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Except LP attended the Out of Ashes shows and Chester attended the Fort Minor shows - both were showing support to one another. Mike talked on social media about that.

There are quite a few vocal takes used across the album that are not on the original releases.

Sean has nothing against LP but is waging a war with fans against Warner and treating the LP fans like trash by cussing them out on social media. Not just Sam. Chester's mom is a terrible person. His sister was involved in this stuff last year but she deleted her socials or something, not sure.

He is asked all the time, and won't answer it. Why would Mike answer a question about them when their promo videos are full of people DESTROYING him for years now? That's gotta be incredibly disappointing for Mike to see that. The same people who said he is disrespecting Chester by playing In the End live, etc. His silence says all that needs to be said.

Here's Mike's Q&A summary with highlights from Thursday, June 25th. Not a whole lot but he mentioned A Thousand Suns. Some of the questions deal with specifics about creating music, so check the stream out if that's up your alley. - "Are there plans for the 10th anniversary of A Thousand Suns?" -> "Not at this moment. Maybe we should plan something, that'd be a good thing to do." - "How do you feel about your music reaching newer generations even after so long?" -> "That's very exciting to me. Kind of like what I was talking about with renforshort.... in one sense, it's good to have fans, it's good to have young fans.. blah blah blah. But the idea of me being a 20 year old and making something and when I'm 43 and a 20 year old will listen to it or they're still going back to it, or I have something I can share or teach somebody... that's a whole other level of gratitude. So yeah, thanks for being here."

Haven't seen any evidence of them being rude to the press. Check out interviews from 2000-2004, they were always cool with the press. Agreed about Pods, the 1998 date seems legit. The other demos are labeled as 1998 because Mark likely recorded vocals on some of those, but Mike also thinks Chester joined in 1998 when he joined in 1999 lol

Still no news from Mike on the "Open Door" or CoronaJams release, but here's his Q&A summary from today. - Someone sent Mike a clip of him on Frat Party in 2001 and he said they were having fun, but were also losing their minds on tour. "The travel was so aggressive. You know what our manager used to do back then that we caught on to very quickly? Well, not quickly enough. They did this thing they'd send you out to a country, and say, "oh we'll route them this way because while you're in the area, you should go to this country or you should go do this TV show." "While you're in the area" happened when we were in Australia and they sent us to southeast Asia to play a show, while we were "in the area." We didn't know the distance between New Zealand and Malaysia because we hadn't been to either place before, so we were like, exhausted. We were like, "oh we need to go promote the album, we haven't been there, we'd love to go." And it's like a six hour flight or eight hour flight or whatever... it's not "while you're in the area." - "On the Hybrid Theory cover, there are four symbols. I wonder who designed it." -> "That was Frank Maddocks who designed those. I don't think Joe and I did anything with them or gave any input, I don't think we did. Iconic symbol combination." - "Hi Mike you recently talked about Friendly Fire. What about other unreleased songs from One More Light?" -> "Every album we've got so many songs that we make and you know, they're not... some of them are just in really like, half cooked, half baked conditions. So I mean, I think fans tend to be very overly optimistic about those types of things. In their imagination, there's some gem that's the best Linkin Park song that's sitting on a hard drive somewhere. I promise you that's not the case. The best stuff is always the stuff we put on the record. There are some songs where we were like, "oh this is really good", but it's not better than the record. Some of it is like, a verse and chorus copied twice and that's the second verse as well... it's like half done, it's not done." - "Have you ever considered doing orchestral versions of the songs?" -> "No, not really. I think other people and other musicians have done stuff like that and it's all good." - "LP's past with the record label wasn't always roses. What are some things you would change about the way labels treat artists and/or the music industry in general?" -> "You know, we had a fight with the label a long time ago because it was like, they wanted to go public and make all this money and they weren't going to cut the artists in on it. And at the same time, they were spending all of their time and energy doing that and we weren't convinced they were adapting to the changing musical landscape very well. We were already concerned that they weren't prepared to like, keep up with what was going on in technology, like music technology. And then they were doing this IPO. And you notice, we're not complaining about Warner Bros IPO now, because it's an entirely different time and it's an entirely different cast of characters. I'm not super deep in it, I feel like the labels do what they need to do to be good partners and to make money. Some artists do really well in that equation and other artists don't get attention in that equation. It's always the artists who don't do well that complain. That's just life." - "What inspired the lyrics of "Open Door", especially the first verse?" -> "Open Door was really like, I was already writing it before quarantine and all of that. It was like looking for opportunity, and for me, looking for things that really grab my interest and keep me excited and feel like the place to spend energy. It could be a lot of things to different people. I was writing from the perspective of wanting something that was worth investing myself in, in terms of energy and time and passion and all of that. But still with some attitude in the verse, but with an encouraging kind of verse. " - "Are the lyrics of "Prove You Wrong" about a specific person or group of people? The lyrics in the second verse seem so specific." -> "I feel like this song was really a lot about feeling like somebody didn't have your back, somebody didn't have my back, or betrayed trust, you know. So, it's really about wanting somebody to support you. I feel like sometimes what's worse than somebody not supporting you is somebody lying about it. Or that you expect them to and then they don't. I think this song wasn't my parents or anything, but I feel like that's one thing that's so tough a lot of people when they talk about their deep issues, their real stuff that they deal with. It's like your parents or certain people in your life you expect more of them, or you expect them to have your back on certain things. And when it's somebody of importance, it's more hurtful or shocking when they don't. So parents are like that, that just sucks." - "What was your first impression of Brad?" -> "Brad lived next door to my friend Mark. And their bedroom windows were directly across from each other. And it was almost like a TV sitcom. He'd like play guitar in his room and you'd hear him shredding like Metallica. But it was always that really funny thing, you could out Mark's window and you could talk to Brad. I didn't know Brad at that point, he'd just like yell out the window and talk to Brad. Mark would. He seemed like a cool dude, though." - "How was your experience making the sounds and score for The Raid film?" -> "That was cool. Basically The Raid was a movie that was already almost basically done. They had put it out, it was a lower budget, Indonesian, action, martial arts film. They reached out because they were going to release it in the U.S. and they wanted something to kind of spice it up and the director and Sony who had put it out had thought of me. And I had fun. Basically I got to score a film, like learn on the job of scoring a film. The director was very open to my ideas and he didn't manhandle the score very much which from my understanding, sometimes that happens where people on either the production company or director, they will get really picky about the score and it can be contentious. So this was not contentious, it was very easy and a lot of fun. And I learned a lot on the job. I met Joe Trapanese and became friends with Joe. I love that guy, he's crazy talented. Super nice guy as well. So overall it was an awesome experience."

