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Hybrid Theory
|Hybrid Theory
|Studio album by Linkin Park
October 24, 2000 (US)
January 24, 2001 (Japan)
January 30, 2001 (France)
February 05, 2001 (Germany)
|1999 - 2000
|Warner Bros.
|Don Gilmore, Jeff Blue (exec.)
|Linkin Park studio album chronology
Hybrid Theory is Linkin Park's debut album, released on October 24, 2000 through Warner Bros. Records. Four successful singles were spawned from Hybrid Theory: "One Step Closer", "Crawling", "Papercut", "In The End", but tracks such as "Points Of Authority", "Pushing Me Away", and "My December" were also sent to radio stations for airplay despite not being officially released as singles. The album only peaked at #2 on the Billboard 200, but it would go on to become the best selling debut album of the 21st century.
- 1 Background
- 2 Writing and Recording
- 3 Composition
- 4 Releases
- 5 Track Listing
- 6 Personnel
- 7 Live Performance
- 8 Promotion
- 9 Reception
- 10 Gallery
- 11 Trivia
- 12 External Links
- 13 References
The band formed under the name "Xero" in 1996, the original lineup consisting of Mike Shinoda, Mark Wakefield, Brad Delson, Rob Bourdon, Joe Hahn, and Dave "Phoenix" Farrell. Vocalist Mark Wakefield left the band to pursue a different career as things weren't working out with Xero. Phoenix left the band around the same time to fulfill his commitment with Tasty Snax and was replaced by Kyle Christner. Chester Bennington joined the band in 1999, after auditioning via recommendation of his lawyers to Jeff Blue of the A&R Recordings branch of Zomba Music Group. They independently released the Hybrid Theory EP under the name Hybrid Theory in 1999. Some time after the EP was released, Kyle Christener was kicked out of the band.[1]
For three years, the band had been using their connections at Zomba to get the demos out to people who would listen to them[2] and were rejected by every major label and by a lot of independents as well, including by Clive Davis. The rise of other rap/rock fusion groups like Limp Bizkit, Kid Rock and Korn only made things worse for them. "For the first few years, the first couple of years trying to get a record deal, people were telling us pretty much that we weren't great and that we should change our approach and be more like some of the groups that were already popular. That was exactly what we didn't want to do, and we stuck to our guns. We wrote the record we wanted to write," said Brad.[3] After nine months playing forty two label showcases — including a showcase performance arranged by promoter and impresario Mike Galaxy at The Gig-Hollywood on Melrose Avenue — with no results, the band finally went to Warner Bros. Records as a developing artist[4] in November 1999[5] after a buzz started building up in the label industry and Jeff Blue took a position as vice president of their A&R (Artist and Repertory) department. "Several labels pursued me to do A&R after I secured a deal for Macy Gray, whom I developed at Zomba. I insisted that I bring Hybrid Theory under my new contract as my first signing. The one label executive who was truly interested in Hybrid Theory was Warner Bros.' Joe McEwen. Despite being the smallest offer, I knew the label provided the perfect environment for the band to thrive. However, before we started the album, McEwen moved on from Warner Bros., leaving the fate of the band uncertain."[6] He made Hybrid Theory his first signing in April 2000.[7] Warner Bros. had passed on the band three times before that.[8]
Handling all its own management duties until that point, the band hired Rob McDermott at Andy Gould Management in February 2000[8] after previously being offered good deals with bad managers and bad deals with good managers.[9] McDermott recalls the moment they first met, "It was October 1999 when some scrawny rock kid with glasses and Jeff Blue met with me at a cafe on Sunset Blvd to discuss managing a new band Jeff was bringing with him to Warner Bros named Hybrid Theory."[10] They also signed with the booking agency Artist Group International in September 2000.[11]
The band decided that they wanted to make an impression with their new "teammates" at Warner Bros. Records and immediately put out a message to the entire staff saying they wanted to meet them. They set a date, and took over their conference room. They sat them down, exchanged pleasantries, and gave them some paperwork that outlined who the band were, what they intended to do, and how they thought their music, marketing, and fan club should be treated.
The band didn't realize how risky it was at the time, but luckily, label employees were enamored by their stunt, and decided to roll with them. The entire Warner staff was suddenly talking about the new band they just signed.[12] Despite this, the band would soon start facing many problems within the label.
The first problem was the name Hybrid Theory. Another band in the label was called Hybrid and was considered "the next big thing", so they didn't want Hybrid Theory getting confused with them. Each band member wrote different names on separate lists and met to decide which one they liked better. Some of the proposed names for the band were Clear (as in "Clear Plastic", but the label didn't like it), Probing Lagers, and Platinum Lotus Foundation.[13] Chester came up with "Lincoln Park" when driving and coming across a hometown park with that name.[14] Among 30 potential names, this was the only one all members of the band liked. Brad suggested that it would be important to acquire the domain lincolnpark.com, but it was already taken. It would take around $10.000 to acquire the domain, so they changed the new potential band name from "Lincoln" to "Linkin" in order to get it. linkinpark.com was registered on May 24, 2000,[15] and the park has since been renamed to Christine Emerson Reed Park.[16] The band also registered one domain name for each of the rejected names.
What the band didn't realize was that there was a Lincoln Park in virtually every major city in the country. Brad said, "There's actually a park in Santa Monica, where we live, called Lincoln Park, so we thought that was a cool name and started using it. We went on tour right after we changed the name, and we pretty quickly realized there was a Lincoln Park in every town. Kids would come up to us and go, 'Dude! You're from Lincoln Park too? What side?' The joke, basically, is that everywhere we go, people think we're local. So in that aspect, it's a really cool name."[17] Phoenix added, "There's been radio stations in Chicago that have said, 'Here's this local band, from Chicago, Linkin Park' — and that's actually been happening all over the country. In every major city you go there will be a Lincoln Park that's either a park, or a community... For a while, everybody thought we were local, like a support act."[18]
In the end, Mike said he was glad they changed their name. "It was a legal thing, but in retrospect, I think we're glad we did. (rapidly) For one reason, because Hybrid Theory is a very descriptive name and it almost says, "This is what the band's about", whereas Linkin Park does not, and Linkin Park is the kind of name that does not define the band – other than the name defining the band."[19]
The next problem was their music. In the lyrics of Get Me Gone, which Mike describes as "a little glimpse into what goes on behind the scenes,"[20] Mike claims someone suggested they should just be a rock band and he should quit rapping. Chester was the first to receive the news through Don Gilmore. Chester was told he was "the star" and that Linkin Park should be his band. Mike would be relegated to just being the keyboard player or, worse, jettisoned. The band positioned themselves against it. Then the label wanted to bring in another rapper, a reggae vocalist called Matt Lyons. After that, they told Mike to try and rap like Fred Durst of Limp Bizkit. This led the band to cut off all communications with the label unless absolutely necessary.[21]
"At one point, one of the label reps came into the studio and was like 'I don't know, man. This doesn't sound right. This song was weird. This song doesn't sound right.' So our producer was like 'Hold on. Let me try something real quick.' He reaches over and turns a nob. Dude's like 'I don't know whatever you did, man. That's fucking perfect like this. So cool.' All he did was turn the volume up," said Chester.[22]
The band's image was also questioned by the label. When Mike submitted the original logo for Hybrid Theory to the record label, it was shot down by an A&R for appearing "too Asian."[23] Someone brought an image consultant who suggested the band should have a gimmick, saying Joe should wear a lab coat and a cowboy hat and call himself "The Doctor".[24]
Although Phil Quartararo, who was president of Warner Bros. Records at that time, takes credit for personally directing and overseeing the signing, recording and marketing of the band,[25] Chester says the president of the company didn't like the band[26] and didn't want to release their album.
Ian Hornbeck, a musician from Seattle, was asked to play bass, but didn't join the band because of drug issues. His bass lines, however, were used on three songs on the album. Ian would hear himself on the radio for the first time at the age of 20 during his first visit to rehab. "That was a bit of a surreal experience; one that kicked off a sometimes seemingly endless stream of "what if's" over the years. What if I hadn't had only four days to learn an entire albums worth of songs? What if I hadn't chosen to stay up for several days on methamphetamines trying to learn them all, before popping enough Valium to neutralize a stampeding rhinoceros and hopping on a flight to Los Angeles to go meet the rest of the band for the very first time? What if they hadn't decided to try and mend their relationship with their original bass player? What if they hadn't seen me as being a talented, nice guy, but "too much of a liability?" What if I had taken things just a little bit more serious? Sure, I got the job done, but what if? More importantly, what if I screwed up my only chance at truly being able to pursue my passion in life: music? While they would go on to become one of the biggest bands in the world, I was left behind, contemplating the if's."[27]
Many other bassists auditioned for the band, namely Mace Beyers of Grey Daze and Jay Kereny of Lemon Krayola,[28] before Scott Koziol joined them as a fill-in member. Scott had only been in Los Angeles for about 6 months when he met them. He was referred to the band by Barry Squire who runs a LA musician referral service. Rob Bourdon gave Scott a call, they chatted for a bit then he sent Scott a CD of a few tracks to learn. He had a few auditions with the band before they started rehearsing in Hollywood 6 days a week for about 8 hours a day in preparation for live performances and the recording of Hybrid Theory.[29] Mike Elizondo was also asked to play bass for the band at some point but chose to work with Dr. Dre and Eminem instead.[30]
Linkin Park worked throughout 1999 and early 2000 to complete work on Hybrid Theory. The album name is derived from the previous alias the band had. The name still matched the concept of the sound of the album, so they went with it. Brad said, "If you like The Roots you'll like Linkin Park, if you like Slipknot you'll like Linkin Park, and if you like Depeche Mode you'll probably like Linkin Park. That's one of the reasons we called our album 'Hybrid Theory', and that was the original band name. Was because we really approached songwritting from day one, which was really about almost four years ago, as a way to bring together different styles of music and really create a music that would be almost a new sound, that would be unique indentifiable as ourselves."[31]
The art direction and design for the album was handled by Frank Maddocks (his second album cover for Warner Bros. Records),[32][33] with line art sketches and drawings done by Joe and Mike. Freelancing after college, Frank spent time at the label helping with art before he was offered a job and the first album he was involved with was White Pony by Deftones. The members of Linkin Park noticed that and wanted to work with him for Hybrid Theory.[34]
The "hybrid soldier" was created by Mike. According to Chester, "The idea of bringing heavier elements and softer elements of music together was represented through the visual art of the album – the soldier and the dragonfly wings. The really hard jaded looks with the really soft frail touches of the wings is something we really like to do."[35]
The photos on the album were taken on July 29, 2000 when the band was in Pittsburgh opening for The Union Underground. Mike and other members of the band had to borrow some of Frank's clothes for the pre-show photoshoot.[34]
The band's first goals included: making a 4-song demo, selling out the Whisky-A-Go-Go, and winning a Grammy.[36] With the release of Hybrid Theory, they would finally achieve the last one.
