Family Values Tour 1998 Cd
2021年2月4日Download here: http://gg.gg/o71qo
*Listen to Family Values Tour ’98 on Spotify. Various Artists Compilation 1999 21 songs.
*This program captures some of the highlights from ’The Family Values Tour ’98,’ the rock excursion that includes headliners Korn, Rammstein, Ice Cube, Limp Bizkit and Orgy.
*Tours include: Anger Management Tour, Back 2 Basics Tour, Back To Basics Tour 2003, Billionaire Pirates Tour, Chocolate Starfish International, European Summer Tour 2013, European Tour 2012, Family Values Tour 1998, Family Values Tour 1999, Gold Cobra, Guerilla Tour, Kerrang!, Ladies Night in Cambodia, Life Is Peachy Tour ’96, Limp Bizkit 20th.
*Label: Immortal Records (3) - ESCA 7468,Epic - ESCA 7468,Interscope Records - ESCA 7468. Series: Family Values Tour - 1998. Format: CD Compilation, Stereo. Country: Japan. Genre: Electronic, Hip Hop, Rock. Style: Alternative Rock, Gangsta, Industrial, Cut-up/DJ, Nu Metal.Nothing’s Scary
Listen to Family Values Tour ’98 on Spotify. Various Artists Compilation 1999 21 songs.
My wife didn’t quite know what to say as I set off for the ’FamilyValues’ Tour. Have a good time? Get real. Good luck? No kidding.Then I had an idea: ’Wish that nobody hits me.’
And so it was to be. As I gazed down upon the separatelyticketed mosh pit, the only sold-out sector of the ’parents-freezone’ the Meadowlands arena was supposed to turn into, I didn’teven get jostled. Bummer. Here I was, primed for Armageddon, andthe scariest thing I saw all night was the Lincoln Tunnel at rushhour--a war zone regularly braved by the adults underwriting mostof these children of the Korn.
Really, I had expected more from a band that claims, notabsurdly, to be spearheading a new ’underground--what alternativeused to be.’ Think of Korn headman Jonathan Davis as a populistPerry Farrell, more candid and original in his arena-rock amalgam,more cloddish and heartfelt in his sensationalism--and then there’sthe Lollapalooza connection. If Korn guitarist Munky hadn’t comedown with viral meningitis, forcing the band off the 1997 edition,Farrell’s alternafest might still be solvent. Instead Family Valuesmeans to pick up Lolla’s pieces. The inaugural version includesKorn’s ’death-pop’ boutique-label signing Orgy, their rap-metalbuddies Limp Bizkit, their rap-cred standard bearer Ice Cube, andthe German pyro-for-pornos parodists Rammstein, signed up afterdeath-metal-for-newbies parodist Rob Zombie stalked off in a fit ofavarice. ’This is gonna be an annual thing, too, whether Korn is onit or not,’ averred bassist Fieldy. ’We’ll arrange it every yearand set up the bands who’ll be on it.’
A big dream--but not a crazy one. In a hard-rock pattern thatimpresses every time it happens again, Bakersfield-via-L.A.’s Kornflogged its eponymous 1994 debut album platinum with no appreciableairplay or, need I mention, print coverage. On the road soincessantly their record company opened up a line of credit withMotel 6, on line incessantly with their fans after that, they wonthe hormone-stoked hearts of a new audience no one else had thoughtto service: the natural-born metal boys who slaked their masculinecravings with the gat-flashing speech rhythms of Ice-T, Sir Mix-a-Lot,and Dr. Dre. Alternafunk sexists from Trent Reznor to the RedHot Chili Peppers gesture toward these guys. The Beasties do too.But Korn addresses them directly, as a social formation, analienated suburban proletariat-in-the-making.