Long time popular Linkin Park remixer zwieR.Z. has released a brand new remix of "Sorry For Now" from One More Light in a rock version. The release comes with a full music video as well, which is sure to rack up a lot of views on YouTube. His Avengers Infinity War remix of "Lying From You" has over 13 million views while his "One More Light" remix has over 6 million views. As Mike Shinoda said back in the Living Things era, "And yes, of course I know @zwierz is a fan favorite for @linkinpark remixes." Check it out and let us know what you think!

Mark Morton recently spoke to Midwest Breakdown about the reception from Linkin Park fans to "Cross Off" with Chester: "I was really apprehensive and anxious about — not the creative side, because I really believed in the music that we had put together, but just how it would be perceived and how people would be willing to accept a release from me under my name," Mark admitted. "So we put out [the first single] 'The Truth Is Dead', and it really got received very well, and then knowing that we had this monster song with Chester that we were waiting to reveal. When 'Cross Off' came out, the response was absolutely mind-blowing, man. I mean, I knew it was a special song in and of itself, compounded with the fact, too, that Chester was no longer with us, and it had been a while since people had heard his voice that way. And the impact it had in that moment, it was so heavy to hear from all the LINKIN PARK world… I got so many messages and so much feedback from LINKIN PARK fans, thanking me for doing the song and telling me how much it meant to them and what a gift it was to hear his voice again." He continued: "[Chester had] such an iconic voice — really, a voice of a generation in a lot of ways, 'cause he was so unique and so prolific and just such an amazing talent. I could go on and on. Chester was just a really genuine, loving, compassionate, creative, brilliant dude, and I'm just really fortunate to have had the opportunity to write and record a song with him. So when it came out, it was just mind-blowing, man. It was a hit at radio stations, and more important than that, it impacted a lot of people and they let me know it. So I was super proud of it and super grateful to have had that chance." Listen to the interview here.

Mike's first Q&A of the week. Not much, but here's the highlights. He's going to make a low budget jam with only Garage Band and free sounds. "Is there a chance you can play Believe Me at future shows?" -> "I could, yeah. The thing I felt about that one, was the verses on Believe Me were all tied together conceptually. I want to do solo-solo shows, not all alone, but I want to do them like... it's my vision and my show. I didn't want to bring out Styles of Beyond or anybody else. I didn't want anybody else doing their vocals if I didn't have to. It's mostly about that. I can't just do my verses and then do the choruses, that's weird. I didn't know how to do that very well and have it presentable. I could rap their parts, but I thought that was... I don't know." - "Is it true when Chester was auditioning for the band, there was a guy who heard him and said, "If you guys don't pick him, they're idiots" and left? -> "Kind of that. That's kind of how it happened. I think Chester finished and he walked out and there was another guy who was leaving, who decided to just leave. And I think he talked to the guy. And the guy was like "Ah no, I'm not trying out for this, that's just stupid. If they don't pick you, they're idiots." I think that would be anybody's reaction. That's how I think that happened because obviously he didn't come in the room and say it to me."

