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Reds (film)

Reds is a 1981 American epic historical drama film, co-written, produced, and directed by Warren Beatty, about the life and career of John Reed, the journalist and writer who chronicled the October Revolution in Russia in his 1919 book Ten Days That Shook the World. Beatty stars in the lead role alongside Diane Keaton as Louise Bryant and Jack Nicholson as Eugene O'Neill.

The supporting cast includes Edward Herrmann, Jerzy Kosiński, Paul Sorvino, Maureen Stapleton, Gene Hackman, Ramon Bieri, Nicolas Coster, and M. Emmet Walsh. The film also features, as "witnesses", interviews with the 98-year-old radical educator and peace activist Scott Nearing, author Dorothy Frooks, reporter and author George Seldes, civil liberties advocate Roger Baldwin, and the American writer Henry Miller, among others.

Reds was released on December 4, 1981, to widespread critical acclaim. Beatty was awarded the Academy Award for Best Director and the film was nominated for Best Picture, but lost to Chariots of Fire. Beatty, Keaton, Nicholson, and Stapleton were nominated for Best Actor, Best Actress, Best Supporting Actor and Best Supporting Actress, respectively, with Stapleton winning her category. Beatty became the third person to be nominated for Academy Awards in the categories Best Director, Actor, and, with co-writer Trevor Griffiths, Original Screenplay—losing again to Chariots of Fire—for a film nominated for Best Picture.

In June 2008, the American Film Institute revealed "AFI's 10 Top 10"—the best ten films in ten "classic" American film genres—after polling over 1,500 people from the film community. Reds came in ninth in the epic genre.

Plot
In 1915, married journalist and suffragist Louise Bryant encounters the radical journalist John Reed for the first time at a lecture in Portland, Oregon, and is intrigued with his idealism. After meeting him for an interview on international politics that lasts an entire night, she realizes that writing has been her only escape from her frustrated existence. Inspired to leave her husband, Bryant joins Reed in Greenwich Village, New York City, and becomes acquainted with the local community of activists and artists, including anarchist and author Emma Goldman and the playwright Eugene O'Neill.

Later, they move to Provincetown, Massachusetts, to concentrate on their writing, becoming involved in the local theater scene. Through her writing, Bryant becomes a feminist and radical in her own right. Reed becomes involved in labor strikes with the "Reds" of the Industrial Workers of the World. Obsessed with changing the world, he grows restless and heads for St. Louis to cover the 1916 Democratic National Convention.

During Reed's absence, Bryant falls into a complicated affair with O'Neill. Upon his return, Reed discovers the affair and realizes he still loves Bryant. The two marry secretly and make a home together in Croton-on-Hudson, New York, but still have conflicting desires. When Reed admits his own infidelities, Bryant takes a ship to Europe to work as a war correspondent. After a flare-up of a kidney disorder results in him having one of them removed, Reed is warned to avoid excessive travel or stress, but he decides to take the same path as Louise and goes to Europe. Reunited as professionals, the two find their passion rekindled as they travel to Russia and are swept up in the fall of the Czarist regime and the events of the 1917 Revolution.

After returning to the United States, Reed writes Ten Days That Shook the World, while Louise is called to testify in front of the Overman Committee. In order to implement the communist ideals he saw in Russia, Reed becomes active in the Socialist Party of America's new Left Wing Section. The Socialist Party soon undergoes a major political shift, with Reed and the Left Wing elected to 12 of its National Executive Committee's 15 seats, but the sitting members of the Committee prevent a takeover of the party by invalidating the election and expelling the entire Left Wing. Differing ideology among the expelled members causes them to splinter into two rival organizations, with Reed forming the Communist Labor Party of America. Anxious to establish his group as the United States' true Communist Party, Reed plans to return to Russia to secure official recognition from the Soviet Comintern. Having grown tired of the political infighting, Bryant threatens to end their relationship if he goes, but he does so anyway, promising to be home by Christmas.

As it was now illegal to travel to Russia, Reed enters the country by traveling to Finland and sneaking across the border. Once there, though, he grows disillusioned with the authoritarian policies the Bolsheviks have imposed upon communist Russia. Reed attempts to leave and return to Bryant, but is imprisoned in Finland after being caught trying to cross the border. After learning of his arrest, Louise seeks the U.S. government's help in securing his release, but it refuses, as in his absence he has been indicted on charges of sedition. With no other recourse, Louise illegally travels to Finland herself, but by the time she arrives Reed has been returned to Russia as part of a prisoner exchange between the two countries.

