Lollapalooza. '96 Rocks the Big Easy

Total Page:16

File Type:pdf, Size:1020Kb

Lollapalooza. '96 Rocks the Big Easy THE TULANE HULLABALOO I September 6, 1996 I a セ 」 サ ・ 9 Lollapalooza. rocks the Easy _'96 Big Dan Chilton Dictionary"). To Staff Writer properly explore this question would What started out a few years ago as a require a mas- small festival of alternative bands has sive poll to grown into a mega-concert that loyal fans define the fun- of the fest attend summer after summer. damentals of This summer's Lollapalooza was no dis- alternative, the appointment. Three stages of diverse music, the genre artists provided ten hours of fun in the sun and its future. with "tunes for the young kids to enjoy." Not wanting to For everyone who wasn't here in New undertake that Orleans to see the show, here are some of project this the highlights you missed: week, I will SUN: No, this is riot a new band that leave it at this: played that day, but it describes the pow- can anyone erful force that roasted all of the fans as name a band they watched the bands. With very little that is not alter- shade in the open fields of the University native for some of New Orleans, fans enjoyed $2 bottles reason today? In of water all day and an occasional spray- a music scene ing with the hose if they made it close where Keanu enough to the stage. The braver, if not Reeves and somewhat stupid, fans, drank beer for the D a v i d first three hours and then painfully regret- Hasselhoff both ted it as they became dehydrated and attempt (pathet- barely made it through the ten hours of ically) to be in madness. At one point it threatened to bands, every- rain, but it never quite did, so the coolness thing is alterna- of the evening was appreciated by all. tive. This year's Metalica headlined where? FOOD: Everyone and their uncle Lollapalooza offered sumptuous delights of all kinds. therefore remains Options ranged from Chinese egg rolls, an alternative after Jennings, they just couldn't rise up Down on the Upside. A climactic point セ ャ ッ ー ー ケ nachos and pizza to Louisiana music fest, even if it has been commer- to his level of class. was reached when singer Chris Cornell favorites like jambalaya. cialized by tl;i.e media. After all, what • Ramones: The Ramones delivered a all alone on stage with the lights low, per- SHOPS: The tents went up and a vari- other music fest this summer threw in a thrashing hour of speed metal tunes as formed Black Hole Sun. It can only be ety of oddities could be bought-for the country music icon like Wayland one of the best and steadiest hard rocking described as wicked. right price. Gargoyle sculptures, palm Jennings just to mix things up a bit? With bands, one that has been around since • Metallica: Metallica remains a group reading, cool jewelry, all manner of drug that settled, here it is band by band on the before many of the fans were born. With of bad boys, still playing their evil style paraphernalia and, of course, the classic main stage: a cry of "One, two, three, four... " they of hard rock-and-roll after many long Lollapalooza t-shirt were just a few of the • Psychotica: Loud and proud, these would launch into song after song. I think years. With new short haircuts but the wares of the roving merchants. guys opened up the main stage with a they packed more songs into one hour same bad attitude, they played a hard- FREAK SHOW: Have you seen the psycho tempest. than any band I've seen before. It was core set of songs that reached back to the big gorilla in the latest Stone Temple • Screaming Trees: Bursting onto the great to see them in their final tour (Yeah vintage days of Master of Puppets and Pilots video? He put in a surprise appear- alternative scene in full force, I found right!). took things straight up to the cutting edge ance, although the band didn't, unfortu- them a bit lacking in creativity. • Rage Against the Machine: of Load. After a few songs, lead singer nately. Other curiosities included a half- • Wayland Jennings: Wayland Depending upon whether you are a Rage James Hetfield asked the crowd, "Who pipe bike show, a giant rat and loads of Jennings was well received at fan or not, you might agree with my 14- here has been to a Metallica show cool tattoos and body piercings on many Lollapalooza. A key figure in the old- year-old brother's comment on their per- before?" of the fans. school class of country singers, Jennings formance, "Their music isn't all that Most people screamed, "Yeah!" His BANDS: Well I guess a concert report is one who most country music fans of great, but they're fun to dance to." Rage response, "Liars!" He then, as a friend of would not be complete without a few today have expunged from their musical rocked the fest, with their piercing vocals mine put it, "incited a riot." He said, "I words about the bands. Diversity was the tastes. He played songs such as "Just the and their heavy grunge beat, as the crowd haven't seen enough action in the crowd. key. With monster rockers Metallica Good Ole' Boys" from the Dukes of surfers and moshers raged. In classic In this next one, I want to see some bones headlining the show, there was a question Hazard. Everyone rocked to Jennings's political protest, singer Zack De La flying." As "Don't Tread on Me" cranked as to whether Lollapalooza would remain mellow country tunes. He later called his Rocha raved about a prisoner, screaming, up, three large mosh pits opened up on an "alternative" festival. After all, rock son on stage to sing "Knockin' on "Twenty years, still in prison, no proof ... " each side of us, and bodies went flying. legends Metallica were cranking out their Heaven's Door" with the band. Wayland over and over again. After nine long hours out in the fields of heavy metal/ hard rock style of music for was pumped up for the show. He told the • Soundgarden: Alternative gurus that UNO, the crowd stayed in tune with the many years before alternative took on a crowd, "I believe that you are the best they are, they played an excellent set of wild savage music of Metallica, putting a meaning other than "a choice of two crowd that I have ever performed for." songs from Badmotorfinger, fitful close to another Lollapalooza. I things" ("New Webster's Expanded • Rancid: A definite change of pace Superunknown, and their new album, See you there next summer! .
Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • SOUNDGARDEN Superunknown (Hard Rock)
    SOUNDGARDEN Superunknown (Hard Rock) Année de sortie : 1994 Nombre de pistes : 16 Durée : 70' Support : CD Provenance : Acheté Nous avons décidé de vous faire découvrir (ou re découvrir) les albums qui ont marqué une époque et qui nous paraissent importants pour comprendre l'évolution de notre style préféré. Nous traiterons de l'album en le réintégrant dans son contexte originel (anecdotes, etc.)... Une chronique qui se veut 100% "passionnée" et "nostalgique" et qui nous l'espérons, vous fera réagir par le biais des commentaires ! ...... Bon voyage ! Formé à Seattle, SOUNDGARDEN est généralement associé à la mouvance Grunge qui explose en 1991 avec NIRVANA et son album essentiel Nevermind. La musique du groupe emmené par le chanteur Chris CORNELL ne se résume toutefois pas à ce courant. Des similitudes peuvent être constatées, en premier lieu de par l’appartenance des deux formations à cette nouvelle scène de Seattle. Bruce PAVITT, fondateur du label Sub Pop, figure en effet parmi les amis du groupe, ce qui lui permet, avant NIRVANA, de devenir la première formation signée par l’incontournable officine Underground. Ensuite, la musique de SOUNDGARDEN est fréquemment caractérisée par la noirceur et la mélancolie. Cependant, Badmotorfinger, deuxième effort du groupe publié en 1991 par la compagnie nationale A & M, avec laquelle il vient de conclure un contrat avantageux, révèle des influences qui le rattachent davantage au Metal. L’album comporte de nombreuses compositions reposant sur des riffs plombés. Ainsi Jesus Christ Pose rappelle fortement LED ZEPPELIN, et le groupe paie sa dette à BLACK SABBATH sur le titre Slaves & Bulldozers. Après ce disque acclamé par la critique, SOUNDGARDEN connaîtra son apogée avec la sortie en 1994 de Superunknown, qui devient numéro un aux États-Unis avec trois millions d’exemplaires vendus.
    [Show full text]
  • Universidade Federal Do Rio De Janeiro Centro De Filosofia E Ciências Humanas Escola De Comunicação
    UNIVERSIDADE FEDERAL DO RIO DE JANEIRO CENTRO DE FILOSOFIA E CIÊNCIAS HUMANAS ESCOLA DE COMUNICAÇÃO A ECONOMIA DA EXPERIÊNCIA NO CONTEXTO DOS FESTIVAIS DE MÚSICA Inacio Faulhaber Martins Martinelli Rio de Janeiro/RJ 2013 UNIVERSIDADE FEDERAL DO RIO DE JANEIRO CENTRO DE FILOSOFIA E CIÊNCIAS HUMANAS ESCOLA DE COMUNICAÇÃO A ECONOMIA DA EXPERIÊNCIA NO CONTEXTO DOS FESTIVAIS DE MÚSICA Inacio Faulhaber Martins Martinelli Monografia de graduação apresentada à Escola de Comunicação da Universidade Federal do Rio de Janeiro, como requisito parcial para a obtenção do título de Bacharel em Comunicação Social, Habilitação em Publicidade e Propaganda. Orientador: Prof. Dr. Micael Maiolino Herschmann Rio de Janeiro/RJ 2013 MARTINELLI, Inacio Faulhaber Martins. A Economia da Experiência no Contexto dos Festivais de Música/ Inacio Faulhaber Martins Martinelli – Rio de Janeiro; UFRJ/ECO, 2013. xi, 63 f. Monografia (graduação em Comunicação) – Universidade Federal do Rio de Janeiro, Escola de Comunicação, 2013. Orientação: Micael Maiolino Herschmann 1. Festivais de música. 2. Economia da Experiência. 3. Entretenimento. I. HERSCHMANN, Micael Maiolino II. ECO/UFRJ III. Publicidade e Propaganda IV. A Economia da Experiência no Contexto dos Festivais de Música. Dedico essa monografia aos meus pais, Ivan e Leci, por se esforçarem ao máximo para que os seus quatro filhos tivessem uma educação de qualidade. AGRADECIMENTO Gostaria de agradecer, primeiramente, à minha família, pelo apoio incondicional sempre que eu precisei. Meus pais, Ivan e Leci, além de meus três irmãos, Ivan, Isabel e Italo, não sei o que seria de mim sem vocês. Ao professor Micael Herschmann, um “muito obrigado” pela colaboração nesse desgastante processo e por abraçar a minha idéia desde o princípio.