Still checking about what they aired Sunday. Here's the interview they aired Saturday.

Moving right along to June 19th with Mike, here are the highlights! Mike said check out the Kerrang piece he did talking about White Pony by the Deftones. - "We both are celebrating 20 year anniversaries you guys. White Pony 20, Hybrid Theory 20, so cool. It's a monumental occasion, my boy Mark manages the band, which is awesome. Mark and I have known each other since we were 13 I think. Deftones was one of his favorite bands when we were in high school. Mark and I started my band, our band together. Eventually, like, he wasn't a singer, he would get like crazy ulcers and stuff from the stress of doing band stuff. Having to get on stage made him physically nauseous. Then he went into management, he's really good at a lot of stuff that has to do with music, and so he ends up managing, like basically number 2 at the management company at the company Velvet Hammer who manages System of a Down, who he loves, Alice in Chains, who he has always loved, Deftones, like talk about a dream job. Just working with bands that you love. It's stressful, managing bands is not for the faint of heart because bands will call up at three in the morning from another country and yell at you. Like, "This is falling apart, I don't know what I'm doing, I'm a sensitive artist! I'm masking it in anger and resentment" and the manager is supposed to be like, "ok I understand, it's going to be fine."" - "You've been performing live over 20 years, do you still get nervous?" -> "I've said this before, if I do get nervous, it'll be for a TV thing or something that's live on broadcast, just because the stakes are high. Like screwing up on Saturday Night Live would suck, so that's a place where I do get a little nervous, or like on a live broadcast awards show or something like that." - "Do you have anything to say about the live version of the song Cigarettes? Would you ever consider releasing this version? With it's outro, this song is so dope and I am sad it is rarely performed at the shows." -> "Thanks. I try to make it something special. I just feel like some things are special for those occasions, I feel like it's nice to keep some things... *interrupted by Booty Down* - "As I get ready to release this stuff, as I get ready to put stuff out, if you or anybody that you're friends with or whatever are dancers, even like, I have always for a few years now I have been wanting people to dance like legit dance to my shit. Because I don't dance, I can't dance. There were a couple of points where I was trying to make a video or two with hiring a dancer who is legit, like interpret the thing and dance. If you're good enough to do a short choreographed TikTok dance to any of this, that's a gold mine for my brain. Something like that that I can't do that you can do, I love it so much. Please, give me good dance videos. My TikTok is for you. You give me the videos, I will post them on my TikTok, my TikTok will be nothing but you dancing to this music. That's the magic. I don't care if it's ballet, in fact I want it to be like, hip hop and ballet." - "In the song Fine the lyrics seem hopeful and positive towards change, why did you decide to make it a villain in the video?" -> "I felt that the lyrics in the song Fine were not intended to be literal, they were intended to be either open to interpretation or ominous. So, if you just take them literally, you think, yeah, this song is about reassurance. But if you listen to it and think, "this is being sung by a bad person", then you get a different experience. Go back and listen to Fine." - "Hey Mike since you are a theater guy, would you ever consider making ATS: The Musical? I think ATS would be perfect." -> "I don't know. Yes.... I don't know if I would be like a good partner on something like that because I'd be so picky. That's a very precious piece of work and I feel like the guys and I would have to feel like the story or whatnot was really exceptional. Yeah, if it was a story that was exceptional. But of course somebody who is funding something like that, "well, why are you picking that record? You've got to do Hybrid Theory, the musical" and I'm like, "that would make a very weird musical." I don't know." And he leaves us with - "we've got some fun stuff coming up in the next week or two!"