Linkin Park moved away from Jeff Blue, who acted as executive producer of Hybrid Theory, after the success of the album, making Tom Whalley, who had known Rob McDermott (the band's manager) for years, their main contact at Warner. Regarding his relationship with the band, Jeff said only that it was "sensitive."[37]
Writing and Recording
After Chester joined Hybrid Theory in 1999, the group began writing new music immediately. They felt there was something special in their musical style, but it still needed work. "All of us, collectively, felt that this style of music could be blended a little bit better, not so jagged and kind of forced in there. We stopped practicing the songs and started working on new stuff," Chester said.[38] After releasing the Hybrid Theory EP, they continued work on their debut album, originally advertised as being due out in late summer 2000.[39]
Between February 2000 and June 2000, the band changed their name from Hybrid Theory to Linkin Park and recorded the album at NRG Studios in Los Angeles, California.
While promoting the album, the band have stated their influences were Black Star, The Roots, Mos Def, Roni Size, Aphex Twin, Depeche Mode,[40] Deftones, Sunny Day Real Estate, Nine Inch Nails, Dido,[41] Black Eyed Peas, Jurassic 5, Pharoahe Monch, Portishead, among others.
About the writing process, Mike said, "When we write, we write by recording, we don't jam or anything, which means we have to record somewhere loudly. In the past, the place that we found was easiest to record in was my room. My walls are about three inches thick and my neighbours must have thought people were dying in my house! The whole neighbourhood could hear it!"[42] Chester jokingly said the band should be called Ten PM Stocker. "He thought of that name because I lived on a street called Stocker Street and, if we tried to record after 10pm, my neighbour would literally kick the wall connected to my bedroom. We were in the bedroom screaming our brains out and the guy next door and his wife were trying to sleep on the other side of the wall."[43] Each member would write their own parts and everyone would meet at one point or another to critique the songs and make changes from there.[44]
One huge problem the band faced in recording Hybrid Theory was getting a producer. Jeff Blue, who acted as executive producer of the album, asked quite a few industry producers to work with Linkin Park, but had no luck. Finally, they were able to work out a deal with Don Gilmore, who helmed the project.[46] Chester said, "We met with a lot of people and had a very difficult time choosing a producer. But Don, aside from making things sound good, stood out as someone who could really push us to work harder as songwriters."[47]
Speaking of how he first met the band, Don said, "I produced their first two records. This is going back a long time; we're talking like 1999 or something. The demos were brought to me through my manager and I thought it was good. I didn't necessarily think it was amazing, but I liked that they were trying to do something unique. So I met with them -- they were looking at some other producers -- and I went to a rehearsal, and Chester started singing and I was just like, "Oh my god, this is really special." I'd never really heard somebody sing that incredibly just in a little crappy rehearsal room. He wasn't really singing like that on the demos, and I just felt like, if he can sing like this in the studio, then we might have a chance of doing something."[48]
Don was quite intense with the band, being essentially a perfectionist with how the final songs should sound. The band has often talked about how many times he would make them rewrite the lyrics to songs and rework other instrumental parts. In an interview with Kerrang!, Chester talked about Don "hating all of their songs", "Well, actually he liked two – "Points Of Authority" and "With You". We basically had to write a new record in two months. We stayed at Mike's house around the clock and wrote that album."[49] Don said, "There was all this talk about how it was a hard record to make, but as a producer, when I ask artists to do certain things -- like, "I think you can rewrite that and make it better," or "I think you can sing that better" -- and sometimes they don't come back with it written better or they don't go out and sing it better, then I'll try again a few more times, but sometimes you just never get there and you go with whatever. But with these guys, when I'd ask for these things and I'd push them to do better, they would. They would maybe get frustrated and angry, but the results were insane."[48]
When questioned if there was any hesitation to work with him at first (considering he had worked mainly with alternative acts), Mike said, "Obviously, we were going for a much heavier sound on our album, so it was a concern at the beginning. But it all turned out good in the end. Don was really good to work with." Regarding lyrical changes and restructuring of their older material, he said, "I am obviously happy with what's on the album (or else we wouldn't have committed it to tape!) but I do like the older versions as well. Most of the changes were done in order to make things a little more accessible. I wanted to make sure that people understood my lyrics. So I used metaphors that were a little more straightforward."[50]
As for the lyrics, Chester said, "I can't talk about this crappy thing that happened to me and expect him to be able to sing it. It has to be vague enough for both of us to go, 'We can relate to it.' And we found that by writing in that way, our lyrics were hitting home with a lot of different people and a lot of different age groups."[38] Mike further elaborated, "Personally, I have always been more interested in composition and songwriting, and honesty in my lyrics. I'm not so sure the latter is at the top of everyone's priority list, in our genre at least. Our lyrics are more introverted than most. We probably focus more on an emotion, not the response. We're not really an "I'm gonna kick your ass" type of band."[51] On another occasion, he added, "Chester and I started writing our best stuff when we talked about the parts and their meanings without defensiveness or pride. The importance is placed on the best part, not who is writing it."[52] As for Don's influence on the lyrics, Chester said, "Our producer, Don Gilmore, made it a point to keep telling us, 'I want to be entertained, I don't wanna hear about your problems!' So, as much as it killed us, we tried to balance out the 'poor-me' parts with the entertainment."[53]
A fact that caught the attention of many people at that time was that Linkin Park was one of the few bands in their genre that didn't have swearing in their lyrics. Dave Farrell explained, "Really what it came down to for us is when Mike and Chester would sit down to write their lyrics, there was a challenge laid down to them both by the band and Don Gilmore, the producer of "Hybrid Theory," to express themselves to the utmost of their ability. Part of what came with that was when they had the feeling that they wanted to use an obscenity, there's always a better way than swearing to express yourself, if you have the time to sit down and think it through. It was almost a byproduct of that process. It wasn't even intentional that at the end of that process, there wasn't any swearing on the record."[54] Mike further elaborated, "It was scary in the beginning, when we started writing about what we felt. But once we realized we weren't the only ones who felt that way, once we saw the audience was coming along with us on that, it freed us up. We wanted to be a little more descriptive, instead of just going 'fuck' all the time. We wanted to go into detail."[55]
Speaking about the sound of the album, Mike explained, "We love so many different types of music that it's hard to differentiate where we're getting our ideas from. We may write something and it doesn't necessarily come from one genre. Sometimes it does and sometimes it comes from a bunch of different things. We have always wanted to do that within our band. When I first talked to the guys about starting the band it was always something like this. We wanted to do something that was a melting pot of these styles. I had said in an interview once that there was a theory of people in America being like a salad bowl or a melting pot. A melting pot is where they all come together and a salad bowl is where they hold their individuality and they exist together. At one point I thought our band was more of a salad bowl where each sound maintains its integrity and just exists in the song together but I totally have changed my mind. I think that it's a melting pot where we've got a lot of things that come together but in the end they all just gel and just become one song and that's what is most important to us. It's just a song. It's not the rap part and the rock part and the electronic part and the singing part and the rapping and the screaming and the whispering."[56] The band tried their best to make all those elements come together without feeling forced. "As part of the writing process, I record everyone directly into a computer to best integrate our digital and live elements. We spend countless hours mixing and matching parts until we get the right combinations and composition."
Personnel-wise, Dave was fulfilling his commitment with The Snax, which left Brad to play the majority of the bass tracks on the album. Ian Hornbeck was asked to lend a helping hand by recording bass for "Papercut", "A Place For My Head" and "Forgotten". Scott Koziol, the band's touring bass player, recorded bass for "One Step Closer". Dave did end up with songwriting credits for two of the twelve songs on the album, "A Place For My Head" and "Forgotten", and is credited as the band's bass player on later US pressings of the album (even though there's no photos of him in the booklet). On the versions where Dave is listed as a band member, Scott Koziol isn't credited anywhere on the booklet.
While still on The Snax with his high school friends, Dave and his bandmates gave each other ridiculous stage names. His was "The Phoenix", a name they got from the movie Mystery Men.[57] In the end, his was the only nickname that actually stuck, and was printed on the Hybrid Theory booklet. He says he's glad they decided on that name because the other option was "Little Bitch" from BASEketball.[58]
While looking for a producer, the band met the Dust Brothers who helped supply the sampled beats on "With You", which was the first collaboration by the band on an album song. The Visionaries rapper LMNO, with whom Mike had previously recorded an unreleased song,[59] was invited to be on the album as well but turned down the offer to focus on his solo album instead.[60]
David Kahne, Jeff Blue's boss at Warner Bros. Records, was one of the people who weren't 100% impressed with the band, so he offered himself to mix a few songs in order to improve them and convince the band to let him mix the rest of the album. Although his mix was good overall, the band had a feeling that Andy Wallace, who mixed Nirvana's Nevermind, would be a better fit for them and chose him to mix the album.[61]
A memorable moment for producer Don Gilmore was "When we finally played it for the record company... The record company had kind of just signed this band that they thought was a normal rap-rock group that would do okay. And when they first came in and listened to it, their jaws were on the floor, they couldn't believe it. They were bringing everybody from the record company over to listen to the album in the studio and there was so much excitement. And then it became a huge priority instantly for the label."[48]
In terms of the amount of songs written for an album, Linkin Park would only outdo the amount of songs written for Hybrid Theory when they went to record their third album Minutes To Midnight in 2006-2007.
In early 2000, Linkin Park sent out quite a few demos to the record label to show their progress on songwriting. Several of these CDs have since leaked online in the decade or so following the album's release.
Some of the songs came together quickly while others took quite a long time. A risky move was to stick with most of the songs found on the demo CDs that Linkin Park sent out to record labels, which got them turned down from record deals. However, Don Gilmore's perfectionist attitude and the hard work of the band paid off, as the reworked versions turned out to be big hits. People who passed on the band would come to Jeff Blue and say the songs that made the album weren't in the demos he sent out to them, but all the songs were actually there. Even Warner Bros. Records made up a story about always believing in the band from day one.[16]
Before Hybrid Theory's release, Chester made a bet with Myra Simpson, national promotions manager at Warner Bros. Records. She had a triple-platinum Stone Temple Pilots plaque and said, "If you go gold by Christmas, I'll give it to you." The album was gold by Christmas 2000 and Chester got the Stone Temple Pilots plaque. He slept with it in his bunk on the tour bus every night.[8]
The original demos for "Forgotten" ("Rhinestone") and "A Place For My Head" ("Esaul", named after a friend of the band[63]) date back to when the band was called Xero and had Mark Wakefield on vocals. Because of this, he and Phoenix have songwriting credits on these songs. Both songs were on the audition tape the band sent to Chester in March 1999.[64][65]
The earliest known version of "Rhinestone" was released in 1997 on the Xero cassette tape, with programmed drums. After the band got a development deal from Zomba Music Group, they were able to buy new instruments and equipment to do better recordings.[9] It's unknown how many songs the band recorded after this, but a new version of "Rhinestone", still with Mark Wakefield, was featured in the 1998 series The Crow: Stairway To Heaven.[66] The episode with the song aired in May 1999. The earliest known version of "Rhinestone" with Chester Bennington on vocals dates from February 11, 2000 and already had different lyrics. The band can be seen rehearsing the song during Marc Ostrick's Lockout webseries which was recorded on February 24, 2000. According to Mike Shinoda, Brad Delson never got past the working title of the song and still calls it "Rhinestone".[67] In the LP Underground 12 booklet, Brad says the song is "definitely a fan favorite" and its spirit is "intimately interwoven into the formative identity of the band." Its original version was created by Brad, Joe, Mike and Mark.
