presented themselves as rap/rock acts and attempted to sustain their careers while maintaining the sensibilities and credibility of both genres. Limp Bizkit and Kid Rock come to mind as having a successful run but it is Linkin Park who claims the prize for staying power, consistently churning out number one albums and top-selling tours over the last decade.
In 2000 Linkin Park effortlessly reached rap and rock fans with their chart smasher “In The End” from their number one debut album Hybrid Theory. “In The End” is arguably the epitome of an original rap/metal track. The video was as intriguing and visually stimulating as the lyrics were thought provoking.
]“On the last record, we were trying to figure out where we wanted to go. I mean, we were in a box. We were Linkin Park who makes this certain sound and we wanted to make a record that didn't sound like that," lead vocalist Mike Shinoda told AllHipHop.com.
When you think of the fusion of rap and hip hop, historically, you have to give credit to the song and video that first made a tangible and palpable connection between the two genres and cultures, “Walk This Way,” a remake of Aerosmith’s rock juggernaut, whose new version included verses from rap pioneers Run DMC. The song was released in 1986 and was a bona fide mash-up before the phrase even existed.
It was a monster hit that aptly appealed to both audiences. It is not to be overlooked that before the collaboration, Run DMC’ s production had consistently had a heavy rock influence which is apparent in hits like “Rock Box” and “King of Rock.” Later, The BeastieBoys had success with this formula.
That was due in part to diverse producer and DefJam co-founder Rick Rubin who is still proving his relevance and coming full circle, having co-produced Linkin Park’s latest number one album A Thousand Suns. Linkin Park was looking for a more progressive sound than on previous albums.
"Rick is one of the most versatile producers that I love. I mean, there are guys that make a lot of different stuff and I don't like what they do and I love what Rick does. I guess the best I could describe it is that when we first started the demos for the record it was clearly different, it was a very specific sound for A Thousand Suns and we were a little hesitant bringing a producer onboard, but once we met with Rick, we knew it was going to be a good fit."
The album debuted at number one in 2010 and is still producing hit singles such as “Waiting for the End” with its infectious beat, laced with hip hop undertones and “Wretches and Kings” whose sound is heavily influenced by Public Enemy is also an outstanding track off their latest album.
When Linkin Park teamed up with Jay-Z in 2004 for the breakthrough mash-up album Collision Course, the validation of a hip hop giant certainly galvanized their credibility as hip hop artists, if there had remained any doubt. Collision Course was an innovative project with each single combing the production and vocals of songs previously recorded by both acts.
The album was mixed by Mike Shinoda and reached number 1 on the Billboard album chart. Another credible hip hop endeavor was Shinoda’s side project, The Rising Tied in 2005. The album featured hip hop heavyweights Black Thought, Common, Lupe Fiasco and Jay-Z who also served as executive producer. The Rising Tied was developed under Shinoda’s Fort Minor side project and created so that he could express music that he felt did not fit Linkin Park’s style. Michael Shinoda told AllHipHop.com that Linkin Park has progressed to incorporating those types of songs today.
“I think, well, the reason I did the Fort Minor record was because, at that time, Linkin Park was kind of, I felt like there were things that were going to work for Linkin Park and then there were things that were not going to work and I didn't feel like those songs could work on a Linkin Park record," Shinoda explained. "Since then, the band has really broadened its horizons and the ideas that may have ended up on a Fort Minor record back in the past now can be a Linkin Park song and that's why you get songs like, 'When They Come For Me,' or 'Wretches and Kings.' Those songs off the new record are, I mean, they really started as demos that sounded more like a Fort Minor demo, I think, and then once we all kind of get together and work them out, they grow and they change and they end up on a Linkin Park record.
"Just as a side note, I think, for Chester and I especially having done, like, these side projects, I think it's a good feeling to know that the other ideas that we have, these, like, kind of off the wall things, not only are they accepted now, but they're welcomed and the whole band is excited about them," Shinoda said.
From “In The End” and Hybrid Theory in 2000 to the current A Thousand Suns and songs such as “Wretches and Kings”, 2011 makes a remarkable unprecedented 11 year run for the rap/metal band. Linkin Park was named the number one selling Rock/Alt band by Billboard/Soundscan and has amassed over 50 million album sales. Shinoda remains modest about their formula for success and ability to sustain in both genres.
“I think that gap has been bridged a million times and we just happen to have grown up on many different styles of music and when we write music that's how we write it," Shinoda said. "I think one misconception about how our band or maybe other bands, too, is that when you sit down to write a song you're thinking of imitating something else.
"When we go into the studio, we don't set out to say, 'Let's write a song like another song.' We just sit down and try and write something that is exciting to us and something that's fresh and especially on the new record, "A Thousand Suns," that's where the majority of the songs came from. Just trying to write something that sounded different and was exciting to us,” Shinoda told AllHipHop.com.
Linkin Park is currently on the North American leg of their A Thousand Suns World Tour. The group promises a musically and visually stimulating show for which they developed new technology and each ticket holder receives a free mp3 download of the concert they attended, each of which will be a unique experience.