Getting caught back up with Q&A recaps, here's Mike from June 18th! BIG answers to a few of these! And don't miss his piano tutorial for The Catalyst, Burn It Down, and What I've Done near the end. - "Did anything ever happen with the track "Fuse" after the Xero days?" -> "Yes, I'll tell you what happened to it... it stayed in a hard drive. It leaked, I think it leaked, Fuse leaked right? You guys found Fuse, right? It was on like old demos and stuff. No, it didn't? Yes, it did? Ok it's a very unknown and unusual track. But yeah it was one of my favorites back in the day, a little rappy-style thing." - "Hey Mike, you guys acted like little jerks in the 2000s, like throwing chicken at skylights, wet tissue at pedestrians, hiding broken glass tables. Do you guys regret recording these moments?" -> "Let me tell you something, it could have been a lot fucking worse. We could have been taking advantage of little girls - and we weren't. We could have been breaking all of our instruments - and we didn't. We could have been, I don't know, horrible racists - but we weren't. I don't know, pick your thing. Here's the thing, we were kids having insane experiences. Here's an idea of the sense of the transition of like coming from where we were to where we ended up being on Hybrid Theory. Before Hybrid Theory, when we even had the record deal and we were recording Hybrid Theory, I was living in apartment in Glendale. My rent was roughly $850 a month shared with two other people. That's what I could afford. If you know Glendale, CA in LA, my car that was I driving cost me $7,000ish, let's say between $7,000 and $10,000. Any of my extra money I would either spend on extra music gear or a movie. And I switched off between eating an actual meal of fish and rice, and the two meals after that would be fast food and ramen noodles. So I had a nice balanced diet of garbage and sustenance. When we mixed our album, we decided to mix it with Andy Wallace. Andy works in New York and the label flew us out to New York. I had never been to New York before. I was like, freaking out. Brad and I were freaking out - he had been to New York, but we flew to New York to go mix with Andy. When we got out off of the train and into Manhattan, he was like, "dude stop looking up at the buildings. You're obviously a tourist, you've never been here. I hear that people get mugged.. you're more likely to get mugged if you're in touristy spots and looking up at the buildings. Stop doing that, we're going to get fucking mugged." So I had never been to New York, but like all the music I liked was from New York. Well, more than half. Yeah and then all of a sudden we were getting flown around to do press and do shows. By the way, on our own budget at the end of the day. What happens is they will give you a budget to do press and whatever, and then they actually charge you back. Like, "Oh we're going to put a food budget in your studio budget", and we're like, "oh that's cool", but they take those receipts and when your album starts selling copies, they take the money from the food receipts and they take that out of the money out of your album sales. And they don't pay you until that is paid. Even if your A&R guy flies out to meet with you or you fly to do an interview because they want you to do an interview... all of that, you pay for. That is how it works. Because, by the way, if you decide to do that independently without a label, you're going to pay for it too. So either way you pay for it. It's not bullshit, it's bullshit in the sense that yeah it would be nice for them to pay for all of that, but also, I think most people don't realize when you're a musician, you're automatically a small business. Automatically that's what it is. You don't get it all for free. I'm not mad, actually, about any of that. There was a time when I thought that was very unfair, but, there are parts of it that are unfair, but we can talk about that another time." - "Do you remember playing with Linkin Park in Portimao, south of Portugal, in August 2009? You made a lot of people happy." -> "Man, there's a reason Brazilians, a lot of people in South America have been really big fans of the band over the years and Portugal and Argentina, you guys are very... affectionate, just loud and affectionate. And I appreciate it. There's a reason why it has become a little bit of a meme in the Linkin Park community, because it's true, and you're cool, and that's good. I know Portugal is in Europe, I was grouping the Portuguese." - "Can you show us how to play the bridge of The Catalyst, the organ during Joe's solo?" -> "Hmm, what is the best way to do this demo? How can I do this? Did you mean the "lift me up, let me go" part, is that what we are asking? Alright here's the thing, I'll do it quick here." And Mike did the demo. (2h38m in), "By the way, those shapes, those are the ones I use to write with" (he plays Burn It Down and What I've Done). This is a good insight into Mike playing piano, definitely check this moment out. - "Mike, you said you guys did a lot of demos for Bleed It Out. Can you guess how many demos you did with all of the songs in total?" -> "Dude. I mean there are certain songs that are almost, like, notorious in our catalogue for having so many versions. Somewhere I Belong, Bleed It Out, actually Nobody Can Save Me was one. The song itself, like the words, melody, and chords came very easily. But the track, it took so much to get it right." - "Because I have been doing the streams, I have been getting a couple of offers from some of the companies whose stuff I use to do some contests, so that's exciting... so free stuff for you guys, maybe? We'll see!" - "Hi Mike, when LP would get a record mixed, would there be a lot of opinions in the band - any stories?" -> "I haven't really shown you guys, mixing can be a little tedious. I do it as I go, obviously. I did a demo of a song, it's right here, this is what we made. From here, I might work on it and tighten it up and fix some things in order to present it to the band. So I'd present it to the band and say, "here's the track", maybe I present it with no vocals, chances are I probably would present it with some vocals. There have been many different phases in the band for presentation of songs. Phase one was - "here's a demo with no words on it, what do you think?" Phase two was, "I'm going to put vocals on it, what do you think?" and then I realized the guys in the band, my band in particular, would get... if you put vocals on a song, those vocals were married to the song. So if I sang ANYTHING that they didn't like, they would think of the song as... if I sang "stinky teapot" in this song, in their minds, this would be the stinky teapot song forever. Forever. And even when I change those lyrics to something good, they would be like, "oh I don't like stinky teapot." So I stopped singing those things on it because psychologically they got married to the bad things and had trouble... I literally with Joe in particular, I had to remind him so many times. He's like, "oh I don't like that song, blah blah blah" and I had to keep reminding him... like I'd play it for him and he'd listen to the new version, and he'd like, "oh that's right, I forgot you rewrote the lyrics" or "you changed the thing, I do like this better" and the next time we talked, he'd be back to stinky teapot. *slams desk* So I started singing "la la la" or "da na na" with no words because people got married these old things. And then eventually I just stopped doing that altogether. This is where I'm at now, I would present either instrumental or I would present almost finished. Nothing in between because just in between, it was too problematic in our band. So mixing, it was always me and Brad with any mixer, we were always hands on, we were almost always in the room unless it was just physically impossible. And yeah, the reason we were in the room is because we had the most knowledge about it and sense about it. And that can be a subjective statement, sure, but there are some things that indicate whether that's a subjective statement. So for example, if I play a ten year old... if I take a track with three different types of EQ on it and I play it for a ten year old and say "are these different?", that child is probably going to say no. They're probably going to listen to it and say "no, what is different? they are all the same." Somebody more in tune with those things will say, "yeah I can tell they are different" and if I say "here's 1, 2, and 3, and play them" and I play them in a different order, and say "now tell me what order they are in", if you can't pick it up and tell me which, then your ear is not attuned to it yet. Make sense? So it's not totally subjective. My ear, I can probably pick out what order, like which one is which and what you've done, and you develop that over time." Mike is working out the subscriber feature with Twitch and says that it is coming soon. Mike would like to meet Dave Greco from Twitch in person one day but wants to do an art collaboration with him soon. - "LPLive says, do you remember how or when your remix of Butterfly Caught by Massive Attack came about? Why did you pick that song?" -> "I don't know how that came about. I was so thrilled to do a remix for Massive Attack, I love their music. And I definitely chose that song, I may not have chosen it from the album, but they definitely gave me some options and I chose that one because I really liked it."