Mike stated in 2003 that "A Place For My Head" was written "seven years ago" (1996).[68] As soon as Chester joined the band, the band re-recorded the song with him, still with the original lyrics. This version is available on the LP Underground Eleven CD and a rehearsal video of this same version can be found on the Frat Party At The Pankake Festival DVD as an easter egg. A completely reworked version of the song was included in the 2-track CD the band recorded in 1999 after the release of the Hybrid Theory EP. The band can be seen rehearsing this version during Marc Ostrick's Lockout. Curiously, by the time it was filmed (February 24), a version of the song with slightly different lyrics had already been recorded, found on a CD dating from January 7, 2000. Sometime around April 8, 2000, another version of the demo was released for free download on the band's website.[69]
Brad went to Ibanez and played on a lot of different guitars until he found one with a piezo pickup, a setting that allows an electric guitar to sound like acoustic guitar. The first song he thought of playing was "A Place For My Head" and he liked how it sounded. The guitar was borrowed to record the album version.[56]
"Runaway" was originated from elements of a Xero song called "Stick N Move", written by Mike Shinoda and Mark Wakefield. Because of this, Mark received songwriting credits for the song. The first version of "Stick N Move" was on the 1997 Xero tape and, like "Rhinestone", had programmed drums. A short instrumental version of the song, dating from 1998, was released on the LP Underground 9.0: Demos CD and is labeled as a "Runaway" demo. Chester has said "Runaway" was the most difficult song to write/record because it "took literally like 6 years to write."[70] He has also said it's one of the worst songs they've written.[71]
A Xero song named "Slip", for which Mark also received songwriting credits, was in the first batch of songs the band worked on with Chester. Various versions of the song were recorded, but they never felt compelled to release it. The band can be seen rehearsing a version of this song during Marc Ostrick's Lockout. An earlier version was eventually released on the LP Underground Eleven CD.
Another Xero song named "Pictureboard" was re-recorded with Chester at some point, but the band abandoned it. According to Mike, it has a sample in it[72] and probably won't get released. Describing the song, he said, "it isn't even that good."[73]
"And One" from the Hybrid Theory EP was the very first song the band wrote with Chester. After releasing the EP, they continued work on the track for inclusion on the debut album but it didn't make it to the final tracklist. While there's no different studio recording of the song (the version on the demo CDs are basically the same but with the audio channels switched), its live version featured a different arrangement than the one on the EP. According to Brad, they took the outro and made it the bridge and pulled the rhythm tighter.[75]
In the first batch of songs the band worked on with Chester, there was also a song called "Blue". The band didn't like the song, but they thought there was something special about the vocal at the end of it. Chester and Mike took the melody and wrote new words to it. Chester recorded the vocal track, Mike wrote the guitar under it, and then they took it into the studio so everyone could work around it. The song became "Crawling".
The earliest known demo of "Crawling" was featured on a demo CD dating from January 7, 2000. A second version of the song with new instrumental and vocal takes dates from February 2000. By April 25, 2000, the song had lost its rap bridge. Brad describes Chester's vocals on "Crawling" as an example of how he expanded their writing ability in the sense of vocal range.[3] However, Chester said "Crawling" has caused him "the most trouble live more than any other song."[64] The lyrics deal with Chester's struggle with drugs and alcohol[76] and is about taking responsibility for his actions, admitting having a problem with himself.[77] According to Mike Shinoda, the music on "Crawling" was heavily influenced by Depeche Mode.[78] The song was the second single released from the album and won a Grammy Award for Best Hard Rock Performance in 2002.
Two other songs from the Hybrid Theory EP, "Part Of Me" and "Carousel", were re-recorded for inclusion on the album. Reworked versions of the songs are featured on a demo CD dating from January 7, 2000. A third version of both songs dates from February 2000. Both tracks were written by Chester, Brad, Joe, Mike and Rob. The original demo of "Part Of Me", "Chair", was written around a sound that Brad collected of a car alarm. Mike sampled and looped it, Brad wrote the guitar, and they both worked on the song around it.[56] Regarding its lyrics, Mike said they are self-explanatory.[79]
"High Voltage" from the Hybrid Theory EP, which is derivative of "Intergalactic" by the Beastie Boys, was completely remixed by Mike[80] for the album. The new version shares the same string arrangement in its intro that "Cure For The Itch" has in its ending, meaning the two would flow seamlessly. While only Mike, Joe and Brad were credited as songwriters for the original version, Chester is also credited on the remix. According to Mike, the "Akira" in the song was a name he used to go by for a short period. It came from the animated movie of same name, and it's also the long version of his brother's middle name, Akio.[79] The remix would only be released in January 2001 on the "One Step Closer" single and as a bonus track on the Japanese edition of Hybrid Theory.
"By Myself" originated from elements of a short instrumental piece called "Sad", which was released on the LP Underground 9.0: Demos CD and dates from 1999. According to Mike, Chester had never screamed in a song before and they had to loan him CDs to get tips on how to do it. He eventually found it "fun to let all that energy out" when screaming.[81] The song was created by Mike, Brad and Chester.
The first known version of "By Myself" can be found on the 2-track CD the band recorded in 1999 after the release of the Hybrid Theory EP. After the CD was released, the song name was changed to "Super Xero". A demo CD dating from January 7, 2000 featured a new version of the song, on which the band worked on until at least February 2000. A version of the song (now called "By Myself" again) released for free download on April 8, 2000 on the band's website was similar to the version on the 2-track CD but slightly different lyrics during the bridge. Another early version of "By Myself" was released on Warner Brothers Records' Raw Power sampler CD sometime before May 30, 2000. This version has the exact same lyrics as the one on the 2-track CD but features a different vocal take.
Like "By Myself", "Points Of Authority" was derived from a short instrumental, called "Oh No". The earliest known version of "Points Of Authority" is the one from the LP Underground 12 CD. In this version, the bridge from the album version is actually the chorus. A similar, but still different, second demo of the song dates from January 7, 2000. A third demo, closest to the album version, dates from April 25, 2000. This version already featured the final chorus, but the intro and bridge had alternate rap lyrics. It was released on the band's website for free download sometime around June 8, 2000.[82]
Mike said "Points Of Authority" was the most difficult song to write on the album. It didn't have a chorus for months and Don Gilmore was putting a lot of pressure on them to write more to it. Mike, Brad and Chester eventually finished it.[83] The original riff for "Points Of Authority" was created by Brad. When he went home, Mike decided to cut it up into different pieces and rearrange them on the computer. Brad had to learn his own part from the computer, but he wasn't bothered.[8] He has stated "Points Of Authority" is one of his favorite songs from Hybrid Theory. The song was intended to be the fifth and final single from the album, with a release set to January 7, 2002, but was ultimately cancelled. Despite this, a music video was still released.
The original title for "In The End" was "Untitled", but the band decided to change it after D'Angelo released a single called "Untitled (How Does It Feel)" in early 2000.[67] The song was created by Mike in the band's rehearsal studio on Hollywood and Vine. He worked overnight in a room with no windows until the song took shape. Mike played the original seed, which included piano and the chorus, to Rob and he told Mike how much he wanted a song that was really true about some aspect of life and this was exactly what he had been thinking.[83] Chester however, wasn't so fond of the song. He thought it was a "pile of shit" and didn't want it on the album,[84] but since then, he has changed his mind, saying "In The End" is a good song that stands the test of time.[85] About the lyrics, Mike said, "I think I was reacting to the things we as a band had gone through in the beginning. The song almost doesn't know if it wants to be optimistic or pessimistic – the beginning is a little dark, but you can't tell (lyrically) if it resolves or not. That's what I like about it."[52] The whole verse for "In The End" is harmonics which Brad came up on his clean guitar.[56] He and Mike worked together on the bassline and composition.
The earliest version of "In The End" is the one from the LP Underground Eleven CD. Right before the band went into the studio to record their debut album, the beat Mike had originally written for the verse was scrapped and Rob recorded a new one.[83] This new version can be found on a demo CD dating from January 7, 2000.
"In The End" was released as the fourth and final single from Hybrid Theory, with a music video inspired by the anime film Princess Mononoke.[86]
A song called "She Couldn't" was recorded sometime in February 2000, but the band had to abandon it.[87] Just like "Pictureboard", "She Couldn't" had samples which prevented its release. The song it sampled was "B-Boy Document '99" by High & Mighty.
The first known versions of "One Step Closer" ("Plaster"), "Papercut" and "With You" ("Dust Brothers") are found on a CD that dates from April 25, 2000.
"One Step Closer" came about after the band had spent about 2 weeks trying to write "Runaway". The band was taking out their frustrations at the inability to finish "Runaway" as well as the problems they were facing with the record label and the constant pressure from producer Don Gilmore. Mike said he and Chester were "just fed up with everything that was going on and we got to the end of our ropes and wrote the song."[88] The song was written in Mike's apartment. While the music came together quickly, the lyrics would take a few tries. The lyrics "I cannot take this anymore/I'm saying everything I've said before/ All these words make no sense," and the chorus, "Everything you say to me takes me one step closer to the edge." came from the band's frustration of handing Don lyrics and he grabbing them and telling Chester to do it again, without even looking.[49][89] Mike wrote "Shut Up" as a rough example for Chester to scream and they kept that lyric. After the song was done, the band thought for a minute that it wasn't a good idea to write that song and it sounded bad.[56] Chester in particular thought it was a "pile of shit" and didn't want it on the album.[90] Despite this, the song was released as the album's first single and Linkin Park's first single overall. Its title, "Plaster", was changed to "One Step Closer", which Mike said was a little bit more descriptive.[56] Scott Koziol recorded bass for the song and can be seen playing in the music video. The album version was mixed by Andy Wallace, but a version mixed by David Kahne exists and dates from June 2, 2000.
According to Mike, "Papercut" was a song that came together relatively quickly[52] and never lost its working title.[67] Describing the song, he said it has jungle and hip-hop elements.[91] Brad, Chester[92] and Mike all have mentioned "Papercut" as being their favorite song at some point because it "best integrates all our influences into one song and does it in a way that's tasteful and cohesive."[93] The song was released as the album's third single exclusively in the UK.