Jealous of their turf, Korn deny they’re metal; that’s JudasPriest, all four-four pomp and guitar solos. But they neverthelessdemonstrate that the essence of metal--an expressive mode itsometimes seems will be with us for as long as ordinary whiteboysfear girls, pity themselves, and are permitted to rage against aworld they’ll never beat--is self-obliterating volume and self-aggrandizingdisplay. The genre isn’t stagnant, just slow-moving.Korn appeal via the new mix they stir up freshest on their thirdalbum, the briefly No. 1 Follow the Leader. The ’underground’ partis death-metal, the horrorshow sludge that owes its existence tothe vocal innovations of Mercedes McCambridge in The Exorcist. ButKorn roil the muck with a hyperactive rhythm section and landscapeit with eerie licks and odd bridges. Davis now calls up death-metal’ssignature groan mostly to prove he’s still authentic. Heprefers a normal midrange--and sometimes he raps, recites, or scatsin it, which added to the beats is enough to get hip-hoppingwayfarers in line. His theatrical devices, meanwhile, play off themetal-derived histrionics of Farrell, Reznor, Marilyn Manson, andeven Kurt Cobain.
The social formation thus targeted is very white and verymale--at the Meadowlands, about 99 and 75 percent--with misogynyrampant. (Davis on ’K@#%!,’ a/k/a ’Kunt,’ from 1996’s Life Is Peachy:’People think it’s sexist but it isn’t. It’s moresubconscious bitching at all the women who’ve been with me in mylife.’ Feel better now?) But Kornheads are nonracist enough toexperience a firsthand attraction to black music and nonhomophobicenough to sing along with the show-topping ’Faget,’ in which Davisidentifies so explicitly with the high school pariah of the titlethat only a hopeless knucklehead could take it the wrong way. Youdon’t have to like this stuff to grant its cultural legitimacy. Butit looked all too subcultural at the Meadowlands, with empty patchesover a 15,000-capacity hall. Pit action was augmented by determinedmoshing in the aisles and upper balcony once the inept gloom-glamof Orgy yielded to Limp Bizkit. But this wasn’t enough for leadspokesperson Wes Borland, who kept warning, ’You motherfuckersbetter wake up.’ Oh yeah? Or what?
Borland knew whereof he blustered. Bizkit, who put rap beforemetal and prove it by adding House of Pain’s DJ Lethal to theirguitar-bass-drums, is a big band in this little world. The onlytimes their energy fed the crowd’s, or quickened the dynamismdetectable on their CD, were a guest break dancer’s very longheadspin and a cover of George Michael’s ’Faith.’ The token rapperwasn’t much better--having instigated a droll chant of ’Fuck youIce Cube’ and brought the eternal ’Fuck Tha Police’ back to life,he collected his check in 30 minutes. Then we found out why we’dbeen waiting for Rammstein. Unlike most opera-rockers, frontmanTill Landemann’s a bass, not a tenor, which makes all thedifference Ubermensch-wise. And his flaming armor and portablerocket launcher had nothing on the dildo-nozzled hose in his pants,which he let gob all over the crowd after mock-cornholing the half-baredass of the quaking keyb man in the off-the-shoulder top--theonly Rammer besides Landemann to do anything but stand there mock-roboticallypowering out an amped renovation of Hawkwind inoverdrive. What a rush. This was ’transgressive art’ that no onecould take literally--outrageous shock-spectacle for a parents-freezone. With Korn, I worry kids might try it at home.