Wanted to add something from May 11th, the day before this: - "What's your favorite song from The Hunting Party? What do you remember the most about that process?" -> "I was really into some specific heavier bands, hardcore bands. They weren't all part of one genre, it'd be like Helmet, Bobby Hundreds got me on to Gorilla Biscuits, Inside Out, there's a band called Gallows... the record where Andy Wallace mixed it, ah, that opening song that Riverbank song... the way they mixed it, brutal, in the best way. I was listening to Gojira a little bit. I listened to "Mark The Graves" the other day because a bunch of Peruvian Linkin Park fans did a playoff bracket of Linkin Park songs and a couple of people were like, man, "Mark The Graves" wasn't on there! "Keys To The Kingdom" was, "Guilty All The Same" was, and those are two of my favorite tracks off the record for sure. But "Mark The Graves" wasn't and I went back and listened to it, and I was like, 'Ah that was one of my favorite songs on the record. That was a really fun one, that was a cool one.' But that whole record, like "A Line In The Sand", those are some of my favorite ones I think."

"To commemorate White Pony’s 20th anniversary, SPIN reached out to several well-known Deftones devotees and friends of the band for their insight and perspective on how pivotal White Pony has been to the heavy music that would follow." Mike Shinoda was the first feature by SPIN and had this to say: "I heard the first album, Adrenaline, from a friend when I was in high school; he bought the CD. I liked that album, but I liked Around the Fur even more. I think everyone who was following what the band was doing was really excited to see what would come next. Deftones just has such a unique sound and aesthetic, and White Pony was the album that took such a big step up in terms of communicating who the band was. Chino’s sense of eerie and unconventional melody, the band’s technical chops, and the engineering and production all felt really innovative and fresh when it came together. Nobody was making anything that sounded like that, and when people did, you could tell they were inspired by Deftones. We wouldn’t have written a song like “A Place for My Head” if not for them. There was a bounce to their music that reminded me of my favorite hip-hop songs. And even though the guitars were super heavy, oftentimes they felt smooth like a keyboard, as if the distortion had flattened it so much it was just a wash of chords. White Pony was one of the few albums I was into where I barely knew any of the words. They felt like estimations of lyrics, to me — really abstract and intuitive. I probably still think some of the lyrics say things they don’t say. But isn’t that the beauty of music? A listener’s experience with it can be such an integral part of the song, that it takes over the song’s actual intention or meaning."