“We play different set lists and then within those set lists we improvise, so we wanted a way for the look of the show to kind of ebb and flow with whatever we do with the music. So, from night to night, the music will be different and the visuals will be different as well. No two shows will be the same.”
Source : ALLHIPHOP
In 2000 Linkin Park effortlessly reached rap and rock fans with their chart smasher “In The End” from their number one debut album Hybrid Theory. “In The End” is arguably the epitome of an original rap/metal track. The video was as intriguing and visually stimulating as the lyrics were thought provoking.
]“On the last record, we were trying to figure out where we wanted to go. I mean, we were in a box. We were Linkin Park who makes this certain sound and we wanted to make a record that didn't sound like that," lead vocalist Mike Shinoda told AllHipHop.com.
When you think of the fusion of rap and hip hop, historically, you have to give credit to the song and video that first made a tangible and palpable connection between the two genres and cultures, “Walk This Way,” a remake of Aerosmith’s rock juggernaut, whose new version included verses from rap pioneers Run DMC. The song was released in 1986 and was a bona fide mash-up before the phrase even existed.
It was a monster hit that aptly appealed to both audiences. It is not to be overlooked that before the collaboration, Run DMC’ s production had consistently had a heavy rock influence which is apparent in hits like “Rock Box” and “King of Rock.” Later, The Beastie
That was due in part to diverse producer and Def
"Rick is one of the most versatile producers that I love. I mean, there are guys that make a lot of different stuff and I don't like what they do and I love what Rick does. I guess the best I could describe it is that when we first started the demos for the record it was clearly different, it was a very specific sound for A Thousand Suns and we were a little hesitant bringing a producer onboard, but once we met with Rick, we knew it was going to be a good fit."
The album debuted at number one in 2010 and is still producing hit singles such as “Waiting for the End” with its infectious beat, laced with hip hop undertones and “Wretches and Kings” whose sound is heavily influenced by Public Enemy is also an outstanding track off their latest album.
When Linkin Park teamed up with Jay-Z in 2004 for the breakthrough mash-up album Collision Course, the validation of a hip hop giant certainly galvanized their credibility as hip hop artists, if there had remained any doubt. Collision Course was an innovative project with each single combing the production and vocals of songs previously recorded by both acts.
The album was mixed by Mike Shinoda and reached number 1 on the Billboard album chart. Another credible hip hop endeavor was Shinoda’s side project, The Rising Tied in 2005. The album featured hip hop heavyweights Black Thought, Common, Lupe Fiasco and Jay-Z who also served as executive producer. The Rising Tied was developed under Shinoda’s Fort Minor side project and created so that he could express music that he felt did not fit Linkin Park’s style. Michael Shinoda told AllHipHop.com that Linkin Park has progressed to incorporating those types of songs today.
“I think, well, the reason I did the Fort Minor record was because, at that time, Linkin Park was kind of, I felt like there were things that were going to work for Linkin Park and then there were things that were not going to work and I didn't feel like those songs could work on a Linkin Park record," Shinoda explained. "Since then, the band has really broadened its horizons and the ideas that may have ended up on a Fort Minor record back in the past now can be a Linkin Park song and that's why you get songs like, 'When They Come For Me,' or 'Wretches and Kings.' Those songs off the new record are, I mean, they really started as demos that sounded more like a Fort Minor demo, I think, and then once we all kind of get together and work them out, they grow and they change and they end up on a Linkin Park record.
"Just as a side note, I think, for Chester and I especially having done, like, these side projects, I think it's a good feeling to know that the other ideas that we have, these, like, kind of off the wall things, not only are they accepted now, but they're welcomed and the whole band is excited about them," Shinoda said.
From “In The End” and Hybrid Theory in 2000 to the current A Thousand Suns and songs such as “Wretches and Kings”, 2011 makes a remarkable unprecedented 11 year run for the rap/metal band. Linkin Park was named the number one selling Rock/Alt band by Billboard/Soundscan and has amassed over 50 million album sales. Shinoda remains modest about their formula for success and ability to sustain in both genres.
“I think that gap has been bridged a million times and we just happen to have grown up on many different styles of music and when we write music that's how we write it," Shinoda said. "I think one misconception about how our band or maybe other bands, too, is that when you sit down to write a song you're thinking of imitating something else.
"When we go into the studio, we don't set out to say, 'Let's write a song like another song.' We just sit down and try and write something that is exciting to us and something that's fresh and especially on the new record, "A Thousand Suns," that's where the majority of the songs came from. Just trying to write something that sounded different and was exciting to us,” Shinoda told AllHipHop.com.
Linkin Park is currently on the North American leg of their A Thousand Suns World Tour. The group promises a musically and visually stimulating show for which they developed new technology and each ticket holder receives a free mp3 download of the concert they attended, each of which will be a unique experience.
“We play different set lists and then within those set lists we improvise, so we wanted a way for the look of the show to kind of ebb and flow with whatever we do with the music. So, from night to night, the music will be different and the visuals will be different as well. No two shows will be the same.”
Source : ALLHIPHOP
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