Jonathan Davis’s great bond with his fans is an adolescentagony he’s never gotten over. After trademarking the debut with acover depicting a little girl about to be raped or murdered in aplayground, an image far more open to misinterpretion than ’Faget’(’Cool!’ ’Heavy!’ ’Wow!’), he took to blowing off against childabuse, but unlike such rock assholes as Axl Rose he doesn’t claimhe was physically abused himself, and he wouldn’t justify his ownill behavior if he did. Instead he obsesses on a coroner’sassistant job he ’jumped at’ when he was 17: ’I thought, `Oh, it’llbe cool to see a dead body,’ but I didn’t realize I’d fall in lovewith it. And I did.’ On the new ’Dead Bodies Everywhere,’ he links thisnot unsexy nightmare to his fear of father: ’You really wantme to be a good son/Why? You make me feel like no one.’ Fans knewthose words, and why not? They’re the story of many kids’ lives fora while. But though how much the same fans identify with ’My Giftto You’ (’I kiss your lifeless skin’), ’Cameltosis’ (’You trick-assslut’), or the tragic ’Seed’ (’Do I need this fame?’) remainsunclear, I’m parent enough to hope they can find a more fullyformed designated someone than a guy whose idea of transgressiveart is netcasting soft-core s&m to any teenager with a logon.
Often bands I admire attract fans I don’t. The Beasties crowdsI’ve mingled with, for instance, have seemed too hip to be sofucking belligerent. I preferred the youthful enthusiasm at FamilyValues, where interest in s&m remained distinctly spectatorial. I’msure that for them Korn represents a passage out of innocence, astate of being Davis is so set on dissing he actually wrote a songattacking Mr. Rogers. But they haven’t lost all of it, and here’shoping they never will. What holds back bands like Korn, MarilynManson, and White Zombie isn’t how much they’ve been made tosuffer. Louis Armstrong grew up in the streets; George Jones’s dadused to whip him until he sang. It’s their inability to put itbehind them, and their determination to convince themselves andeveryone else that their truths have made them free.
Village Voice, Oct. 13, 1998Family Values Tour 1998Tour by Korn, Ice Cube, Limp Bizkit, Orgy, Rammstein, IncubusAssociated albumVariousStart dateSeptember 22, 1998End dateOctober 31, 1998Legs1
The 1998Family Values Tour was the first edition of the critically acclaimed[1] fall music tour that initially combined nu metal, alternative metal, and rap acts. The tour was created and headlined by Korn.Lineup[edit]
Artists who participated in 1998 Family Values Tour were:
*Incubus(replaced Ice Cube on October 25, 1998 for five remaining dates)Promotion[edit]
The tour was preceded by whirlwind political campaign-style tour named ’Korn Kampaign’ (from August 17, 1998 in Los Angeles through September 1 in Phoenix) to promote the release of their album Follow the Leader. It took the group all over North America to spread the news of their ’Family Values’ platform to hordes of fans at special ’fan conferences’ that were organized at every stop along the tour route. Korn chartered a jet, which took them to record stores in such cities as Riverside, Mountain View, Sacramento, Seattle, Minneapolis, Chicago, Denver, Detroit, Philadelphia, Boston, New York City, Toronto, Atlanta, and Dallas. The band talked to fans at every stop, answered questions during the special ’fan conferences’ and signed autographs. Jim Rose hosted the entire ’Kampaign’ tour. Celebrities at various stops included Ice Cube and Todd McFarlane.Success[edit]
The 1998 edition of Family Values Tour was highly successful, the live compilation debuted at #7 at Billboard 200 chart selling 121,000 copies in its first week, and achieving gold record status by RIAA, while DVD - platinum.
Korn helped to promote then-unknown acts. The results were very promising. Rammstein’s album ’Sehnsucht’ achieved platinum certification in the United States, also Orgy’s debut ’Candyass’, which was released through Korn’s own record label, Elementree Records, achieved similar success. Limp Bizkit enjoyed even greater success which helped them establish themselves as one of the leading acts of the nu metal wave at that time, and enjoyed enormous commercial success.