    [Show full text]
  • Open'er Festival
    SHORTLISTED NOMINEES FOR THE EUROPEAN FESTIVAL AWARDS 2019 UNVEILED GET YOUR TICKET NOW With the 11th edition of the European Festival Awards set to take place on January 15th in Groningen, The Netherlands, we’re announcing the shortlists for 14 of the ceremony’s categories. Over 350’000 votes have been cast for the 2019 European Festival Awards in the main public categories. We’d like to extend a huge thank you to all of those who applied, voted, and otherwise participated in the Awards this year. Tickets for the Award Ceremony at De Oosterpoort in Groningen, The Netherlands are already going fast. There are two different ticket options: Premium tickets are priced at €100, and include: • Access to the cocktail hour with drinks from 06.00pm – 06.45pm • Three-course sit down Dinner with drinks at 07.00pm – 09.00pm • A seat at a table at the EFA awards show at 09.30pm – 11.15pm • Access to the after-show party at 00.00am – 02.00am – Venue TBD Tribune tickets are priced at €30 and include access to the EFA awards show at 09.30pm – 11.15pm (no meal or extras included). Buy Tickets Now without further ado, here are the shortlists: The Brand Activation Award Presented by: EMAC Lowlands (The Netherlands) & Rabobank (Brasserie 2050) Open’er Festival (Poland) & Netflix (Stranger Things) Øya Festivalen (Norway) & Fortum (The Green Rider) Sziget Festival (Hungary) & IBIS (IBIS Music) Untold (Romania) & KFC (Haunted Camping) We Love Green (France) & Back Market (Back Market x We Love Green Circular) European Festival Awards, c/o YOUROPE, Heiligkreuzstr.
    [Show full text]
  • II «Grande Crollo » Di Lira E Borsa
    UNIPOL ASSICURAZIONI Sicuramente con te Sicuramente con te ANNO 71. N. 190 SPED. IN ABB. POST. - 50% - ROMA SABATO 13 AGOSTO 1994 - L 1.300 MULL zm La nostra moneta fino a 1.030 sul marco. Il Cavaliere: sono in guerra. I Progressisti: venga subito in Parlamento II «grande crollo » di lira e Borsa L'esponente Berlusconi: va tutto bene Confindustria Fumagalli: «Non c'è Dini attacca Bankitalia fiducia nell'Italia» m Lira, Borsa, titoli di stato in ca­ duta libera. La peggiore giornata . BRUNO dai tempi della «tempesta moneta­ UGOLINI ria» di due anni fa. Mentre Berlu­ A PAGINA 2 Il problema Due anni sconi preparava il suo «messaggio di ottimismo» agli italiani sui mer­ cati finanziari l'azienda Italia ha • buttati via combattuto e perso una sanguino­ sa battaglia. Il marco è volato a 1.030,5 lire, per finire poi nella «fo­ Vicepresidente tografia» di. Bankitalia a quota Cariplo LUIQIBERLINGUER VINCENZO VISCO 1.026,8: record negativo assoluto. La Borsa ha chiuso per l'ottava vol­ Talamona: UELCHE .sta OLO POCHI gior­ ta consecutiva in calo, perdendo succedendo in ni fa, nel corso di oltre il 3%; il Btp decennale è'sceso «La crisi questi giorni in una conferenza di oltre il 2%. Il ministro del Tesoro Italia è di asso­ stampa tenuta as­ Dini ha parole gelide per Bankita­ ha cause luta gravità. La sieme . al Partito lia: il rialzo del tasso di sconto è lira perde terre­ S•—— popolare italiano politiche» no toccando record storici, la per illustrare la posizione del­ . «sgradevole», non servono misure £ d'emergenza.