Linkin Park met the Dust Brothers while looking for someone to produce the album. After the meeting they decided to try writing a song together. The Dust Brothers came up with drum loops and different Moog and synth sounds and the band centered in on those Moog and synth sounds, coupling them with guitar and live drums.[93] During the same sessions,[94] they worked on a second together which was revisited in 2001 for inclusion on Dust Brothers' debut album.[95] To this day, the song remains unreleased and its title is unknown.
The song "Dust Brothers" soon had its title changed to "With You" and a new version was released for free download on the band's website sometime around June 8, 2000. This same version was released under the name "Now I See" between June 20, 2000 and July 11, 2000 as part of a Ozzfest 2000 sampler issued by Warner Bros. Records in conjunction with Reprise Records.
A mostly-finished "Studio Finals" version of the album from May 7, 2000 indicates the band had picked the twelve songs for Hybrid Theory (despite them being in a slightly different order) by that point and had versions that were very close to the final songs. This CD had the first known versions of "Pushing Me Away" ("The Cure For Mr.Hahn's Itch"), "Cure For The Itch" ("The Cure"), and "Runaway" (not counting versions of "Stick N Move"). All songs, with the exception of "With You" ("Now I See"), are different versions from the ones found on previous demo CDs and on the final album.
Like "Crawling", "Pushing Me Away" was a song heavily influenced by Depeche Mode.[78]
The band started a beat called "Grr", which was completely made in a MPC, in an attempt to create a "straight up rap song" for the album, but it was discarded once "Cure For The Itch" was made.
Mike has stated Mr. Hahn has a split personality named Remy[96] who is the person talking at the beginning of "Cure For The Itch"[56] to which Joe later said "'Remy' is a lie. Some idiot made that up."[97] The song was created by Mike and Joe. Joe did the beat and the drums and Mike arranged the strings. From there, the song went off in an electronic direction Mike thought was cool.[98] He said "Cure For The Itch" was his attempt at doing a song without words that would fit into a movie.[86] Its working title was "Mr. Hahn".[80]
By July 18, 2000, the album was already mixed and mastered.
Despite the album being finished by that time, the unmastered version of "One Step Closer" was used on the professional wrestling television program ECW as Nova's theme song between August and November 2000. This version was also featured on the ECW Extreme Music Volume 2: Anarchy Rocks CD in 2001.
Right before Hybrid Theory came out, the band wrote and recorded a new song specifically for Kevin & Bean's 2000 Christmas album The Real Slim Santa. "My December" was recorded at The Loft, in Nashville, Tennessee, on October 9, 2000 (a day before Linkin Park's show in the city). The song would be later released as part of the "One Step Closer" single and the Japanese edition of Hybrid Theory in 2001. Most versions of the "One Step Closer" single credits Mike as the sole songwriter of "My December", but some versions also give credits to Brad and Joe. The song was written inside Linkin Park's tour bus and deals with going home[99] after being on the road away from loved ones.[100]
Hybrid Theory was released on the North American territory on October 24, 2000 in CD, vinyl and cassette formats. The album was released elsewhere throughout 2001. The Japanese edition, released on January 24, contained two additional tracks taken from the "One Step Closer" single: "My December" and a rendition of "High Voltage". While the initial US press listed Scott Koziol as a touring member, his name was removed from subsequent issues and Phoenix was listed as a band member. Elsewhere, Koziol is still credited.
A special 2 disc edition was released in 2002 on Asian and Australian territories. The first disc contains all 12 tracks from the original album while the second disc contains the two bonus tracks from the Japanese edition plus three tracks from the "Papercut" and "In The End" singles, all recorded live at the Docklands Arena in London on March 24, 2001.
Hybrid Theory was reissued on gatefold vinyl on April 20, 2013 as part of the Record Store Day.[101] It was limited to 3000 copies worldwide and every copy came with a bonus 10 inch "One Step Closer" vinyl single with a poster and a street team sticker. That same year, on November 5th, Hot Topic issued an exclusive clear vinyl of Hybrid Theory limited to 1000 copies worldwide.[102]
Hybrid Theory was first issued in digital format on August 29, 2006.[103] iTunes released a "bonus version" featuring "My December" and "High Voltage" as well as a live version of "Papercut" recorded live at BBC Radio One's Evening Session from the "Crawling" single. For the first few years this version was available, it was also accompanied by an interactive booklet in MOV format.
A digital video compilation for the album was released in 2009[104] featuring the music videos for "One Step Closer", "Crawling", "Papercut", "In The End", and "Points Of Authority".
To celebrate the release of Living Things, Linkin Park partnered with Spotify to release a set of "best of" live compilations to correspond with each of their previous studio albums. Hybrid Theory was released on May 31, 2012,[105] but since all live tracks were taken from the band's Digital Souvenir Package (DSP) program, which was started in 2007, the album was missing several Hybrid Theory songs.
Sometime in 2012, HDTracks started selling Linkin Park albums in audiophile 48kHz/24bit format.[106] On January 15th of the following year, iTunes used the same masters for their Mastered For iTunes versions of Linkin Park albums. Hybrid Theory was issued both as part of the Studio Collection 2000-2012 digital box set and as a standalone deluxe version album. While the first only contained the 12 tracks of the standard album, the latter featured four bonus tracks: a previously unreleased live version of "High Voltage" recorded at Wantagh on August 09, 2001; "My December"; "Points Of Authority (Crystal Method Remix)" from the LP Underground 2.0 CD; and "Papercut" taken from the Milton Keynes show on June 29, 2008. This is the first time "Papercut" was made available in audio format, as the track wasn't included in the Road To Revolution: Live At Milton Keynes CD.[107]
Track Listing
Standard Edition
|Bennington Chester Charles, Bourdon Robert G, Delson Brad, Hahn Joseph, Shinoda Mike
|One Step Closer
|Bennington, Bourdon, Delson, Hahn, Shinoda
|With You
|Bennington, Bourdon, Delson, Hahn, King John Robert, Shinoda, Simpson Michael
|Points Of Authority
|Bennington, Bourdon, Delson, Hahn, Shinoda
|Bennington, Bourdon, Delson, Hahn, Shinoda
|Bennington, Bourdon, Delson, Hahn, Shinoda, Wakefield Mark
|By Myself
|Bennington, Bourdon, Delson, Hahn, Shinoda
|In The End
|Bennington, Bourdon, Delson, Hahn, Shinoda
|A Place For My Head
|Bennington, Bourdon, Delson, Farrell David Michael, Hahn, Shinoda, Wakefield
|Bennington, Bourdon, Delson, Farrell, Hahn, Shinoda, Wakefield
|Cure For The Itch
|Bennington, Bourdon, Delson, Hahn, Shinoda
|Pushing Me Away
|Bennington, Bourdon, Delson, Hahn, Shinoda
Japanese Bonus Tracks
|My December
|High Voltage
|Bennington, Delson, Hahn, Shinoda
iTunes Bonus Tracks
|My December
|High Voltage
|Papercut (Recorded Live At BBC1)
2002 Special Edition Bonus Disc
|Papercut (Live at Docklands Arena, London)
|Points Of Authority (Live at Docklands Arena, London)
|A Place For My Head (Live at Docklands Arena, London)
|My December
|High Voltage
2013 iTunes Deluxe Edition Bonus Tracks
|High Voltage (Live)
|My December
|Points Of Authority (Crystal Method Remix)
|Papercut (Live At Milton Keynes)
Hybrid Theory - Live Around The World
|Papercut (Live From Paris, 2010)
|Bennington, Bourdon, Delson, Hahn, Shinoda
|One Step Closer (Live From Frankfurt, 2008)
|Points Of Authority (Live From Sydney, 2007)
|Crawling (Live From Athens, 2009)
|In The End (Live From Melbourne, 2010)
|A Place For My Head (Live From Koln, 2008)
|Bennington, Bourdon, Delson, Farrell, Hahn, Shinoda, Wakefield
|Cure For The Itch (Live From Perth, 2007)
|Bennington, Bourdon, Delson, Hahn, Shinoda
|Pushing Me Away (Live From Dallas, 2007)
- Produced by Don Gilmore
- Executive producer: Jeff Blue
- Recorded at NRG Recordings, North Hollywood, CA
- Engineered by Don Gilmore
- Additional engineering & Pro Tools: John Ewing Jr.
- Assistant Pro Tools: Mike Shinoda
- Assistant engineer: Matt Griffin
- Mixed at Soundtrack, NYC
- Engineer: Steve Sisco
- Mixed by Andy Wallace
- Mastered by Brian "Big Bass" Gardner at Bernie Grundman Mastering
- Digital editing: Brian "Big Bass" Gardner
Linkin Park is:
- Chester Bennington: vocals
- Rob Bourdon: drums, backing vocals
- Brad Delson: guitars, bass, backing vocals
- Joseph Hahn: records, sampling, backing vocals
- Mike Shinoda: emcee, vocals, beats, sampling
- Phoenix: bass
Additional Musicians
- Additional beats on "With You" by The Dust Brothers
- Ian Hornbeck - Bass on "Papercut", "A Place For My Head" and "Forgotten"
- Scott Koziol - Bass on "One Step Closer" and touring bass player
- A&R: Jeff Blue
- A&R coordination: Natalie Preston & Ariana Murray
- Marketing director: Peter Standish
- Worldwide representation: Rob McDermott for The Firm with additional servitude by Ryan Demarti & Ryan Saullo
- Booking agent: Michael Arfin for Artist Group
- Legal: Danny Hayes for selverne, Mandelbaum and Mintz
- Business managers: Michael Oppenheim & Jonathan Schwartz for Gudvi, Chapnik & Oppenheim
- Art direction + design: Flem aka Frank Maddocks
- Photography: James Minchin III
- Soldier drawing: Mike Shinoda
- Line art sketches + drawings: Joseph Hahn & Mike Shinoda
Live Performance
Songs Played Live
- "Papercut"
- "One Step Closer"
- "With You"
- "Points Of Authority"
- "Crawling"
- "Runaway"
- "By Myself"
- "In The End"
- "A Place For My Head"
- "Forgotten"
- "Cure For The Itch"
- "Pushing Me Away"
- "My December"
- "High Voltage" (Mike Shinoda Remix)
- An Education In Rebellion Tour
- Ridin' High Tour
- Kings Of The Game Tour
- Master Bay Tour
- European Promo Tour
- Street Soldiers Tour
- Back To School Tour
- US-to-Europe Tour
- Ozzfest
- European Tour
- Family Values Tour
- Countdown To Revolution Tour
- Projekt Revolution Tour
In order to build their fan base, the band had been working with StreetWise, a marketing company started by David "Beno" Benveniste[108] which was in essence a street team.[109] By the time the group signed with Warner Bros., they had fans in Scotland, Japan and Australia and a worldwide thousand-person unpaid street team.[5]
Several promotional items were released by the band before the album. Besides the Xero tape and the Hybrid Theory EP, the band did a two-track CD containing early versions of "A Place For My Head" and "By Myself" in 1999 which was distributed during their shows. A cassette tape containing the final versions of "With You" and "Points Of Authority" was available for free[110] on the merch table at the band's first shows as Linkin Park.[111][112] An EP entitled 3-Song E.P. was released in August 2000.[113] Another cassette, entitled Linkin Park Sampler, containing "One Step Closer" and "With You" was sent out to street team members via Streetwise and given away by radio stations, namely New York City's KROCK and San Francisco's Live 105, and at their shows[114] to promote the band's debut single. The band also had a few songs featured on samplers such as Ozzfest Sampler 2000, Bullshit Free,[115] and Raw Power.