The 28 dates of Family Values Tour grossed more than $6.4 million and over 243,000 fans purchased the fan-friendly ticket prices that ranged from $26.00 to $29.50.[1]
Critical acclaim for the tour started to pour in as soon as it all started. As Jim Farber noted in a review of the September 25, 1998 event at the Continental Arena in New Jersey in the New York Daily News:
’[...] The 4 and half hour show, a hip-hopDJ held equal ground with a drummer in the set by Limp Bizkit, a keyboardist added dance club beats to the classic metal of Rammstein, and two guitarists translated the needling sound of electronic hip-hop into the manic creations of Korn [...] This tour created a bold new profile for hard guitar bands taking cues from the music that replaced them as the soundtrack to masculine aggression.’[1]
The Los Angeles Times noted that the tour ’certainly proved to be one of the rock spectacles of the year,’[2] while Steve Morse of the Boston Globe said that ’Korn delivered the goods...by accelerating out of the box with a savage confluence of heavy metal, rap, and primal screaming from singer Jonathan Davis.’[1]Family Values Tour 1998 Cd
John Scher of Metropolitan Entertainment agreed: ’The Family Values Tour was not only a great business success, but more importantly, a rousing success with the fans. I think, to a great degree, we accomplished what we set out to: creating a fun, wild evening with a unique atmosphere and incredible music.’[1]
Jonathan Davis, lead singer of Korn said: ’We’re creating some rock history with this tour. From that first show, I had goosebumps upon goosebumps. This is something special happening here. I hope that it becomes annual and it’s gonna last.’[1]CD and DVD release[edit]
The initial edition of Family Values Tour was highly successful and it was documented on separate DVD and CD releases, both put on sale on March 30, 1999 via Immortal/Epic Records. The CD release achieved gold record status in the United States while DVD release went platinum.Ice Cube replacement[edit]
On September 25, 1998 due to the beginning of shooting the movie ’Next Friday’, Ice Cube was replaced by alternative metal band Incubus for the remaining five dates. The band is featured on the Family Values Tour ’98 CD release with their song ’New Skin’, and can be also seen during performance of ’All in the Family’ on the DVD release.Feud with Rob Zombie[edit]
Initially, Rob Zombie was to be one of the artists participating on the tour, but due to the high production costs, each Rob Zombie concert would cost $125,000 in band fees and show production alone. Therefore, Rob Zombie was replaced by Germanindustrial metal act, Rammstein. However, the given explanation was somewhat confusing. The Firm, Korn’s management said Zombie continually expressed dissatisfaction over not wanting to work with a hip-hop act on the bill, and was supposedly lectured by Rob Zombie management that ’rock kids don’t like hip-hop.’ Rob Zombie’s manager, Andy Gould said those comments were false. He explained that Zombie has never even spoken to Korn, so he could not have made those comments.[3] Although the statement released by Korn’s management resulted in anger, Rob Zombie shared no bad blood with the bands participating in Family Values Tour. Next year, in 1999, both Rob Zombie and Korn got on good terms again, and launched the highly successful ’Rock is Dead’ tour together.Trivia[edit]
In one of the more infamous moments, Rammstein’s band members dressed up for Halloween. Most of them were practically naked with the exception of Richard Kruspe, who wore a wedding dress. Police dragged the members off the stage for indecent exposure and the concert ended after a mere 10 minutes.[4]Family Values Tour 2000References[edit]
*^ abcdef’Mitch Schneider Organization - Family Values Tour ’98 overview’. Mitch Schneider Organization. 1998-03-12. Retrieved 2007-01-26.
*^’Live Nation: Press Release for Family Values 2006’. Live Nation. 2006-04-19. Retrieved 2007-01-26.[permanent dead link]
*^’Rolling Stone: Family Feud: Rob Zombie’. Rolling Stone. 1998-07-24. Archived from the original on 2007-10-02. Retrieved 2007-01-25.
*^’FAMILY VALUES FEATURES BOTH TRICKS AND TREATS IN TOUR FINALE’. MTV. 1998-03-11. Retrieved 2019-02-13.Family Values Tour 98Retrieved from ’https://en.wikipedia.org/w/index.php?title=Family_Values_Tour_1998&oldid=992720109’
Download here: http://gg.gg/o71qo
https://diarynote-jp.indered.space
*Listen to Family Values Tour ’98 on Spotify. Various Artists Compilation 1999 21 songs.
