Astat

Nowhere currently, and it will likely remain that way.

End of Keys to the Kingdom: Kid: I'M NOT ALLOWED TO SAY CERTAIN THINGS. AUGHHHHH! (short studio clip of Rob playing drums) Mike: Try and do...try and do the other thing, real quick. End of All For Nothing: (clip of instrumental music in the background) Mike: Maybe we're too far? Brad: I don't think we're too far. Mike: Okay. Brad: That's a good verse...put the heavy shit there. Mike: The heavy shit right here? End of The Summoning: (sounds from a kid's baseball game) Guy #1: Watch the ball... (sound of the ball being hit) Guy #1: NICE! Guy #2: RUN! RUN! RUN! RUN! Guy #1: Alright, yeah! No idea what's at the end of War, but whatever it is, it's a short clip that loops over and over. Sounds almost like a small clip of an old-timey radio jingle or something.

I went to high school in a stereotypical Midwestern, middle-class town where everybody was trying to simultaneously fit in and rebel against everything. I was part of the local music scene in that area for years. I've met hundreds upon hundreds of people who fit in with this stereotype. They all go to Warped Tour every year, they all shop at Hot Topic and Spencer's, they're all so concerned with rebelling against the whole preppy kid/middle class stereotype that they don't realize they're fitting into the arguably worse stereotype of the "scene kid" (a.k.a. punk without any credibility to back it up). They're also all about 12-16 years old. It's so uncommon for them to be outside that age group that Warped Tour literally lets parents into the shows for free so they can drive their kids there, since most of them are too young to have a license. These are the kind of kids who go to local shows, stand against the back wall with their arms folded and a completely unimpressed look on their face for every band doing something original, then suddenly jump in the pit and have the time of their lives as soon as the next Silverstein clone band gets on stage. My first band I played in back in 2005 was literally some of the most god-awful third-rate screamo crap I've ever heard in my life, yet the kids ATE IT UP at the two shows we played. Half our songs didn't even have real lyrics, we just alternated between shrieking unintelligibly and growling unintelligibly! We were trolling these kids so fucking hard, and they were completely clueless. A few years later, my next band got invited to PLAY at the Cleveland stop on Warped Tour in 2009. It would've been by far the biggest opportunity of any of our musical careers, and we turned it down because we couldn't stand the thought of being around thousands of these people all day. Generalizations are perfectly warranted when you have over a decade of real-world experience to back them up. I'm sure there are some perfectly well-adjusted, reasonable people who are fans of bands like A Day to Remember, Breathe Carolina, etc...but they're certainly in the minority. *Edit* Also, consider how often I rip apart how stupid Linkin Park fans can be. That isn't just reserved for Linkin Park fans, FYI. In fact, it's not just reserved for music fans or fanbases of any kind. I generally think about 80% of humanity as a whole consists of people I'd rather not be around, so yeah. I think it kind of makes sense, with LP trying to channel the "get in touch with you at 15" thing while making THP, it was probably a smart idea to go do a show where kids in that age group are the primary demographic. Unfortunately, 15-year old music fans in 2000 were an entirely different breed of people than 15-year old music fans in 2014. 2000 fans were probably more angsty, but didn't have nearly as big of a sense of entitlement or elitism. LP won't gain any fans by doing this show, and there's going to be a huge backlash from the "fuck anything that gets played on the radio" kids who worship bands like the ones they collaborated with today. Really hoping Finch in particular doesn't lose too many fans because of this, because they're a great band. Anyway, since nobody's pointed it out yet, Machine Gun Kelly's verse in BIO was from his song "What I Do." I only know this because back when he was still going by his oh-so-suburban given name of Richard Baker, he was 2 grades below me at Shaker Heights High School (one of the most affluent high schools in the region, BTW - definitely not consistent with the sketchy "East Cleveland" upbringing MGK will claim he had) across town from where I went to school, so once he blew up all my high school friends became his biggest fans.