The band's biography from hybridtheory.com, written in 2000, reveals the band had plans to release a five song EP and tour in the US West Coast in May,[39] but the EP never materialized. The potential content of the EP is unknown.
Mike Rittberg, who was vice president of promotions at Warner Bros. Records, is credited with conceptualizing a marketing plan key to propelling formerly unknown Linkin Park's debut record, Hybrid Theory, to $10M in global sales and multi-platinum status.[116]
Jeff Blue said, "In 2000, at a radio convention, programmers got an early taste of "One Step Closer" and began demanding to play the track. Warner Bros., in poetic synergy, rushed out the single to rock radio and moved up the release date for the album, now called Hybrid Theory, to October 2000. A few weeks later, Chester and I were vacationing in Mexico. A girl walked past Chester, saw his wrists adorned with fire tattoos, and said to her friend, "That's the guy in the video I told you about!" The "One Step Closer" video had been out only a couple of weeks, and that was all the confirmation I needed to know that Chester, along with the rest of the band, was on his way to stardom."[6] "One Step Closer" was followed in 2001 by the singles "Crawling", "Papercut" (in the UK) and "In The End".
Linkin Park toured in 2000 as a supporting act for The Union Underground, Kottonmouth Kings, P.O.D., and Papa Roach, embarking on headline tours in North America and Europe the following year. They also supported Deftones on their Back To School Tour and took part on Ozzfest and The Family Values Tour.
Brian Bennington, Chester's brother, ran a newsletter called Insider from mid-2000 to 2001, giving fans updates on the band's activities.[117]
Critical Reception
Chart Performance
- When Chester was auditioning for Linkin Park, another singer being auditioned took a microphone and said, "I'm just gonna say this right now. If you guys don't take this guy then you're fucking idiots." He handed back the microphone and went, "See you later."
External Links
Music Videos
- "One Step Closer": LPTV | WBR | WMG | MTV
- "Crawling": LPTV | WMG | MTV
- "Papercut": LPTV | WMG | MTV
- "In The End": LPTV | WBR | WMG | MTV
- "Points Of Authority": MTV
Live Videos
- "Crawling" (Dragon Festival 2001): LPTV | WBR
- "Points Of Authority" (Texas 2003): WMG
- "Papercut" (Smokeout 2003): Fremont Studios
- "Points Of Authority" (Smokeout 2003): Fremont Studios
- "One Step Closer" (Clarkston 2007): Simply New YouTube | Simply New Vimeo | Marc Scarpa | NowWhat
- "One Step Closer" (Concert For The Philippines 2014): AXS TV Concerts
- "One Step Closer" (Vans Warped Tour 2014): VindicateMediaLLC
- "One Step Closer" (KROQ Red Bull Sound Space 2014): LPTV
- "Papercut" (Snippet) (Telekom Street Gigs 2012): WMG
- ↑ Entrevista a Kyle Christner (ex HT 1999) - Taringa!, February 21, 2011
- ↑ LPFan.com
- ↑ 3.0 3.1 Linkin Park | Rhythm, January 31, 2002
- ↑ Linkin Park Wants Out Of Warner Bros. Contract | Billboard, May 03, 2005
- ↑ 5.0 5.1 Linkin Park Steps Out - TIME, January 20, 2002
- ↑ 6.0 6.1 Chester Bennington: Former Warner Bros. A&R Jeff Blue Remembers Linkin Park's Early Struggles | Billboard, July 27, 2017
- ↑ Signings-04-00.pdf, April 2000
- ↑ 8.0 8.1 8.2 8.3 Interview: Linkin Park | Rolling Stone, March 14, 2002
- ↑ 9.0 9.1 Linkin Park | Pollstar, December 18, 2000
- ↑ Rob McDermott - It was October 1999 when some scrawny rock kid..., July 20, 2017
- ↑ Signings-09-00.pdf
- ↑ My Linkin Park "Decade List" « Mike Shinoda's Blog, January 02, 2010
- ↑ LPFan.com, November 28, 2000
- ↑ Interview with Linkin Park, September 2001
- ↑ Linkinpark.com Whois Lookup - Who.is - Who.is
- ↑ 16.0 16.1 Linkin Park - From A Whisper To A Scream - A Documentary Film - YouTube, March 06, 2014
- ↑ Linkin Park Web
- ↑ Linkin Park: Everyone's Hometown Band - ABC News, April 12, 2001
- ↑ Metal-is.com Interview, Shut Up When Im Talking To You - Mike Shinoda Clan, January 2001
- ↑ Чат с Майком Шинодой. Обсуждение на LiveInternet - Российский Сервис Онлайн-Дневников, December 16, 2005
- ↑ Fort Minor – Get Me Gone Lyrics | Genius Lyrics
- ↑ Scuzz Meets Linkin Park - YouTube, July 18, 2014
- ↑ After Ten Years, Fort Minor Is Back, and Mike Shinoda Still Wants You to Remember the Name | NOISEY, June 23, 2015
- ↑ Linkin Park: The Ride | Episode Highlights | MTV UK
- ↑ DIGITAL CURRENCY INNOVATION IN MUSIC & ENTERTAINMENT, March 29, 2016
- ↑ Chester Bennington Will Die in Arizona | Phoenix New Times, October 30, 2015
- ↑ Former Linkin Park bass player sits down... - Humans of Addiction | Facebook, March 04, 2019
- ↑ LPLive Wiki - Grey Daze Story, October 31, 2015
- ↑ Новости News, March 16, 2009
- ↑ Linkin Park's Unknown Bass Player: Mike Elizondo - Newswire - Linkin Park Live, February 17, 2016
- ↑ Linkin Park- Metal Machine-Interview 2000 - YouTube, October 22, 2012
- ↑ LINKIN PARK ARCHIVE — Frank Maddocks Design
- ↑ Frank Maddocks on Instagram: #tbt my 2nd album cover I designed @wbr with @m_shinoda and @linkinpark 14 years ago... I'm gettin' old! #albumart #stencil #art..., July 10, 2014
- ↑ 34.0 34.1 Podcast w/ LP Art Collaborator Frank Maddocks - Newswire - Linkin Park Live, June 06, 2019
- ↑ ART OF METEORA PART 1 - YouTube, July 25, 2006
- ↑ Wemix Contest Q&A #1: Zii « Mike Shinoda's Blog, December 14, 2008
- ↑ Young Band, Derailed Dream - NYTimes.com, October 01, 2002
- ↑ 38.0 38.1 LinkinPark.ru - Всё о Linkin Park по-русски! | linkinparkru.com, May 11, 2008
- ↑ 39.0 39.1 New Page 1
- ↑ Dot Music Interview - Mike Shinoda Clan, January 2001
- ↑ Yahoo Interview | Myblog's Blog, August 03, 2009
- ↑ Metal-is.com Interview, Shut Up When Im Talking To You - Mike Shinoda Clan, January 2001
- ↑ Mike Shinoda, Linkin Park - Does Rock'n'Roll Kill Brain Cells? | NME.COM, November 25, 2010
- ↑ Stem 31 Interview 2000 - Mike Shinoda Clan
- ↑ NRG Recording Studios (@nrgrecording) on Instagram: "#TBT Back when this little unknown band was working with Don Gilmore in Studio A. @linkinpark…", November 05, 2015
- ↑ A&R, Record Label / Company, Music Publishing, Artist Manager and Music Industry Directory, September 12, 2001
- ↑ LinkinPark.com [ bios ]
- ↑ 48.0 48.1 48.2 Linkin Park's 'Hybrid Theory' Producer Calls Working With Chester Bennington a 'Dream Come True' | Billboard, July 24, 2017
- ↑ 49.0 49.1 Linkin Park Kerrang! | Tom Bryant - tom-bryant.com, January 23, 2008
- ↑ Linkin Park Central [prp interview], 2000
- ↑ Linkin Park Central [CD now interview], 2000
- ↑ 52.0 52.1 52.2 Linkin Park Central [home]
- ↑ 011.jpg
- ↑ liveDaily Interview: Linkin Park's Dave 'Phoenix' Farrell >> Tour dates and concert ticket info >> LiveDaily, February 04, 2004
- ↑ Linkin Park's Compassionate Thrash – Rolling Stone, March 29, 2001
- ↑ 56.0 56.1 56.2 56.3 56.4 56.5 56.6 Shoutweb Interview 2000 - Mike Shinoda Clan
- ↑ We Reviewed Literally Whatever You Sent Us Volume 15 (with Mike Shinoda of Fort Minor) | NOISEY, June 24, 2015
- ↑ Phoenix of Linkin Park Loves The Bruery by Bruery Radio | Free Listening on SoundCloud, November 20, 2017
- ↑ The Visionaries - Collab'ing with LP | SucksBBS.Net, October 15, 2006
- ↑ LMNO – Die Jesus-Rapper kommen, October 20, 2006
- ↑ "plaster" « Mike Shinoda's Blog, February 20, 2008
- ↑ Jeff Blue (@jeffbluemusic) on Instagram: "People deal with struggle in many different ways. Please listen to your friends when they reach…", July 20, 2017
- ↑ pushmeaway.com
- ↑ 64.0 64.1 Transcript: LPU Chat with Chester, August 02, 2011
- ↑ 010.jpg
- ↑ Xero on the tv show 'The Crow: Stairway to Heaven' - Everything Linkin Park - Linkin Park Live, August 25, 2011
- ↑ 67.0 67.1 67.2 Linkin Park : The Proven Theory >> Studio Reports
- ↑ Yahoo! LAUNCH - Feature: Parkin' With Linkin Park, October 12, 2003
- ↑ New Page 2
- ↑ Chester Transcript 1 (LPU Chat), April 2003
- ↑ Chester In Kerrang! Magazine - Newswire - Linkin Park Live, November 04, 2010
- ↑ Mike LPU Chat 11/19/2011 Summary - Mike Shinoda Clan
- ↑ LPA Podcast w/ Mike Summary - Newswire - Linkin Park Live, December 08, 2015
- ↑ Mike Rittberg on Twitter: "@mikeshinoda @linkinpark look what I found.... https://t.co/Bb7n7gO0OW" ., September 29, 2016
- ↑ Linkin Park Online - Press - September 29th, 2000 Live Review.