    [Show full text]
  • Um Modelo Conceitual De Megaeventos Musicais
    CULTUR, ano 09 - nº 02 – Jun/2015 www.uesc.br/revistas/culturaeturismo Licença Copyleft: Atribuição-Uso não Comercial-Vedada a Criação de Obras Derivadas UM MODELO CONCEITUAL DE MEGAEVENTOS MUSICAIS A CONCEPTUAL FRAMEWORK FOR MUSIC MEGA EVENTS Recebido em 13/04/2015 Fabrício Silva Barbosa1 Aprovado em 28/05/2015 1 Doutorando em Engenharia de Produção e Sistemas. Mestre em Turismo e Hotelaria. Coordenador do Curso Superior de Tecnologia em Gestão do Turismo Instituto Federal Farroupilha. RESUMO Os eventos em geral cada vez mais se encontram inseridos no cenário econômico de grandes destinações, sejam elas turísticas ou não. Por meio da implementação da produção e consumo da música, os eventos alavancam a economia local e contribuem significativamente no desenvolvimento das localidades nas quais se encontram inseridos. A presente pesquisa objetivou propor um modelo conceitual a ser utilizado no planejamento estratégico de megaeventos, analisando a sua estrutura desde a concepção, perpassando sua preparação e realização, até o encerramento total das atividades envolvidas. O resultado deste estudo aponta para a elaboração de um modelo conceitual com a finalidade de ilustrar as diferentes fases dos eventos que têm a música como facilitador da indústria do entretenimento. PALAVRAS CHAVE Gestão de Serviços. Evento. Entretenimento. Música. ABSTRACT Events are increasingly embedded in the economic scenario of large allocations, whether tourist or not. Through the implementation of production and consumption of music, events influence the local economy and contribute significantly to the development of the areas in which they are inserted. This research aimed to propose a conceptual model to be used in strategic planning for mega events, based on the supply chain of music, analyzing its structure from conception, passing their preparation and holding until the complete closure of the activities involved.
    [Show full text]
  • Steve Waksman [email protected]
    Journal of the International Association for the Study of Popular Music doi:10.5429/2079-3871(2010)v1i1.9en Live Recollections: Uses of the Past in U.S. Concert Life Steve Waksman [email protected] Smith College Abstract As an institution, the concert has long been one of the central mechanisms through which a sense of musical history is constructed and conveyed to a contemporary listening audience. Examining concert programs and critical reviews, this paper will briefly survey U.S. concert life at three distinct moments: in the 1840s, when a conflict arose between virtuoso performance and an emerging classical canon; in the 1910s through 1930s, when early jazz concerts referenced the past to highlight the music’s progress over time; and in the late twentieth century, when rock festivals sought to reclaim a sense of liveness in an increasingly mediatized cultural landscape. keywords: concerts, canons, jazz, rock, virtuosity, history. 1 During the nineteenth century, a conflict arose regarding whether concert repertories should dwell more on the presentation of works from the past, or should concentrate on works of a more contemporary character. The notion that works of the past rather than the present should be the focus of concert life gained hold only gradually over the course of the nineteenth century; as it did, concerts in Europe and the U.S. assumed a more curatorial function, acting almost as a living museum of musical artifacts. While this emphasis on the musical past took hold most sharply in the sphere of “high” or classical music, it has become increasingly common in the popular sphere as well, although whether it fulfills the same function in each realm of musical life remains an open question.