*This program captures some of the highlights from ’The Family Values Tour ’98,’ the rock excursion that includes headliners Korn, Rammstein, Ice Cube, Limp Bizkit and Orgy.
*Tours include: Anger Management Tour, Back 2 Basics Tour, Back To Basics Tour 2003, Billionaire Pirates Tour, Chocolate Starfish International, European Summer Tour 2013, European Tour 2012, Family Values Tour 1998, Family Values Tour 1999, Gold Cobra, Guerilla Tour, Kerrang!, Ladies Night in Cambodia, Life Is Peachy Tour ’96, Limp Bizkit 20th.
*Label: Immortal Records (3) - ESCA 7468,Epic - ESCA 7468,Interscope Records - ESCA 7468. Series: Family Values Tour - 1998. Format: CD Compilation, Stereo. Country: Japan. Genre: Electronic, Hip Hop, Rock. Style: Alternative Rock, Gangsta, Industrial, Cut-up/DJ, Nu Metal.Nothing’s Scary
Listen to Family Values Tour ’98 on Spotify. Various Artists Compilation 1999 21 songs.
My wife didn’t quite know what to say as I set off for the ’FamilyValues’ Tour. Have a good time? Get real. Good luck? No kidding.Then I had an idea: ’Wish that nobody hits me.’
And so it was to be. As I gazed down upon the separatelyticketed mosh pit, the only sold-out sector of the ’parents-freezone’ the Meadowlands arena was supposed to turn into, I didn’teven get jostled. Bummer. Here I was, primed for Armageddon, andthe scariest thing I saw all night was the Lincoln Tunnel at rushhour--a war zone regularly braved by the adults underwriting mostof these children of the Korn.
Really, I had expected more from a band that claims, notabsurdly, to be spearheading a new ’underground--what alternativeused to be.’ Think of Korn headman Jonathan Davis as a populistPerry Farrell, more candid and original in his arena-rock amalgam,more cloddish and heartfelt in his sensationalism--and then there’sthe Lollapalooza connection. If Korn guitarist Munky hadn’t comedown with viral meningitis, forcing the band off the 1997 edition,Farrell’s alternafest might still be solvent. Instead Family Valuesmeans to pick up Lolla’s pieces. The inaugural version includesKorn’s ’death-pop’ boutique-label signing Orgy, their rap-metalbuddies Limp Bizkit, their rap-cred standard bearer Ice Cube, andthe German pyro-for-pornos parodists Rammstein, signed up afterdeath-metal-for-newbies parodist Rob Zombie stalked off in a fit ofavarice. ’This is gonna be an annual thing, too, whether Korn is onit or not,’ averred bassist Fieldy. ’We’ll arrange it every yearand set up the bands who’ll be on it.’
A big dream--but not a crazy one. In a hard-rock pattern thatimpresses every time it happens again, Bakersfield-via-L.A.’s Kornflogged its eponymous 1994 debut album platinum with no appreciableairplay or, need I mention, print coverage. On the road soincessantly their record company opened up a line of credit withMotel 6, on line incessantly with their fans after that, they wonthe hormone-stoked hearts of a new audience no one else had thoughtto service: the natural-born metal boys who slaked their masculinecravings with the gat-flashing speech rhythms of Ice-T, Sir Mix-a-Lot,and Dr. Dre. Alternafunk sexists from Trent Reznor to the RedHot Chili Peppers gesture toward these guys. The Beasties do too.But Korn addresses them directly, as a social formation, analienated suburban proletariat-in-the-making.