Nah, more likely that the "fans" of those bands will be bitching about how much credibility Finch, ADTR, etc. lost by doing something with LP.

I like how outside of MGK, the people LP collaborated with at this show all come from bands with snobby little "scene kid" fanbases who love to pretend to be anti-establishment and hate on "shitty mainstream bands" like LP even though they probably bought their entire wardrobe at Hot Topic with mommy and daddy's money and think that makes them punk. Have I mentioned how much I hate Warped Tour? Some of the bands are decent (Finch, Yellowcard), but the people. OMFG, the people. The clientele Warped Tour caters to literally epitomizes everything that is wrong with the youth of America. /rant

Don't get your hopes up for an official release of this, guys. The legal red tape that would surround releasing a show with this many guests would be ASTRONOMICAL. Also, Machine Gun Kelly is an absolutely vile human being, and the fact that LP would be willing to collaborate with him greatly diminishes my respect for them.

You kidding me? It's a California show, we probably wouldn't even get the setlist without the band sharing it themselves. I'll be shocked if any non-Instagram videos surface from this show.

Absolutely two different songs.

There's one discrepancy between the official lyrics and what's actually on the album - in Keys to the Kingdom, Mike says "Y'all locked in that same flow" instead of "Y'all stuck in that same flow."

The One Step Closer instrumental found in the Hybrid Theory instrumentals isn't actually ripped from the CD, it's put together from the Guitar Hero stems. Apparently the guy who ripped the CD thought it wasn't necessary to rip that track because "there was already an instrumental out there," even though Guitar Hero mixes always sound different than the original recordings.

Simple answer to both is that the guy who originally ripped it threw a temper tantrum when the mp3 rip leaked, refused to share it in better quality, and never posted scans of the CD. For some reason, LPL staff turned that into "well we can't TECHNICALLY prove that the CD exists, therefore we have to pretend the HT instrumentals don't exist because omg phear WBR," even though they're no more or less illegal to share than HT unmastered, The Rising Tied instrumentals, etc...it's stupid.

Technically speaking, that part of the ALITS riff is still different from Victimized. Same strumming pattern centered around a D, but Victimized is mostly single D notes with a D octave at the end, while ALITS bounces back and forth between an open D5 chord and a D octave. Victimized also has a shitload of effects on the guitar, if you strip those away it doesn't sound quite as similar. Plus there's a different turnaround at the end of each riff, it's only the first part that's mostly the same. Nowhere near as blatant reusing of the same riff/chord progression as Faint/From the Inside or What I've Done/A Light That Never Comes. The "Victimized riff" is one small component of a 6 and a half minute song that covers a ton of ground. They've built entire songs around identical chord progressions in the past.

I don't think there's any significance to the interludes. Listen to The Shape of Punk to Come all the way through once, and you'll immediately figure out where they got the idea.

Sounds like a total "let's just toss a shoddy copy of the album online somewhere to shut this guy up" deal. I have no idea why you'd even be getting it through Rhino Records, the email to download the record is supposed to come from linkinpark.com directly, therefore it should be the same for everyone worldwide. It's a WBR download link that's unique to each email they send out, 320kbps, with embedded album art in each mp3 file.

Rob always played along with it dating back to the Third Encore performances in 2007. Sometimes you can hear Rob in the mix, sometimes you can't.

Where are people hearing Blackout in Mark the Graves? I'm not hearing it at all.

Listening to the show right now, and I'm sorry, but anyone who says the crowd was "epic" is obviously letting their memory of being at the show and enjoying themselves make it seem better than it was. Crowd is dead silent between songs, the band basically got a fucking golf clap after Forgotten, numerous points during songs where the crowd can't be heard at all, people not even blowing up big when the intros to Papercut, OSC, ITE etc. start like they do at basically any other venue. Only appropriately-big reactions for a headliner at a festival of this size were on Crawling and Numb. It literally sounds like a crowd for an opening band, like LP was playing before Metallica again or something. Listening to the ITE bridge again, sounds like there are like 20 people singing total lol. Band performed very well, particularly impressed with how well the HT songs went for the most part. Only big hiccup was Chester missing the first line of Forgotten. Mike blanked on the lyrics to the second verse of By Myself for like 2 seconds and recovered, but that's nothing.