Now living in Petrograd, Reed is employed as a propagandist with the Comintern, and shares an apartment with Emma Goldman, who had been deported from the U.S. Unaware that Louise has traveled to Finland, he repeatedly tries to make contact with her by sending telegrams to New York and becomes increasingly frustrated by the lack of response. Louise makes her way to Petrograd, where she is found by Emma, who tells her Reed was sent to deliver a speech in Baku. On his return to Petrograd, the Czarist White Army attacks Reed's train. Reed manages to survive the attack and is reunited with Louise at the train station. Soon thereafter, he is admitted to the hospital, where he dies of typhus, with Louise at his side.

Development
Beatty came across the story of John Reed in the mid-1960s. Executive producer and film editor Dede Allen remembers Beatty's mentioning making a film about Reed's life as early as 1966. Originally titled Comrades, the first script was written by Beatty in 1969, but the process stalled. In 1973, Beatty was offered the role of Reed in Sergei Bondarchuk's Soviet film production Red Bells, but declined, and felt further driven to make his own biopic about Reed to compete with the Soviet version.

In 1976, Beatty found a suitable collaborator in Trevor Griffiths, who began work but was delayed by his wife's death in a plane crash. The preliminary draft of the script was finished in 1978. Beatty still had problems with it and he and Griffiths spent four and a half months fixing it. Beatty also collaborated with his friends Robert Towne, Peter Feibleman and Elaine May to continue polishing the script after shooting had begun.

Financing
Beatty achieved tremendous success with 1978's Heaven Can Wait, which he produced, starred in, co-wrote and co-directed for Paramount Pictures. The success gave Beatty the clout to seek funding for his long nurtured Reds project, which was difficult to secure because of the controversial Communist subject matter and high price tag. Beatty succeeded in interesting both Warner Bros. and Paramount, before the head of Gulf & Western (Paramount's parent company), Charles Bluhdorn, agreed to finance the project. Bluhdorn soon had second thoughts, and attempted to dissuade Beatty with the promise of underwriting a $25 million alternative to Reds of Beatty's choice, but Beatty remained committed.

Casting
Beatty originally had no intention of acting in the film or even directing it because he had learned on projects such as Bonnie and Clyde (1967) and Heaven Can Wait (1978) that producing a film alone is a difficult task. He briefly considered John Lithgow for the part of John Reed because the two were similar in appearance, but eventually Beatty decided to act in the film and direct it himself. Nicholson was cast as Eugene O'Neill over James Taylor and Sam Shepard. Nicholson was older than the young O'Neill he was playing, and having just completed work on Kubrick's The Shining (1980), was in a "most shambolic" and "grotesque" physical state, according to producer Simon Relph. But Nicholson was committed to the role and appeared at the start of filming four months later having lost the weight he had gained and looking much younger.

Beatty also chose to cast non-actors in supporting roles, including George Plimpton, the editor of The Paris Review, who played the character of Horace Whigham. Jerzy Kosiński, a Polish-American novelist, was asked to play the role of Grigory Zinoviev, but he initially refused because he was a fierce anti-Communist and feared that he might be abducted by the KGB if he went to Finland to film.

The Witnesses
To gain perspective on the lives of Reed and Bryant, Beatty filmed interviews with a group of men and women, referred to only as "The Witnesses", as early as 1971. American Film identified the witnesses in its March 1982 issue.

In a capsule review for The New York Times, film critic Vincent Canby refers to them as "more than two dozen very, very old people, billed only as The Witnesses, whom Mr. Beatty interviewed about the Reeds and their long-gone times." He went on to say, "More than anything else in Reds, these interviews give the film its poignant point of view and separate it from all other romantic adventure films ever made." "The most evocative aspect of the presentation is a documentary enhancement – interviews with a number of venerable 'witnesses,' whose recollections of the period help to set the scene, bridge transitions and preserve a touching human perspective", wrote Gary Arnold of The Washington Post.

 * Jacob Bailin, labor organizer
 * Roger Nash Baldwin, founder, American Civil Liberties Union
 * John Ballato, early socialist
 * Harry Carlisle, writer, teacher
 * Kenneth Chamberlain, political cartoonist for The Masses
 * Andrew Dasburg, painter
 * Tess Davis, cousin of Louise Bryant's first husband
 * Will Durant, historian
 * Blanche Hays Fagen, member of the Provincetown Players
 * Hamilton Fish, congressman, Harvard classmate of John Reed
 * Dorothy Frooks, recruiting girl, World War I
 * Hugo Gellert, artist for The Masses
 * Emmanuel Herbert, student in Petrograd, 1917–18
 * George Jessel, entertainer
 * Oleg Kerensky, son of Alexander Kerensky
 * Isaac Don Levine, journalist, translator for Reed
 * Arthur Mayer, film historian, Harvard classmate of Reed, also film distributor
 * Henry Miller, novelist
 * Adele Nathan, member of the Provincetown Players
 * Scott Nearing, sociologist, pacifist
 * Dora Russell, delegate to Comintern
 * George Seldes, U.S. journalist in Moscow
 * Art Shields, political activist
 * Jessica Smith, political activist
 * Lucita Squier, screenwriter and widow of Albert Rhys Williams, who was an American participant in the Russian Revolution, pro-Soviet author, friend and biographer of Lenin
 * Adela Rogers St. Johns, journalist
 * Arne Swabeck, member, Communist Labor Party
 * Bernadine Szold-Fritz, journalist
 * Galina von Meck, witness to Russian Revolution
 * Heaton Vorse, son of a Provincetown playwright
 * Will Weinstone, organizer, U.S. Communist Party
 * Rebecca West, writer, novelist