Jealous of their turf, Korn deny they’re metal; that’s JudasPriest, all four-four pomp and guitar solos. But they neverthelessdemonstrate that the essence of metal--an expressive mode itsometimes seems will be with us for as long as ordinary whiteboysfear girls, pity themselves, and are permitted to rage against aworld they’ll never beat--is self-obliterating volume and self-aggrandizingdisplay. The genre isn’t stagnant, just slow-moving.Korn appeal via the new mix they stir up freshest on their thirdalbum, the briefly No. 1 Follow the Leader. The ’underground’ partis death-metal, the horrorshow sludge that owes its existence tothe vocal innovations of Mercedes McCambridge in The Exorcist. ButKorn roil the muck with a hyperactive rhythm section and landscapeit with eerie licks and odd bridges. Davis now calls up death-metal’ssignature groan mostly to prove he’s still authentic. Heprefers a normal midrange--and sometimes he raps, recites, or scatsin it, which added to the beats is enough to get hip-hoppingwayfarers in line. His theatrical devices, meanwhile, play off themetal-derived histrionics of Farrell, Reznor, Marilyn Manson, andeven Kurt Cobain.
The social formation thus targeted is very white and verymale--at the Meadowlands, about 99 and 75 percent--with misogynyrampant. (Davis on ’K@#%!,’ a/k/a ’Kunt,’ from 1996’s Life Is Peachy:’People think it’s sexist but it isn’t. It’s moresubconscious bitching at all the women who’ve been with me in mylife.’ Feel better now?) But Kornheads are nonracist enough toexperience a firsthand attraction to black music and nonhomophobicenough to sing along with the show-topping ’Faget,’ in which Davisidentifies so explicitly with the high school pariah of the titlethat only a hopeless knucklehead could take it the wrong way. Youdon’t have to like this stuff to grant its cultural legitimacy. Butit looked all too subcultural at the Meadowlands, with empty patchesover a 15,000-capacity hall. Pit action was augmented by determinedmoshing in the aisles and upper balcony once the inept gloom-glamof Orgy yielded to Limp Bizkit. But this wasn’t enough for leadspokesperson Wes Borland, who kept warning, ’You motherfuckersbetter wake up.’ Oh yeah? Or what?
Borland knew whereof he blustered. Bizkit, who put rap beforemetal and prove it by adding House of Pain’s DJ Lethal to theirguitar-bass-drums, is a big band in this little world. The onlytimes their energy fed the crowd’s, or quickened the dynamismdetectable on their CD, were a guest break dancer’s very longheadspin and a cover of George Michael’s ’Faith.’ The token rapperwasn’t much better--having instigated a droll chant of ’Fuck youIce Cube’ and brought the eternal ’Fuck Tha Police’ back to life,he collected his check in 30 minutes. Then we found out why we’dbeen waiting for Rammstein. Unlike most opera-rockers, frontmanTill Landemann’s a bass, not a tenor, which makes all thedifference Ubermensch-wise. And his flaming armor and portablerocket launcher had nothing on the dildo-nozzled hose in his pants,which he let gob all over the crowd after mock-cornholing the half-baredass of the quaking keyb man in the off-the-shoulder top--theonly Rammer besides Landemann to do anything but stand there mock-roboticallypowering out an amped renovation of Hawkwind inoverdrive. What a rush. This was ’transgressive art’ that no onecould take literally--outrageous shock-spectacle for a parents-freezone. With Korn, I worry kids might try it at home.