    [Show full text]
  • Soundgarden Badmotorfinger Mp3, Flac, Wma
    Soundgarden Badmotorfinger mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Badmotorfinger Country: UK & Europe Released: 2016 Style: Alternative Rock, Hard Rock, Grunge MP3 version RAR size: 1567 mb FLAC version RAR size: 1577 mb WMA version RAR size: 1874 mb Rating: 4.5 Votes: 107 Other Formats: MMF DXD RA VOC WMA AU AAC Tracklist Hide Credits 1 Rusty Cage 4:26 2 Outshined 5:11 Slaves And Bulldozers 3 6:56 Music By – Shepherd*, Cornell* Jesus Christ Pose 4 6:51 Music By – Shepherd*, Cornell*, Thayil*, Cameron* Face Pollution 5 2:24 Music By – Shepherd* Somewhere 6 4:21 Music By, Lyrics By – Shepherd* 7 Searching With My Good Eye Closed 6:31 Room A Thousand Years Wide 8 4:06 Lyrics By – Thayil*Music By – Cameron* 9 Mind Riot 4:49 Drawing Flies 10 2:25 Music By – Cameron* 11 Holy Water 5:07 New Damage 12 5:40 Music By – Thayil*, Cameron* Companies, etc. Manufactured By – A&M Records Of Canada Limited Distributed By – PolyGram Distribution Inc. Phonographic Copyright (p) – A&M Records, Inc. Copyright (c) – A&M Records, Inc. Recorded At – Studio D Recorded At – Bear Creek Studios Recorded At – A&M Studios Mixed At – Can-Am Recorders Mastered At – Masterdisk Pressed By – Cinram Credits A&R – Bryan Huttenhower Art Direction – Len Peltier Bass – Ben Shepherd Design – Walberg Design Drums – Matt Cameron Engineer – Terry Date Engineer [Assisted By] – Efren Herrera Guitar – Kim Thayil Illustration [Front Cover] – Mark Dancey Lyrics By – Cornell* (tracks: 1 to 5, 7, 9 to 12) Management – Susan Silver Mastered By – Howie Weinberg Mixed By – Ron St.
    [Show full text]
  • Jax Anderson About
    Jax Anderson about Jax Anderson (previously known as “Flint Eastwood”) is a Detroit-based alt- pop artist who has dominated stages around the world. Anderson’s DIY ethos runs deep, as she writes, records, designs, and directs everything she releases. She heads out on the road this fall on Bishop Briggs’ North American “Champion” Tour with Miya Folick. Previously, Anderson has had two US headlining tours, national tours supporting PVRIS, Misterwives, & Poppy, European and Australian support runs (Foster The People, Sigrid), and has played festivals around the world including Lollapalooza, Bonnaroo, Sasquatch, Summerfest, Falls Fest, Les Escales, and more. 2019 • National US tour with Poppy • Australia fest / headline tour including headlining Night 1 of highlights Gaytimes Festival 2018 • First US Headline Tour - Northeast / Midwest two Anderson has had • Sold Out Indianapolis (450 cap), Chicago (350 cap) US headlining tours, • Direct Support: Bleachers, PVRIS, Misterwives, flor, Now Now national tours • Direct Support to GRiZ at Red Rocks Amp. on 7/13 supporting PVRIS, • Detroit Co-Headline with Princess Nokia on 6/29 (2,300 cap) Misterwives, & Poppy, • Licensing: Ford Mustang GT 500 Relaunch, Biore European and 2017 Australian support • "Queen" #10 most played song on triple J (AUS) runs (Foster The People, • VEVO DSCVR Artist (July) Sigrid), and has played • 1,500 tickets sold in hometown of Detroit, MI (April) festivals around the • Licensing: VICE, Freeform, Fox, ESPN (Wimbledon & US world including Open), Amazon, Bravo • US Direct Support: Walk The Moon, PVRIS, Sigrid, Rostam Lollapalooza, Bonnaroo, (Vampire Weekend), Sylvan Esso, Phantogram Sasquatch, Summerfest, • US Festivals: Bonnaroo, Lollapalooza, VooDoo Falls Fest, Les Escales, • Europe: Les Escales (FR), Champagne (FR) and more.