Good news, Linkin Park fans. Continuing the trend of festivals streaming Linkin Park material, Summer Sonic has announced a stream this weekend and Linkin Park is included. It says that selections from the 2013 set by LP will be aired. A few songs were broadcasted from this show, but you never know - something we don't have might be included. It's always great to see LP, too. Check the YouTube video below for the full schedule. There will also be a 40 minute WOWOW TV broadcast from Summer Sonic 2013 later this month of Linkin Park too. EDIT: Tracklist: Given Up Lost In The Echo Numb Burn It Down In The End Don't remember this show? The band was on fire in Japan... just take a look at this epic "Lost In The Echo" performance.

The Wednesday Q&A recap from Mike is ready to go! - "What was the first song you learned to play on the guitar all the way through?" -> "My first song on the guitar, I think it was a Zeppelin song. Oh no, you know it was like Nirvana, it was Smells Like Teen Spirit or something like that. Something that was easy as the first song. And then my friend showed me... at one point I learned Zeppelin but not all the way through, it would get to the middle of them and they were too hard. I'd say Smells Like Teen Spirit is the first song I ever learned to play on the guitar." - "Did you pick the openers you had on tour? And who were some of your favorites?" -> "Yes we did. I always talk about My Chemical Romance being one of our favorite openers we had. They were so good, they were on fire when we played together. there were others. Since we don't usually talk about it, some of my other favorite openers we've had... we got a chance to bring out The Prodigy in the US. That was so dope because they're such a legendary group but like, we couldn't have headlined over them at certain places in Europe because they'd be the same size as Linkin Park in terms of the headline slot at a festival or whatever. If it was like an electronic festival or something that leaned that way, obviously, right? Who else? I'd say Snoop Dogg, Snoop opened for us at one point. That was so great. Cypress Hill. Incubus, we did like a coheadliner but yeah, we've played with a lot of great bands. What would be a smaller band that we played with? Ghostface from Wu-Tang opened for me one time with Fort Minor, that was really great. Of Mice & Men. Oh, Coheed! Coheed always brought it. Coheed & Cambria are really great musicians. Yeah, they crushed it every night." - "Were there songs that were cut from the album last minute?" - "There was a song, a One More Light song, that we mixed. We mixed more than the finished album and we mixed a couple other songs just to see if one of them would make the cut or if we would use it for a b-side. And it was Friendly Fire. It was a Jon Green co-write. I wrote that with Jon, I think it was me, Jon, and Brad mostly. But like, I still love that song. By the way is that out somewhere? Did we put Friendly Fire out at some point? We didn't, did we? "Drop It" Yeah ok, we're gonna put a brand new fucking Linkin Park song with Chester's voice on it out. I don't think so! You literally are going to have to wait years to hear that song, so just FYI. And god forbid somebody leak it because that I would actually be really bummed out about, if somebody leaked that song. You will get it eventually. Not this year though, it's not happening." - "Is there a Linkin Park demo you're upset about being voted out?" -> "That's a good question. I don't think so. For me, the ones that I thought were good songs... there were no songs that I loved that the band hated. There were a couple of things that turned into Post Traumatic songs that it was like, "the band never really developed this, the guys didn't really gravitate towards the track", so I just finished it myself. So usually they did become songs. If I liked it, it usually did become a song partially because I was the one putting in the most work so I'd develop them until they were good if I liked them. Make sense? If I like a song, I'm going to work on it more. If it's not working and the guys are like, "I don't know", I will continue to work on it until it's good. And then if they don't like it, those are usually the ones that I don't like that much either, I'm kind of on the fence about, "oh I like it / I don't like it." - "Can you sing the Hold It Together chorus in reverse?" -> "Not anymore, unfortunately. I wish I could. I don't even remember how it starts, it's a good question though." Someone asked the origin of the name Xero but Mike told a made up story about Greek mythology. "Is there a reason there is no In My Remains remix on Recharged while some songs got two remixes?" - "You know, we let the DJs and producers choose songs to remix and that song just didn't get any takers. Maybe somebody sent in one that didn't really work out or something. As I recall, we just let the DJs choose and they didn't choose it."