- ↑ Chester Bennington Opens Up About His Past Addictions, July 16, 2009
- ↑ Linkin Park Interview #2 ~ 2000-11-25 on Much (USA) - YouTube, August 22, 2008
- ↑ 78.0 78.1 MSN Music Interviews Mike Shinoda – Linkin Park: 'Living' Proof - Mike Shinoda Clan, June 27 2012
- ↑ 79.0 79.1 linkinpark.com chat 010710, July 10, 2001
- ↑ 80.0 80.1 The PRP - The World's Largest Selection Of Mallcore, Complete With Food Court, December 09, 2000
- ↑ Linkin Park discuss making of debut album 'Hybrid Theory' to mark its 15th anniversary - listen, October 26, 2015
- ↑ New Page 2
- ↑ 83.0 83.1 83.2 Linkin Park Web Interview - Mike Shinoda Clan, September 2000
- ↑ Linkin Park Q&A | [V Music], August 12, 2012
- ↑ LinkinPark.ru - Всё о Linkin Park по-русски! | linkinparkru.com, May 12, 2008
- ↑ 86.0 86.1 Jan.11_2002chat, January 11, 2002
- ↑ Response to comments: "She Couldn't," etc. « Mike Shinoda's Blog, July 03, 2009
- ↑ Rock Extreme Interview - Mike Shinoda Clan, 2001
- ↑ Digging Deep – A Conversation With Chester About Songwriting – Kevin Palmer, November 10, 2017
- ↑ Bucket Of Weenies - Club Tattoo 11th Anniversary 2006-04-22 - YouTube, January 02, 2014
- ↑ Linkin Park's Mike Shinoda on EDM, "A Light That Never Comes," and Their New Remix Album | Complex, September 26, 2013
- ↑ Chester Transcript 3 (LPU Chat), January 2002
- ↑ 93.0 93.1 HOB.com: Linkin Park Text Interview recorded 11/30/2000, November 30, 2000
- ↑ Linkin Park Dig Up Dust Brothers Track - MTV, January 30, 2001
- ↑ LPFan.com, January 26, 2001
- ↑ Linkin Park Web
- ↑ http://www.angelfire.com/dragon2/linkinparkangel/joeq.html
- ↑ Articles/interviews
- ↑ Joe, Brad and Rob (MSN Chat), 2001
- ↑ linkinpark.com chat 010710, July 10, 2001
- ↑ Warner Re-Release Hybrid Theory Vinyl? - Everything Linkin Park - Linkin Park Live, February 18, 2013
- ↑ Hybrid Theory CLEAR Vinyl - Everything Linkin Park - Linkin Park Live, November 05, 2013
- ↑ Linkin Park Catalog, Exclusive Bonus Tracks & Digital Booklets Now Available on the iTunes Music Store - Apple, August 29, 2006
- ↑ Linkin Park - Download Linkin Park Music on iTunes
- ↑ Linkin Park: Live Around The World - Newswire - Linkin Park Live, May 30, 2012
- ↑ Hybrid Theory | HDtracks - The World's Greatest-Sounding Music Downloads
- ↑ Linkin Park "Studio Collection" / Deluxe Editions - Newswire - Linkin Park Live, January 13, 2013
- ↑ Interview With David "Beno" Benveniste | LA Music Blog, March 14th, 2011
- ↑ StreetWise FAQ's
- ↑ Linkin Park's Mike Shinoda On Dealing With Brutal Criticism & Fighting Tooth And Nail For Your Vision | Turnaround Magazine, April 2014
- ↑ Linkin Park Web
- ↑ UnEarthed.Com : Reviews : Half Cocked, Linkin Park, Prizefighter, and Famous at the Whisky 7.8.00
- ↑ Linkin Park Web
- ↑ Brandon Fuston - My heart is hurting right now!! R.I.P CHESTER!!..., July 20, 2017
- ↑ Linkin Park Guestbook, October 11, 2000
- ↑ Mike Rittberg | Professional Profile
- ↑ pushmeaway.com


text:
Armed robbers hit downtown Detroit liquor store, shoot clerk in leg
Clerk's brother says 2 gunmen opened fire before leaving with cash from store on Fort Street in Detroit
DETROIT – Police are searching for two gunmen who robbed a popular downtown Detroit party store right off Fort Street Thursday morning.
Before the crooks left with the cash, they opened fire on the clerk working at the Happy 4 Liquor store.
The clerk's brother, Elias Saad, said his family's store has seen its fair share of crime.
"It's a tragedy. It sucks," said Saad.
Saad says they have been hit twice this year.
"He said, 'Give me your money.' So we gave them the money," said Saad.
The other gunman hit up the back office, trying to find more cash.
"They came into the office where my uncle was," said Saad. "They punched my uncle in the head. He's got a big bruise or welt. We gave him some more money."
The gunman got away with an undisclosed amount of cash.
"My brother, I guess, shouts, 'Hey, you took all our money. That's all we have,'" said Saad. "The guy screamed, 'No, you have more. I know you have more.'"
Saad says his brother told the gunmen they didn't have anymore money. The gunmen, however, didn't believe him and shot him in the leg.
Saad's brother spent the morning in surgery. Sad says he is expected to be ok.
"He broke one of his bones so he'll be in a cast at the very least," said Saad.
If you have any information about these gunmen, you are asked to call Detroit police.
--Elias Sad
Copyright 2012 by ClickOnDetroit.com. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

subset: commoncrawl


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Home > Uncategorized > Happy Holidays with FreeSpirit & Rowan: All-Weather Tote in Amy Butler's Alchemy Laminate
Happy Holidays with FreeSpirit & Rowan: All-Weather Tote in Amy Butler's Alchemy Laminate
When the weather outside is frightful during the holiday season, chances are you simply can't spend all your time sitting in front of a fire that's so delightful. You have things to do, places to go, and people to see. You need a roomy shopping tote that can stand up to whatever the weather throws your way. Welcome to a new week of our Happy Holidays series with FreeSpirit and Rowan and a new designer collection: the amazing Amy Butler and her brand new Alchemy collection. Today's All-Weather Tote, features soft cotton laminate to whisk away the weather. We even used a weather-resistant zipper for the outside pocket. The inside is pretty cotton with a laminate facing. And with 5″ boxed corners, this tote opens wide enough to handle a full load of last-minute power shopping. Beautiful cotton laminate is just one of the many substrates Alchemy offers and with which we'll be working over the next two weeks.
If you're new to working with laminates, check out our tutorial: Successful Sewing With Laminated Cottons (And Other Sticky Stuff). There are special considerations that will make both your sewing experience and the end result more satisfying, so if laminates are new to you, we do highly recommend you review the article prior to starting today's project.
Our thanks to the great folks at FreeSpirit and Rowan Fabrics for sponsoring so much holiday happiness! Each week, we've been bringing you a new collection from a different designer. During our first week, you met Melissa White of Rowan Fabrics and her new Amelie's Attic collection. For Week Two, we thank Ty Pennington Impressions for allowing us to feature Ty's new Fall 2012 Collection. During Week Three, you were surrounded by the sweet loveliness of Verna Mosquera's Pirouette. And to cap it off, we have two weeks of wonder in the new Alchemy collection from Amy Butler for Rowan Fabrics.
For this busy time of year, we created a slate of fast and easy, "do-it-in-a-day" projects. Simple yet classic creations executed in gorgeous fabrics – perfect for holiday giving and decorating, but with a beauty that will last year 'round. Our All-Weather Tote has wonderful details, but – thanks to clear step-by-step instructions and photos – this is still an easy project we believe anyone can have success with.
Alchemy will begin appearing next month, December 2012, at participating online and in-store retailers.
In addition, for all of the projects in our series, Westminster helped us put together a handy Where to Buy Retailer Locator, giving you a fast and easy way to source the fabrics we are featuring from both brick and mortar stores in your area (the page is broken out by state) as well as online options.
Sewing Tools You Need
- Any Sewing Machine (we recommend the Janome Horizon Memory Craft 7700 QCP)
- Zipper foot
- Teflon® type foot, such as the Janome Ultra Glide foot
- Walking or Even Feed foot – optional, but very helpful for these tricky layers
- Quarter Inch Foot – optional
Fabric and Other Supplies
This bag finishes at approximately 16″ tall x 15″ side x 5″ deep.
- ¾ yard of 54″ wide cotton laminate for the the bag top exterior and pocket; we used Fairy Tale in Sky from the Alchemy collection by Amy Butler for Rowan Fabrics
- 1 yard of 54″ wide cotton laminate for the the bag bottom exterior and handles; we used Imperial Paisley in Emerald from the Alchemy collection by Amy Butler for Rowan Fabrics
NOTE: We actually used 1½ yards in order to fussy cut our handles vertically to best center the motif. If you want to exactly duplicate our design, get 1½ yards of Imperial Paisley. You'll have leftover fabric, from which you can make a second bag!
- ¾ yard of 44-45″ wide regular weight cotton for the the bag lining; we used Memoir in Pacific from the Alchemy collection by Amy Butler for Rowan Fabrics
- 1½ yards of 44-45″ wide medium-weight fusible interfacing; we used Pellon Decor Bond
- ONE 7″ weather-resistant zipper; we used a Coats Sport Zipper in gray
- ONE 4¾" x 14¾" rectangle of plastic canvas
- ONE magnetic purse clasp
- All-purpose sewing thread in colors to match fabric and binding
- Scissors or rotary cutter and mat
- See-through ruler
- Straight pins
- Clips to hold laminate (don't forget to review the Working With Laminates tutorial mentioned above for notes on these clips and other helpful supplies)
- Seam gauge
- Seam ripper
- Small safety pin
- Iron and ironing board
Getting Started
- All our pieces were carefully fussy cut to make the best use of the beautiful motifs in Amy's Alchemy collection. If you are new to this technique, check out our tutorial on How To Fussy Cut.
- From the fabric for the bag top exterior and pocket (Amy Butler's Fairy Tale in Sky in our sample), cut the following:
TWO 21″ wide x 11″ high rectangles for the bag top exterior
TWO 21″ wide x 4″ high rectangles for the bag top facing
ONE 7″ x 7″ square for the exterior pocket base
ONE 7″ wide x 2″ high rectangle for the exterior pocket top
- From the fabric for the bag bottom exterior and handles (Amy Butler's Imperial Paisley in Emerald in our sample), cut the following:
ONE 21″ wide x 18″ high rectangle for the bag base exterior
TWO 5″ x 41″ strips for the bag handles
NOTE: Remember, as mentioned above, we cut our strips vertically, ie. 5″ wide x 41″ high/long.