Most video shows listed on LPL as sources come from camcorders that record to a physical format (VHS, miniDV, minidisc, removable memory, etc.). There isn't really a "video file" until it's transferred to a computer and rendered in a digital format. DVD-format files are essentially the equivalent of FLAC audio files, they don't compress the original data at all like transferring to a .avi/.mpg etc. file would. Same goes for webcasts, you can record it into your video capture software but the file still has to be rendered in some kind of readable file, so people typically save it as a DVD file (or burn it directly to a DVD) to keep the quality from degrading. There are some video sources listed on LPL that aren't in DVD format though.

I see no need for that. Only noteworthy instrumental difference is the beat continuing under the "now for a lesson in rhythm management" part. It's Joe's solo spot and he has control over the samples being played, so of course it's not going to 100% match the album version. The vocal samples are the "unedited" ones found on the unmastered version of Hybrid Theory (this was the case for the 2007-2011 version of the song as well). The only one that's different from prior performances/clearly Mike is the "Wasn't that fun? Let's try something else!" one. I think calling a song a "different version" because of one sample is some Wesley-level shit, lol.

CFTI also essentially takes the spot of Joe's solo at this show, so it's not like that's really "missing."

I have the book, but I don't really have a way of scanning it. Would some hi-res photos be alright?

Requiem/Catalyst > GATS > Given Up > Blackout interlude > Papercut. Can't really imagine them doing it any other way. My setlist prediction: 01. The Catalyst/The Requiem (Mashup intro) 02. Guilty All the Same 03. Given Up 04. Blackout Instrumental 05. Papercut 06. One Step Closer 07. With You 08. Points of Authority 09. Crawling 10. Runaway 11. By Myself 12. In the End 13. A Place For My Head 14. Forgotten 15. Cure for the Itch 16. Pushing Me Away 17. Burn it Down 18. Waiting For the End 19. Mike Solo Medley 20. Numb 21. Faint ---------- 22. Until It's Gone 23. What I've Done 24. Bleed it Out With all of the usual extenders to the non-HT songs, obviously. If I'm doing the math right this comes out to about an hour and a half on the dot assuming they don't do any extenders on the HT songs.

I'm sure there are more moments in the show where Chester and/or Mike use Auto Tune, but they definitely aren't using it on everything. Your guess is as good as mine on GATS, no clue why Chester needs it on the verses. Only thing I can think of is they're using it more for the chorus and just leaving it on throughout the song for simplicity's sake.

My understanding of it is that they started using it on certain songs/parts of songs at some point during the Living Things tour. I first became suspicious of this when Chester's tone randomly started sounding totally different on the Ballad Medley midway through the tour, and his singing on that track became a lot more consistent. I think they may have started using it on Numb around the same time as well. Up until this point though, it's been pretty transparent, ikely because they were only using it on more melodic, clean singing-based songs. GATS is a lot more aggressive, the raspiness Chester uses on heavier songs like that can confuse the Auto Tune plugin when used in a live environment - you can overdrive a microphone just like an amplifier if you sing into it loudly enough, and the subsequent distortion creates harmonic overtones which can confuse the plugin since it's designed to be monophonic (it only tracks one note at a time). There's one REALLY bad Auto Tune glitch during GATS at Rock Am Ring, I forget where it is but it jumps all over the place for a split second as one of Chester's words is trailing off. On top of that, there's the issue with the key/scale not being set right to account for the C# notes Chester sings in the chorus, which results in them being "snapped" up to a D and sounding really weird.

My theory is they're trying to push UIG as much as possible because it's more of a "single-ish" track than GATS, but rock radio is still playing GATS nonstop while practically ignoring UIG. I have yet to hear UIG played once by any of the 4 rock stations in my area.