The video was directed by Todd McFarlane , a powerhouse within the comics industry. Animation is incredibly time-consuming and this video was reportedly released a whole year after it was intended to be. This guitar intro, by the way, was recorded through a fan — not someone that liked Korn, a rotating room-cooling machine. Engineer Toby Wright fed the amp through a spinning fan as it was recorded to get that wobbly sound. Bear in mind this was Follow The Leader sold like hotcakes, topped charts all over the world and generally made nu-metal A Thing.
Even though it was always the most maligned of subgenres, the massiveness of a few albums — Follow The Leader among them — made nu-metal just too big to ignore. Like, the impact of this album is incredibly hard to overstate. Todd McFarlane is both directly and indirectly responsible for a hell of a lot of pop-culture awesomeness. Excited about the upcoming Venom film?
He designed Venom. A fan of The Walking Dead? He co-founded Image, which put out the comics the TV show is based on. Like Pearl Jam? An accidentally-fired bullet from the policeman's gun breaks out of the animated world into the real world and wreaks much property damage while narrowly avoiding hitting many people.
The bullet then enters a Korn poster and flies around the members of Korn before going back the way it came, returning to the animated world. Once back in the animated world, the girl in red also from the album cover catches the bullet and gives it to the policeman, to which the bullet dissipates; the children leave as the policeman stares at his empty hands bewildered as the camera then focuses on the loose "No Trespassing" sign; which then leads up to the follow-up video for Falling Away from Me featured on the band's then next album Issues.
The directory work was described as combining "special effects and clever camera moves in the live action portion of the video. It became the ninth video that was retired from Total Request Live on May 11, The music video was also featured on Deuce.
David Lloyd said it was Korn's most popular song, and on July 8, , the song was the ninth most-infringed song on the Internet. It was rated the sixth-top single of by Spin. It reached number six on the Billboard Modern Rock Tracks chart and number ten on the Mainstream Rock Tracks chart, and was successful on the Hot charting number It was also immensely popular in Australia where the single was certified Gold for shipments in excess of 35, units.
The music video followed the previous success of "Got the Life", debuting at number eight on MTV's Total Request Live program on February 9, , and peaking at number 1 on its thirteenth day, February The video spent ten non-consecutive days at the top position until its "retirement", on May 11, I'm glad i went through a lot of that.
I don't want to be an old man sitting in a bar grumbling. I might still be though! Never know. Toby: It's a matter of just being patient and waiting for the right time. Some people hunt deer and they stand in that darn deer stand until one comes prancing up, and then it's all about that one shot — boom, done. They were patient enough to wait for that one shot. That's what I do with my clients: I wait patiently in the studio for them to have that perfect moment. That's when the "magic" happens.
And there were many magical moments on that record. Munky had a bunch of them. Jonathan had a whole bunch of them. Jonathan: We were just some kids from Bakersfield — it was some crazy, dream-come-true shit. Toby: It was a lot of fun, and in the process, we made a record. Jim Rose Korn Kampaign host : I created the vibe that allowed the reveal — whatever it was — keeping the crowd entertained and hyping how great KoRn and this album is.
It was never the same in any city, a lot of organizing for each event. These guys exploded right in front of me. It was a different kind of vibe, man. They just showed up like vikings, went from city to city, and ripped them apart. Jonathan: Labels would invest in bands.
You could do crazy-ass shit. The shit that we pulled off back in the day… We hired a fucking private jet, flew around the United States, and did two in-stores a day. We signed five to ten thousand [albums] a day. We were fucking beat: start in the morning, go to one city for five hours, jump in the plane, do the next one, do another five fucking hours, go to bed, jump on the plane. Nothing cooler than that. The video was cinematically gripping and, for its time, technologically groundbreaking in its use of the bullet-time special effects that The Matrix would popularize the following year.
There's so much tension in the opening verses, and it just keeps building until the whole thing explodes in that final bridge. The structure of the song became our script, and it was clear what we had to do. We suggested the concept of having a bullet leave the animated world and travel through the real world until it finally returns again to the poster. This can't be done. But back then, nobody. Dayton and Faris : It was inspired by high-speed still photography where a bullet shoots through an apple.
It was so fun to work on. All the bullets were fired on a closed shooting range and then put into locations. You want me to pretend there's a bullet right here and I'm looking at it? I ain't never seen no shit like this. The video became an unexpected hit.
And then it kept being number one. Munky: You couldn't knock that thing off. Not even the Backstreet Boys could knock it off!
That's hilarious to me. But that's how music is: diverse. Jonathan: The TRL retirement home is because of us. We were the first band to be retired because our video would not get out. It stayed number one and two for so fucking long MTV had to figure something out. I have the plaque on my wall. We had shit tons of bodyguards, cars almost getting tipped over. It was ridiculous, like some Beatles-type shit back then.
Roughly four out of five of the fans were in favor of taking the break out. The band described the break as "the Biohazard part. It was released as their second single, on May 25, , and is considered to be one of their most successful singles. Since its first release in the United Kingdom, it has been released over ten times. Guitarist Brian "Head" Welch said that the song "was about Jonathan Davis being a freak on a leash—sort of a kinky dominatrix thing.
The song uses dissonance, distortion, and various effects to bring the song "to life. Lloyd also noted that the song contained "fragments of English-language words," and said that they "can be perceived in the midst of Davis' gibberish". Lloyd later went on to say that "Davis is giving voice to his inner basic feelings which are trying to resist being shaped or conditioned by utterances of others. Pampalk proclaimed that "melodic elements do not play an important role in 'Freak on a Leash' and the specific loudness sensation is a rather complex pattern".
There are reoccurring elements throughout "Freak on a Leash". The song contains vocals, guitars, bass and percussion.
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