    [Show full text]
  • Rock in Rio 2015
    Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação XXXIX Congresso Brasileiro de Ciências da Comunicação – São Paulo - SP – 05 a 09/09/2016 Rock in Rio 2015: a performance das marcas dentro e fora dos palcos1 Danilo LIRA2 Eduardo RODRIGUES3 Gabriela LOHANA4 Maíra GOMES5 Paloma DE CASTRO6 Juliana SOUTO7 Universidade Federal de Pernambuco, Recife, PE RESUMO O Rock in Rio é tido como o maior festival de música do mundo e por isso atrai a atenção de grandes marcas que querem, de alguma forma, se associar com o evento e seu público. O que muitas vezes passa despercebido nesta ocasião é que a estratégia de promoção não é uma ferramenta exclusiva das empresas que se associam ao Rock in Rio, mas também dos artistas que fazem parte do seu line-up, uma vez que através das apresentações ao vivo, eles reverberaram algum tipo de impacto performático que acaba por fomentar a sua identidade de marca na dinâmica da indústria cultural (ADORNO; HORKHEIMER, 1997). Portanto, nossa análise consiste em contrapor a desenvoltura de algumas marcas e artistas na edição do Rock in Rio 2015, apontando novos direcionamentos da técnica de promoção de marca (ROBERTS, 2004). PALAVRAS-CHAVE: Rock in Rio; Branded Content; Indústria Cultural, Música, Ação Promocional. INTRODUÇÃO Desde sua primeira edição em 1985, o Rock in Rio já conta com 16 outras edições: seis no Brasil, seis em Portugal, três na Espanha e uma nos Estados Unidos, mesclando na sua programação artistas de estilos musicais que variam do rock, que 1 Trabalho apresentado na Divisão
    [Show full text]
  • Contwe're ACT
    Media contacts for Linkin Park: Dvora Vener Englefield / Michael Moses / Luke Burland (310) 248-6161 / (310) 248-6171 / (615) 214-1490 [email protected] / [email protected] / [email protected] LINKIN PARK ADDS BUSTA RHYMES TO 2008 SUMMER TOUR ACCLAIMED HIP HOP INNOVATOR WILL PERFORM WITH LINKIN PARK, CHRIS CORNELL, THE BRAVERY, ASHES DIVIDE ON PROJEKT REVOLUTION MAIN STAGE REVOLUTION STAGE HEADLINED BY ATREYU AND FEATURING 10 YEARS, HAWTHORNE HEIGHTS, ARMOR FOR SLEEP & STREET DRUM CORPS TOUR BEGINS JULY 16 IN BOSTON Los Angeles, CA (June 3, 2008) – Multi-platinum two-time Grammy-winning rock band Linkin Park has announced that acclaimed hip-hop innovator Busta Rhymes will join their Projekt Revolution 2008 lineup. Rhymes and Linkin Park recently collaborated on “We Made It,” the first single and video from Rhymes’ upcoming album, Blessed. By touring together, Linkin Park & Busta are taking a cue from the chorus of their song: “…we took it on the road…”. As recently pointed out in Rolling Stone’s “Summer Tour Guide,” the tour will see nine acts joining rock superstars Linkin Park, who are also offering concertgoers a digital souvenir pack that includes a recording of the band’s entire set. As the band’s co-lead vocalist Mike Shinoda told the magazine, “That puts extra pressure on us to make sure our set is different every night.” The fifth installation of Linkin Park’s raging road show will see them headlining an all-star bill that features former Soundgarden/Audioslave frontman Chris Cornell, electro-rockers The Bravery and Ashes Divide featuring Billy Howerdel, known for his work with A Perfect Circle.
    [Show full text]
  • Complaint 12-9-2019
    Case 1:19-cv-25045-JEM Document 1 Entered on FLSD Docket 12/09/2019 Page 1 of 24 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF FLORIDA MIAMI DIVISION CASE NO. 1:19­cv­25045 Vicky Cornell, individually, and in her JURY TRIAL DEMANDED capacity, and as the Personal Representative of the Estate of Christopher John Cornell a/k/a Chris Cornell, Plaintiffs, v. Soundgarden, a purported Washington General Partnership, Kim A. Thayil, Matt D. Cameron, Hunter Benedict Shepherd, Rit Venerus and Cal Financial Group, Inc., Defendants. ______________________________________________/ COMPLAINT Plaintiff, Vicky Cornell, individually and in her capacity as the personal representative of the Estate of Christopher John Cornell (collectively, “Plaintiffs”) through counsel, hereby files the following complaint against the defendants, Soundgarden, Kim Thayil, Matt Cameron, Hunter Benedict Shepherd, Rit Venerus and Cal Financial Group, Inc. (collectively, “Defendants”). I. INTRODUCTION “Everybody out for my blood, everybody want my percent … They just want to take what is mine, how much more can they get.” - Sweet Revenge 1. In 2009, Chris Cornell penned these lyrics about his former Soundgarden bandmates after they unlawfully (and unsuccessfully) attempted to deprive him of his rights in connection with the valuable musical works that he created for the band. Ten years later, and after Chris’ untimely passing, these lyrics hauntingly resonate as his former bandmates, once Case 1:19-cv-25045-JEM Document 1 Entered on FLSD Docket 12/09/2019 Page 2 of 24 again, have attempted to “take what is his” – or, more aptly, to steal from his widow and minor children. This wrongful conduct shockingly started shortly after Chris’ untimely death and ultimately forced his widow, Vicky Cornell, to bring this lawsuit.
    [Show full text]