Jonathan Davis’s great bond with his fans is an adolescentagony he’s never gotten over. After trademarking the debut with acover depicting a little girl about to be raped or murdered in aplayground, an image far more open to misinterpretion than ’Faget’(’Cool!’ ’Heavy!’ ’Wow!’), he took to blowing off against childabuse, but unlike such rock assholes as Axl Rose he doesn’t claimhe was physically abused himself, and he wouldn’t justify his ownill behavior if he did. Instead he obsesses on a coroner’sassistant job he ’jumped at’ when he was 17: ’I thought, `Oh, it’llbe cool to see a dead body,’ but I didn’t realize I’d fall in lovewith it. And I did.’ On the new ’Dead Bodies Everywhere,’ he links thisnot unsexy nightmare to his fear of father: ’You really wantme to be a good son/Why? You make me feel like no one.’ Fans knewthose words, and why not? They’re the story of many kids’ lives fora while. But though how much the same fans identify with ’My Giftto You’ (’I kiss your lifeless skin’), ’Cameltosis’ (’You trick-assslut’), or the tragic ’Seed’ (’Do I need this fame?’) remainsunclear, I’m parent enough to hope they can find a more fullyformed designated someone than a guy whose idea of transgressiveart is netcasting soft-core s&m to any teenager with a logon.
Often bands I admire attract fans I don’t. The Beasties crowdsI’ve mingled with, for instance, have seemed too hip to be sofucking belligerent. I preferred the youthful enthusiasm at FamilyValues, where interest in s&m remained distinctly spectatorial. I’msure that for them Korn represents a passage out of innocence, astate of being Davis is so set on dissing he actually wrote a songattacking Mr. Rogers. But they haven’t lost all of it, and here’shoping they never will. What holds back bands like Korn, MarilynManson, and White Zombie isn’t how much they’ve been made tosuffer. Louis Armstrong grew up in the streets; George Jones’s dadused to whip him until he sang. It’s their inability to put itbehind them, and their determination to convince themselves andeveryone else that their truths have made them free.
Village Voice, Oct. 13, 1998Family Values Tour 1998Tour by Korn, Ice Cube, Limp Bizkit, Orgy, Rammstein, IncubusAssociated albumVariousStart dateSeptember 22, 1998End dateOctober 31, 1998Legs1
The 1998Family Values Tour was the first edition of the critically acclaimed[1] fall music tour that initially combined nu metal, alternative metal, and rap acts. The tour was created and headlined by Korn.Lineup[edit]
Artists who participated in 1998 Family Values Tour were:
*Incubus(replaced Ice Cube on October 25, 1998 for five remaining dates)Promotion[edit]
The tour was preceded by whirlwind political campaign-style tour named ’Korn Kampaign’ (from August 17, 1998 in Los Angeles through September 1 in Phoenix) to promote the release of their album Follow the Leader. It took the group all over North America to spread the news of their ’Family Values’ platform to hordes of fans at special ’fan conferences’ that were organized at every stop along the tour route. Korn chartered a jet, which took them to record stores in such cities as Riverside, Mountain View, Sacramento, Seattle, Minneapolis, Chicago, Denver, Detroit, Philadelphia, Boston, New York City, Toronto, Atlanta, and Dallas. The band talked to fans at every stop, answered questions during the special ’fan conferences’ and signed autographs. Jim Rose hosted the entire ’Kampaign’ tour. Celebrities at various stops included Ice Cube and Todd McFarlane.Success[edit]
The 1998 edition of Family Values Tour was highly successful, the live compilation debuted at #7 at Billboard 200 chart selling 121,000 copies in its first week, and achieving gold record status by RIAA, while DVD - platinum.
Korn helped to promote then-unknown acts. The results were very promising. Rammstein’s album ’Sehnsucht’ achieved platinum certification in the United States, also Orgy’s debut ’Candyass’, which was released through Korn’s own record label, Elementree Records, achieved similar success. Limp Bizkit enjoyed even greater success which helped them establish themselves as one of the leading acts of the nu metal wave at that time, and enjoyed enormous commercial success.