Tuesday, June 16th! We're at it again with another Mike Q&A as Mike raised question redemptions to 750 Shinodabucks. - "I imagine you being disappointed about What Are You Worth leaking, but would you consider reworking it in the future sets?" -> "What Are You Worth was a song that we worked on for One More Light and I wasn't... I only get bummed out when people leak songs because when it's an unfinished and it's like somebody else just doing it for, I don't know. I feel like if I make a song with somebody and it doesn't work out, like they're welcome to do what they want with their part of it but don't do what you want with my part of it. I think that's rude, I think that's really not awesome. That part of it sucks. If you're a music maker and that situation goes on where you make a song with somebody and they don't want to put it out, I'd say be respectful of their contribution on the song. Otherwise, you shut the door on working with them again. Right? But I guess that makes sense, it's not a big deal... it's a small deal. No, I didn't really love the song personally, I thought it was ok so I wouldn't really want to rework it or anything." - "Would you collab with Holly Brook/Skylar Grey?" -> "Yeah we don't really talk to Skylar Grey anymore so that would seem weird." Someone asked for the second stream in a row about the Given Up bridge and Chester's scream. "It wasn't planned, he was just trying to scream that part over the right amount of time and he just felt like doing one that was so aggro and he just kept going way too long. He just screamed over the top of the chorus going back in and that's what it was." - "What was the concept of the Post Traumatic video that got lost?" -> "That's the Hold It Together video. Some of you were coming to the shows and some of you saw us filming the video and we got so much of it done. We had this whole scene... it was this whole idea partially inspired by the Missy Elliot videos from the early 2000s, it was Hype Williams, he did all of these weird, jittery things. I was doing it in reverse, some of them we were doing takes in fast forward. I had memorized the chorus in reverse and I did this whole thing where set up this shot, we had multiple cameras shot, handheld, it was on stage and I did this whole thing where I came to the stage. So at the end of the show, the show's over, crowd's there. Then I leave the stage and then from off stage they all get in position and we did this whole choreographed thing with like streamers and lights and I don't remember what else, and me walking backwards to the stage. Played in reverse it was SO cool because I was talking to the camera and then I was doing the words and I finished on the stage. Then the streamers went back into the things, like the poppers went in. It was great, we couldn't believe it, we had one take to get it right and we got it. And then at the end of the tour the hard drive was accidentally confiscated by the airport police. We believe. We believe that what happened is that it was in Chady's bag and then all of a sudden it wasn't, and it was his mistake to not back it up. So.... it sucks. And that was just one of the scenes, we had done a bunch of scenes with the crew. And you can't recreate those moments. It's not possible. So, that's a bummer." - "Do you remember when someone threw a bra and it landed on your microphone?" -> "Yes I do remember that, because I saw the video later. That was a really long time ago, huh? Oh my god that was so awkward. We were on like all of these metal shows, and everyone was so tough and cool and shit. And we were so locked into our music. Somebody, PeppePark... Sweden 2007, June 26th at 7:38pm is when it happened."

Ryan went to rehab I think the day before this so it was probably recorded the week before sometime.

A new upload on YouTube has appeared with 46 minutes of footage from Linkin Park's show in Vienna, Austria in November 2014. The uploader says, "To celebrate Chester's life, I'd like to share my full recording of this show. I've recorded the half part of the concert so this is not a full show!" The recording begins on 'Castle Of Glass' (Experience Version) but is shot from a unique perspective next to the stage. On our show page, this is listed as Source 3. Check it out!

Monday Mike... here's a Q&A recap of his stream. Thanks to Nick for the help! Mike did a poll to release sample packs to Twitch subscribers and loves the idea. - "One of my favorite LP songs is Bleed It Out. What was your favorite part of writing that song and how long did it take to create it?" - "God that song took a long time. It felt like a long time because I kept rewriting the verse. The music came pretty easily. The reason I started the verse with "Here we go for the hundredth time" is that I was rewriting the verse like 100 times. I just kept writing stuff I didn't like and I ended up with that verse which I loved." - Speaking about Minutes To Midnight: "It should be said, that album took a really long time. That album took like eighteen months and we estimate over one hundred and fifty demos. Some of them less developed than what I make here everyday, other ones with vocals. And at a certain point... because we were trying to reinvent what the band was and what it meant to be Linkin Park, so we put a lot of work in. Finally I almost went crazy and I was like "Rick we need to put a fucking finish line on this or else it's never gonna come out."" - "How did the concept for LP Recharge the game develop?" - "I think the game company reached out to us first, and they wanted to develop something and they started on it and it looked good. Then we kind of added the element, like we went really deep into the idea of it being more environmentally conscious and benefiting Music For Relief and real life environmental efforts. Nobody had really done a game where you play a game and it benefits the environment. And it went well. It wasn't a big hit or anything but I thought the game came out cool." - "Why didn't you put Across The Line on Minutes To Midnight?" - "Those songs just didn't quite make the cut. I think it was between Across The Line and No More Sorrow... they were filling the same spot. And we didn't like to put more than twelve songs on an album. Besides, you kind of need to have a couple songs in your bag to put on b-sides and other stuff. No Roads Left, Across The Line, there's another song called Blackbirds that we released with that video game. Those things get made along the way and then eventually it's, like, "let's just not put this on the record." If you think about it, part of it's perspective too. Think about it this way. Those of you, a lot of people are mentioning No Roads Left in the chat. You guys know about No Roads Left. You are aware of the song. I feel like it is a good song. We wouldn't have put it out into the world if we didn't think it was a good song. And you guys know a song that other people don't know. You get a song that's a little bit underground and some people don't even know it exists. There's something cool about that. That's the purpose of keeping songs off of a record and putting it out that way." - "Hey Mike you made a remix of Depeche Mode's Enjoy the Silence, any chance you can make a remix of another top hit?" -> "Yeah, I mean that was a special scenario though because they were doing a big remix album / re release of old stuff and they wanted to modernize and get some modern remixes. I would do it, but you know, the scenario would have to work out." - "I want to know if there will be a sequel of Linkin Park" -> "The thing is like, we're all open to it. It's just a matter of it being awesome and getting it right, you know."