- From the fabric for the bag lining (Amy Butler's Memoir in Pacific in our sample), cut the following:
TWO 21″ wide x 16½" high rectangles
ONE 7″ wide x 14″ high rectangle for the lining pocket
ONE 16″ wide x 11″ high rectangle for the bottom insert
- From the fusible interfacing (Pellon's Decor Bond in our sample), cut the following:
TWO 21″ wide x 11″ high rectangles
TWO 21″ wide x 4″ high rectangles
ONE 7″ x 7″ square
ONE 7″ wide x 2″ high rectangle
ONE 21″ wide x 18″ high rectangle for the bag base exterior
TWO 21″ wide x 16½" high rectangles
NOTE: We chose not to interface our handles because we wanted them to be a bit more flexible. It you would prefer a more "stand-up-on-their-own" handle, also cut and fuse TWO 5″ x 41″ strips for the bag handles. It will also be more of a challenge to turn the handles right side out with interfacing.
At Your Sewing Machine & Ironing Board
NOTE: You will notice we used regular straight pins rather than the traditionally recommended clips for laminate. We were not worried about our finished product being 100% water-tight (like you might be for something like diaper covers). Plus, the quality of this Rowan cotton laminate was so wonderful, any of the tiny holes made during construction, disappeared when the bag was complete.
- Following manufacturer's instructions, fuse a piece of interfacing to the wrong side of each corresponding piece of cotton laminate, as well as to the wrong side of the two main lining pieces.
NOTE: If you read through our Working With Laminates tutorial, you noticed we mentioned avoiding fusible interfacing, however, if you read really carefully, you also noticed we mentioned there are always exceptions to the rule. You don't want your iron on its highest heat, but if you use a pressing cloth, you can adhere the Decor Bond to each of the laminate pieces without any issues.
Make the handles
- Find the two 41″ strips.
- Fold each strip right sides together and pin in place along the 41″ side.
- Using a ½" seam allowance, stitch along the 41″ side.
- Turn right side out. Roll the seam to the back, centering your fussy cut motif on the front. Using a pressing cloth, press each strap flat.
- Set the handles aside.
NOTE: As mentioned above, if you choose to use interacing, it will be hard to turn this "tube" right side out. Instead, you may want to follow the handle construction method we used for our Vinyl Color Block Tote.
Pocket and zipper
NOTE: We were unable to find a 7″ zipper in the color we wanted and so used a longer zipper, creating our own stop and cutting it to length when done. Our recent Zipper tutorial has more about this and other insertion tips.
- Find the interfaced pocket top and pocket base pieces and the zipper. On each of the pocket pieces, mark ½" in from both side edges. This mark is where the handles will overlap the pocket. The zipper should be centered between these marks – the zipper pull at one mark, the zipper stop at the other.
- Unzip the zipper. Place it right side up on your work surface with the zipper pull to your left.
- Center the pocket top right sides together with the top of the zipper. Pin in place.
NOTE: Because we had a longer zipper, we actually folded the bottom half of our zipper completely out of the way.
- Attach a Zipper foot.
- Stitch the top edge of the zipper to the pocket top laminate piece, staying as close to the zipper as the foot will allow, removing the pins as you sew.
NOTE: If you are working with a shorter zipper and are unable to move the bottom half of the zipper out of the way, you can stitch this step with the zipper half way closed. Stitch to the middle, where you can start to feel you're approaching the zipper pull. Stop with your needle in the down position. Twist your fabric around slightly and carefully close the zipper. Re-position your fabric and finish sewing to the end.
- Repeat these steps, pinning and then sewing the bottom pocket piece to the bottom half of the zipper.
- On only the bottom half, fold the pocket base down into position, away from the zipper.
- Switch to a Teflon® type foot (we used our Janome Ultra Glide foot).
NOTE: As we mention in our Laminates tutorial, if you don't have a Teflon® type foot, you can use wax or parchment paper between the presser foot and laminate.
- Topstitch approximately ¼" from the folded back seam across the pocket base
- Find the exterior bag front panel. Place it right side up on your work surface.
- Zip the zipper closed. Center the pocket on the front panel side to side. The bottom raw edge of the pocket base should be flush with the bottom raw edge of the panel. Pin or clip the pocket in place.
- Still using your specialty foot, edgestitch along both sides of the pocket from just below the zipper to the bottom edge.
- Fold the top half of the zipper down, revealing its back side.
- Fold the top raw edge of the pocket top piece approximately ½". The raw edge of the laminate should meet the edge of the zipper tape.
- Fold the pocket top piece back up into position. Accounting for the original seam attaching this piece to the zipper and the folded back edge, your piece should now be about 1″ high. Pin or clip it in place.
- Still using your specialty foot, topstitch along the top folded edge, approximately ¼" from the fold.
- Then, topstitch along the bottom edge, approximately ¼" from the zipper teeth. As above, when you get to the zipper pull, you'll need to stop with the needle in the down position, lift your presser foot, then move the pull out of the way in order to finish the seam.
- Because we used a longer zipper, we had one final finishing step. This was to stitch across the end of the zipper. Align this short seam with the previous edgestitching that secured the pocket bottom in place. If you have a zipper that fits exactly, you already have a zipper stop and so can skip this step.
- If necessary, trim away the excess zipper. You have a finished pocket in position.
Stitch the handles in place
- Find your handles that are right side out, pressed and ready to go.
- Find both the front panel with the pocket and the plain fused back panel.
- On the front panel, place one handle so it overlaps the pocket edges ½" on either side. The inside edge on the left side should just touch the the zipper pull, and the inside edge on the right side, should just cover the zipper stop. The raw ends of the handle should be flush with the bottom edge of the panel, and the handle loop itself will extend beyond the top of the panel in a continuous loop. Carefully place the handle so it doesn't twist on itself. And remember, the seam of the handle is hidden to the back so the pretty fussy cut motif is showing on the front. Pin or clip in place.
- Repeat to attach the second handle to the plain pack panel. The positioning of this handle should exactly match the front handle. There should be 6″ between the handle straps and 5½" from the outside edge of each to the side of the bag panel.
- On each strap, measure 1½" down from the top raw edge of the bag panel and draw a horizontal line or place a pin or clip.
- Lengthen your stitch.
- With your Teflon® type foot in place, topstitch each handle in place, staying ¼" from the edge. Start at the bottom, stitch up one side…
- … stop at the 1½" mark, pivot, stitch across – stopping ¼" from the opposite edge, pivot, and stitch down the opposite edge to complete.
Assemble the front and back to the bottom
- Find the bottom exterior panel. The bottom is one piece (no bottom seam).
NOTE: This does mean if you have a directional print it will be right side up on one side and wrong side up on the other. Our print is directional, but the difference is subtle and so one piece worked for us. If you have something really noticeable, such a flying birds, you should probably cut two pieces, each slightly longer than half our piece (to account for the seam allowance) and complete the steps using a bottom seam so you can rotate the front and back panels to be facing the proper direction on each side.
- Place one 21″ side of the bottom panel right sides together with the bottom edge of the front panel. Pin or clip in place and stitch together, using a ½" seam allowance.
- Place the remaining 21″ side of the bottom panel right sides together with the bottom edge of the back panel. Pin or clip in place and stitch together, using a ½" seam allowance.
- Finger press both seam allowances toward the bottom panel and topstitch in place, staying ¼" from the seam within the bottom panel.
- You now have one long strip made up of three panels.
- Fold this three-panel strip right sides together, creating a fold along the bottom and aligning the top raw edges. Pin in place along both long sides.
- Using a ½" seam allowance, stitch both sides.
- With the bag still wrong side out, the next step is to box the bottom corners. Our bag is designed to have 5″ sides and base. To create this width, we figured our corners at 2½".
- If you are new to boxed corners, check out our tutorial for step-by-step instructions. We recommend a double line of stitching to reinforce the corners in the cotton laminate.
Create the lining and its pocket
- Find the 7″ x 14″ pocket piece.
- Fold this piece in half right sides together so it is now 7″ x 7″.
- Using a ½" seam allowance, stitch along both sides and across the bottom, pivoting at the corners. Leave an approximate 2″-3″ opening along the bottom for turning. Clip corners. Press the seam.
- Turn the pocket right side out through the bottom opening. Push out the corners so they are nice and sharp. A chopstick or long knitting needle works well for this.
- Fold in the raw edges of the opening so they are flush with the sewn seam. Press flat.
- Find one 21″ wide x 16½" lining piece. Place it right side up on your work surface. The pocket should be centered side to side (7½" from each side) and 1½" down from the top raw edge. Pin the pocket in place along both sides and across the bottom.
- Edgestitch the pocket in place along both sides and across the bottom, pivoting at the corners and with a generous backstitch at the beginning and end of the seam, ie. at the pocket top. This is a stress point for the pocket and it's smart to secure the seam well. We used our Janome Quarter Inch foot to keep a precise seam.
- Place the lining piece with the sewn pocket and the second lining piece right sides together, aligning all raw edges. Pin in place along both sides and across the bottom.
- Leave a 8″ – 10″ opening along the bottom. We'll use this at the end to turn our finished bag right side out.
- Using a ½" seam allowance, stitch both sides and across the bottom, pivoting at the corners. Remember to lock your stitch on either side of the 8″ – 10″ opening.
- Find the two 12″ wide x 4″ high facing rectangles. Place them right sides together, pinning along the 4″ sides.
- Stitch each side seam, using a ½" seam allowance, to create a ring. Press the seams open. Turn the ring right side out.
- Find the lining bag. It should be wrong side out.
- With the facing still right side out, slip it into the lining bag so the two layers are now right sides together. Align the edge of the facing to the upper edge of the lining. Adjust the ring all around, matching the seams. The ring should lay nice and flat.
- Sew the facing to the lining, using a ½" seam allowance.
- Finger press the facing ring up and away from the lining bag. The seam allowance should be pressed up towards the facing.
- At the center of each side of the lining ring, place a mark or pin 1½" from the top raw edge. This will help later with placement of the magnetic snap.
- Finally, with the lining still wrong side out, the next step is to box the bottom corners of the bag. Follow the same steps as above for the exterior of the bag, referring again to our box corners tutorial if need be.
Attach the lining to the bag and insert the snaps
- With the exterior bag right side out and the lining bag wrong side out, place the exterior bag inside the lining bag so the two are right sides together. The straps are hanging down and sandwiched out of the way in between the layers. Also, make sure the interior lining pocket is on the opposite side from the exterior pocket.
- Align the top edges all around, carefully matching the side seams. Pin or clip in place.
- Using a ½" seam allowance, stitch the exterior bag to the lining all around the top opening.
- Pull the exterior bag through that 8″ – 10″ opening you remembered to leave in the bottom of the lining.