The 28 dates of Family Values Tour grossed more than $6.4 million and over 243,000 fans purchased the fan-friendly ticket prices that ranged from $26.00 to $29.50.[1]
Critical acclaim for the tour started to pour in as soon as it all started. As Jim Farber noted in a review of the September 25, 1998 event at the Continental Arena in New Jersey in the New York Daily News:
’[...] The 4 and half hour show, a hip-hopDJ held equal ground with a drummer in the set by Limp Bizkit, a keyboardist added dance club beats to the classic metal of Rammstein, and two guitarists translated the needling sound of electronic hip-hop into the manic creations of Korn [...] This tour created a bold new profile for hard guitar bands taking cues from the music that replaced them as the soundtrack to masculine aggression.’[1]
The Los Angeles Times noted that the tour ’certainly proved to be one of the rock spectacles of the year,’[2] while Steve Morse of the Boston Globe said that ’Korn delivered the goods...by accelerating out of the box with a savage confluence of heavy metal, rap, and primal screaming from singer Jonathan Davis.’[1]Family Values Tour 1998 Cd
John Scher of Metropolitan Entertainment agreed: ’The Family Values Tour was not only a great business success, but more importantly, a rousing success with the fans. I think, to a great degree, we accomplished what we set out to: creating a fun, wild evening with a unique atmosphere and incredible music.’[1]
Jonathan Davis, lead singer of Korn said: ’We’re creating some rock history with this tour. From that first show, I had goosebumps upon goosebumps. This is something special happening here. I hope that it becomes annual and it’s gonna last.’[1]CD and DVD release[edit]
The initial edition of Family Values Tour was highly successful and it was documented on separate DVD and CD releases, both put on sale on March 30, 1999 via Immortal/Epic Records. The CD release achieved gold record status in the United States while DVD release went platinum.Ice Cube replacement[edit]
On September 25, 1998 due to the beginning of shooting the movie ’Next Friday’, Ice Cube was replaced by alternative metal band Incubus for the remaining five dates. The band is featured on the Family Values Tour ’98 CD release with their song ’New Skin’, and can be also seen during performance of ’All in the Family’ on the DVD release.Feud with Rob Zombie[edit]
Initially, Rob Zombie was to be one of the artists participating on the tour, but due to the high production costs, each Rob Zombie concert would cost $125,000 in band fees and show production alone. Therefore, Rob Zombie was replaced by Germanindustrial metal act, Rammstein. However, the given explanation was somewhat confusing. The Firm, Korn’s management said Zombie continually expressed dissatisfaction over not wanting to work with a hip-hop act on the bill, and was supposedly lectured by Rob Zombie management that ’rock kids don’t like hip-hop.’ Rob Zombie’s manager, Andy Gould said those comments were false. He explained that Zombie has never even spoken to Korn, so he could not have made those comments.[3] Although the statement released by Korn’s management resulted in anger, Rob Zombie shared no bad blood with the bands participating in Family Values Tour. Next year, in 1999, both Rob Zombie and Korn got on good terms again, and launched the highly successful ’Rock is Dead’ tour together.Trivia[edit]
In one of the more infamous moments, Rammstein’s band members dressed up for Halloween. Most of them were practically naked with the exception of Richard Kruspe, who wore a wedding dress. Police dragged the members off the stage for indecent exposure and the concert ended after a mere 10 minutes.[4]Family Values Tour 2000References[edit]
*^ abcdef’Mitch Schneider Organization - Family Values Tour ’98 overview’. Mitch Schneider Organization. 1998-03-12. Retrieved 2007-01-26.
*^’Live Nation: Press Release for Family Values 2006’. Live Nation. 2006-04-19. Retrieved 2007-01-26.[permanent dead link]
*^’Rolling Stone: Family Feud: Rob Zombie’. Rolling Stone. 1998-07-24. Archived from the original on 2007-10-02. Retrieved 2007-01-25.
*^’FAMILY VALUES FEATURES BOTH TRICKS AND TREATS IN TOUR FINALE’. MTV. 1998-03-11. Retrieved 2019-02-13.Family Values Tour 98Retrieved from ’https://en.wikipedia.org/w/index.php?title=Family_Values_Tour_1998&oldid=992720109’
Download here: http://gg.gg/o71qo
https://diarynote-jp.indered.space
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