Cool. Actually prefer it over some of the Recharged stuff. It's very glitchy which is a cool style to try on an LP song. Not bad at all. Uploaded it to YouTube.

Completely fake. Not only is the setlist fake, the audio is from a different show. Closed the thread.

June 12th, here we go! Another recap of Mike's Q&As. - "When are you going to release the Open Door track?" -> "As soon as I can. I wanted to release it on the 19th, that is apparently not happening because Spotify is featuring only black artists on that day which is cool. So I don't want to release it on that day, that would strategically be a stupid thing to do. And so we're going to release it a different day. It's coming! It's coming soon." - "In Stereo is my favorite hip hop song of all time. Did the beat come first and inspire the lyrics?" -> "Yes, that one was definitely a beat first. Because the song is about the beat in a sense. In Stereo is a Fort Minor track. It's about having a new track that you love and listening to it in your car and getting the love of making the beats... stuff like that." - "Hey Mike, can you break down The Summoning? I hear snippets of old LP songs in it, is that the case?" -> "I don't think there are snippets of old Linkin Park things in it, we just made things that sounded very LP. You know what's fun about that song and about that album? If you really listen to it, there's elements of it that sound like... it's almost like taking like A Thousand Suns sounds and adding metal. I loved that after the fact, it was like a little dirtier with the samples and stuff. The non-guitar based drums, it was darker and dirtier. Darker meaning EQ, it wasn't as bright." - "Hey Mike can you talk about the long scream in Given Up? Who got the idea to put it in?" -> "Ah man, it was just a thing. He was just on it. He was just pissed off or had all this crazy energy. He was doing the scream for that bridge part and he didn't know the structure of the song that well yet, so he did the scream... he did a couple of takes and we were like, "oh that's too short, that doesn't fit in the spot it needs to fit in, it just needs to be longer." And he did it again, and it was still kind of short, so I said "oh it needs to be a lot longer than that." So he just did THAT - he kept going and he knew he was just doing it over the chorus, then he finished it and I was just SCREAMING myself, like "that was the most epic thing I've ever heard!" He was just laughing... sweating and laughing. That was for sure "no shirt on, freaking out in the vocal booth day." I was like, "I'm just going to work around it, I'm going to work the song around the scream." - "In the song Hands Held High, there's the quote "when the rich wage war, the poor will die." -> "It's a very good quote by Jean-Paul Sartre, I found it to be true and I found it to be appropriate to the song topic that I was thinking about, that I was writing about, so I included it in the song. I was quoting it." - "Hey Mike what happened to the mural that you painted in the music video for Welcome?" -> "It was painted on a backdrop of 12 inch record sleeves. How did you not get the memo on this guys? Fuck! Hold on, I'm looking at my own web store because I want to see. They're sold out? They're gone? Are you sure? Who was collecting information on all the positions of the squares? Like they broke down, you got this one, this is the square you got. LPCatalog. You guys bought the vinyl from the thing and then you didn't tell them where it was, poor LPCatalog, I felt so bad, they didn't get the info from you and it's your fault." Mike says there is an Indian population in LA and he loves Indian food. So when he goes to India, he wants to eat more of the food. - "One of my favorite Fort Minor songs is Spraypaint and Inkpens. Any story you want to tell about the We Major mixtape?" -> "The We Major mixtape, I made that with all the people involved after I finished the Fort Minor album. I had a couple of those tracks that I wasn't going to include on the album and then we did them for the mixtape, and then I did a bunch of other stuff. I made all the tracks except for I think Scoop DeVille did two. Yeah we just sent it to Green Lantern and he blended it, he mixed it. I put all of the songs together, we put all of the raps together like in a few weeks. It was pretty fast, I feel like that's the point of a mixtape."