- Pull the lining out from the bag so the lining's facing is a single layer into which you'll attach the magnetic snaps.
- Following manufacturer's instructions, and using your those center marks/pins you made on the facing, insert the magnetic snap. If you forgot those marks, each side of the snap should be approximately 1½" from the top (giving you plenty of room for the final top stitching) and centered side to side.
- You can use the opening in the bottom of the lining (the opening you used to turn everything right side out) to reach up inside and affix the back of each snap.
NOTE: We used a small scrap of cardboard to reinforce the back of the snap against the soft cotton laminate. You could also use a small circle of heavyweight interfacing. It won't be seen.
- Press the opening in the lining flat, so the raw edges are flush with the sewn seam. Pin and edge stitch closed.
- Push the lining down into the inside of the bag.
- Using your Teflon® type foot, topstitch around the entire top edge of the bag to finish.
- Find the 16″ x 11″ lining piece, which is the bottom insert sleeve. Fold it in half so it now measures 16″ x 5½". Pin in place along one end and the long side.
- Using a ½" seam allowance, stitch along one end and the long side, leaving the opposite end open.
- Clip the corners and press the seam.
- Turn the sleeve right side out and press flat, pressing in the raw edges of the opening so they are flush with the sewn seam.
- Slip in the plastic canvas.
- Edgestitch or handstitch the opening closed.
- Place the insert into the bottom of the bag to give it a sturdy base.
Project Design: Alicia Thommas
Sample Creation and Instructional Outline: Debbie Guild
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Microsoft buys DesktopStandard
Microsoft says it is to acquire software developer DesktopStandard for an undisclosed sum.
DesktopStandard develops tools for Microsoft's Group Policy technology, part of the Active Directory in Windows Server that aids centralised management of computers and users.
Under the terms of the deal, DesktopStandard will operate as a subsidiary of the software behemoth until the technology is transferred to Redmond.
Microsoft plans to integrate much of the software into its Group Policy toolset, including GPOVault, ProfileMaker, Dragnet, PolicyMaker Standard Edition, Registry Extension, Share Manager, and Software Update.
Source: The Register
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The Tories continued their 21st Century bread and circuses election campaign yesterday, pledging once again to jack-up broadband speeds in the UK.
This time, Jeremy Hunt, the party's culture spokesman, told the FT that a Tory government would force BT to open its cable ducts to rivals to speed the rollout of new networks - a day after BT said it planned to do just that.
Hunt said that should the party come to power, it would redraw the regulatory regime to make BT open up its network and encourage rivals to pick up the baton and provide new services.
"What we are doing, I am absolutely sure, is increase the competitive intensity in the market between the major players, and that will stimulate much more investment," he told the paper.
Hunt did not identify potential re-ducters, though it's fair to assume BSkyB and Carphone Warehouse - both firms with the ear of Tory top brass - would be on his list.
"If you talk to the other players in the market, there is a willingness to invest substantial sums of money," said Hunt.
Opening BT's system up to other players would give the incumbent's rivals a quick and easy way to roll out their own fibre, without the need to bring the country's road network to a shuddering halt.
Hunt also lambasted BT's own network expansion plans, which do not promise fibre to the home, putting a cap on future speed growth.
He said the Tories would, as promised, scrap Labour's broadband tax, which is intended to fund the rollout of broadband in rural areas.
Instead, the Tories would use part of the BBC licence fee to complete the rollout. Which of course, has the benefit of looking like a tax reduction while paring back the [supposedly] Labour-loving public service broadcaster.
BT appears to have already resigned itself to a colonoscopy from its rivals and the Tories. The day before Hunt's interview, the FT quoted CEO Ian Livingston as saying it had been in discussion with Ofcom since last year.
"Although it's unlikely to be the silver bullet to get fibre to every home, open access to all ducts, not just ours, might help BT and others extend coverage and so we would like to see a future government support such a move," said Livingstone. ®
Sponsored: How to simplify data protection on Amazon Web Services


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Featherstone, with partners, later came to own the firm. He retired in 2000. In 2006, "a victim of rising expenses for plastic resin and electricity, as well as financing problems," according to the Buffalo News, Union Products announced it would close.
Flamingo fans freaked, and prices for authentic Featherstones soared. Mike Smollon, the South Florida Sun-Sentinel reported, immediately bought 11 pairs, and then sought out their creator for an autograph.
Featherstone, who keeps 57 of the birds (in honor of the year of their invention), emerged from his home affable as could be and carrying a pen, garbed along with wife Nancy in "matching pink shirts adorned with green flamingos."
Fortunately for the flamingos, rescue was at hand. Another firm bought the molds and rights, and pink flamingos were again in the pink.
The rescue was fortunate as well for society as a whole. Kitsch they may be, and camp and in poor taste—but they bring people together.
"You know, they bring a smile to your face," University of South Carolina geography professor Susan Cutter told the Christian Science Monitor during the flamingo crisis.
In Corbin Palms, a Los Angeles neighborhood of Palmer & Krisel-designed mid-century modern homes, neighbors have thrown 'flamingo parties,' publicizing them by arranging the birds in front of whichever home would play host.
Similar parties occurred years back at Eichler's Fairhaven neighborhood in the city of Orange. "There was a flamingo out nearly every night at somebody's house," Craig Opsahl recalled.
The flamingos do their job well.
"I don't want it to be just a joke," Featherstone said of his birds in 1997. "I'll bet 90 percent of the people who buy them just really like them. They feel like I do, that an empty yard is like an empty coffee table—it cries out for something.
"And I'll tell you something about people who put out flamingos—they're friendlier than most people. Remember, they don't do it for themselves—they're doing it to entertain you."
Photos: David Toerge, Joey Parsons; and courtesy Don and Nancy Featherstone
• For a photo-heavy ride through the world according to Don Featherstone, look for 'The Original Pink Flamingos: Splendor on the Grass' (Schiffer Publishing) by Featherstone with Tom Herzing


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Sloan Center News
Older Workers Need Support for Employment, Retirement
24 November 2008—A new president will be sworn in this January, but according to the Sloan Center on Aging & Work at Boston College, older workers need economic change even sooner.
A new report titled State Leadership for Older Workers, prepared by the Sloan Center on Aging & Work, focuses on some take-away messages about this older worker population. The report highlights the facts of the aging of the population in contrast to the realities that state leaders are facing.
For many older men and women, Social Security payments will not be enough to live on during their retirement. Studies indicate that many do not have sufficient equity or savings to cover retirement, even without the current financial crisis. This leaves earned income, which means that individuals will have to work well past retirement age in order to have a more secure future.
It's not just a small number of people affected, either. In Wyoming, for example, 23.9 percent of the population is 55 or older. This population trend is expected to increase even more by 2010. Arizona's population is on the verge of a workforce trend similar to what was experienced in the 1960s.
As more and more Baby Boomers near retirement, businesses should be concerned about the changing workforce but research conducted by the center indicates that 25.8 percent of workplaces have not even begun to consider the implications of this veritable seismic shift. Therefore, state governments are taking measures to ensure that their older citizens have a better chance at financial stability.
Arizona has set a good example by establishing an Older Worker Friendly Award for businesses in the private sector that work to encourage older workers as well as bring their issues to the forefront. Those businesses that pass the friendly test are awarded a certificate from the Governor. Wyoming has followed in Arizona's footsteps and established an award of its own.
Recently, Wyoming was one of eight states chosen by the National Governors Association (NGA) to receive help for older workers. Workshops, seminars, and other resources will be offered to older adults in order to more fully engage them in the workforce and volunteerism.
Other states need to follow Wyoming's and Arizona's examples in order to engage and empower older adults, who are faced with a decline in the quality of their lives. It is in the state governments' best interests to reach out to older workers now in order to help them secure employment; otherwise, older adults will be dependent on government assistance.


text: EnerSys is the global leader in stored energy solutions for industrial applications. We design and manufacture custom, state-of-the-art batteries for military, space and aviation applications, in addition to our extensive range of reserve power and motive power battery solutions. Our wide breadth of technologies and capabilities allows us to provide our customers with the best performing products and highest quality services at the best possible value.


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Lady's Slipper Orchid
What Is Lady's Slipper Orchid Used for Today? | Dosage | Safety Issues | References
Cypripedium species
Principal Proposed Uses
• None
Other Proposed Uses
• Anxiety; Musculoskeletal Pain (topical use) ; Insomnia
The common name "lady's slipper" refers to the distinctive shape of these beautiful orchids, members of the genus Cypripedium that are native to North America and Europe, as well as the Paphiopedilum species native to Southeast Asia. Other "slipper" orchid species are native to South America. Typically, the yellow lady's slipper Cypripedium calceolus var. pubescens (now called Cypripedium parviflorum var. pubescens) is used medicinally in Europe and North America. Cypripedium montanum, the rare mountain lady's slipper native to North America, is also wildcrafted (collected in the wild).
Many of the Cypripedium lady's slipper species are endangered and have proven very difficult to cultivate; even just collecting the flower alone may be enough to kill the plant, and transplantation from the wild is rarely successful. Alternatively, some herbalists recommend using the roots of another species called stream orchid or helleborine ( Epipactis helleborine), which has the same purported effects, is more widespread, and is relatively easy to cultivate.1
Traditionally, lady's slipper root was classified as a "nervine," indicating its purported healing and calming effect on the nerves. This term, however, is no longer used in medicine today.
What Is Lady's Slipper Orchid Used for Today?
Despite a complete absence of scientific evidence that it is effective, lady's slipper is sometimes used today either alone or as a component of formulas intended to produce treat anxiety or insomnia.
Lady's slipper is also sometimes used topically as a poultice or plaster for relief of muscular pain,2 but again there is no evidence that it is effective.
The optimum oral dosage of lady's slipper is not known. A typical recommendation for Cyrpripedium species is 3 to 9 g of root or 2 to 6 ml of a tincture of fresh or dried root.3
For muscle pain relief, a topical application of fresh or dried roots mashed into a poultice or plaster is sometimes used.4
Safety Issues
The safety of any medicinal application of these orchid species has not been established. Contact with the small hairs on some species can cause skin irritation.
References [ + ]
1. Moore M. Medicinal Plants of the Pacific West. Santa Fe, NM: Red Crane Books; 1993:233–235.
2. Tierra M. The Way of Herbs: Fully Updated with the Latest Developments in Herbal Science. New York, NY: Pocket Books; 1998:26,150.
3. Tierra M. The Way of Herbs: Fully Updated with the Latest Developments in Herbal Science. New York, NY: Pocket Books; 1998:26,150.
4. Tierra M. The Way of Herbs: Fully Updated with the Latest Developments in Herbal Science. New York, NY: Pocket Books; 1998:26,150.
Last reviewed December 2015 by EBSCO CAM Review Board