Filming
When principal photography began in August 1979 the original intention was for a 15- to 16-week shoot, but it ultimately took one year. Filming took place in five different countries and at various points the crew had to wait for snow to fall in Helsinki (and other parts of Finland), which stood in for the Soviet Union, and for rain to stop in Spain. Beatty asked the Soviet government for a permit to film in Moscow but was denied. A cottage in Kent was used to depict exteriors of the Reeds' home in Croton-on-Hudson, which in reality was a small early American saltbox house. The interior sets built at Twickenham Studios and EMI-Elstree Studios were also enlarged to evoke the "flavor" of the real home without reproducing it exactly.

Other English locations included Frensham Ponds in Surrey, which stood in for Provincetown, the Smeaton Room of the Institution of Civil Engineers at One Great George Street for the Liberal Club meeting room in Portland, and the interior of Lancaster House for that of the Winter Palace in St. Petersburg. Another round of filming began in 1980 in New York City, Washington D.C., and Los Angeles, including Paramount Studios.

The Italian cinematographer Vittorio Storaro was banned from shooting the scenes shot in the U.S. after he was unable to gain an H-1B visa and because local trade unions blocked him from doing work on the film. The film encountered similar problems with trade unions in the United Kingdom, and had to hire a separate British crew and pay British actors enrolled in Equity at Screen Actors Guild-rate salaries in order to allow American actors to film scenes in the U.K. These trade disputes caused the film to run heavily over budget, but the studio ultimately recouped its costs after financing the film with a low-interest loan from Barclays Bank as part of a tax-shelter plan.

Actress Maureen Stapleton was due to begin shooting her scenes in London in November 1979, but she refused to take a plane because of a fear of flying. Because it was the wrong season for ocean liner travel, the production had to arrange for Stapleton to travel on a tramp steamer, which broke down in the North Atlantic and had to be towed to Amsterdam. This caused another unwelcome delay. Beatty would also not stop the camera between takes, letting it roll continuously, and insisted on a large number of takes. Paul Sorvino said he did as many as 70 takes for one scene; Stapleton had to do 80 takes of one scene, which caused her to say to Beatty, "Are you out of your fucking mind?"

Beatty and Keaton's romantic relationship also began to deteriorate during filming. Peter Biskind wrote about the making of Reds, "Beatty's relationship with Keaton barely survived the shoot. It is always a dicey proposition when an actress works with a star or director—both, in this case—with whom she has an offscreen relationship. Keaton appeared in more scenes than any other actor save Beatty, and many of them were difficult ones, where she had to assay a wide range of feelings, from romantic passion to anger, and deliver several lengthy, complex, emotional speeches." George Plimpton once observed, "Diane almost got broken. I thought [Beatty] was trying to break her into what Louise Bryant had been like with John Reed." Executive producer Simon Relph adds, "It must have been a strain on their relationship because he was completely obsessive, relentless."

Post-production
The editing process began in early 1980, with as many as 65 people working on editing down and going over approximately 2.5 million feet of film. Post-production ended in November 1981, more than two years after the start of filming. Paramount stated that the final cost of the film was $32 million, which would be the rough equivalent of around $80 million in 2007.

Music
The film introduced the song "Goodbye for Now", written by Stephen Sondheim, recorded by Jean-Pierre Rampal and Claude Bolling. The song was later recorded by Barbra Streisand for The Movie Album (2003).

Reception
Released on December 4, 1981, Reds opened to widespread critical acclaim. Despite its political subject matter and limited promotion by Beatty, the film became the 13th-highest-grossing picture of 1981, grossing $40 million in U.S. box office revenues, a figure that does not include the film's foreign box office revenues or its substantial subsequent earnings in home video, worldwide broadcast and cable television, and subscription television and streaming services. Beatty later remarked that the film "made a little money" in box office returns. During the film's second and third weekends, there were concerns that it would become a massive flop like Heaven's Gate, but it performed more strongly over the next month. The film was screened at the White House for President Ronald Reagan.

Reds holds a 90% "Fresh" rating on the review aggregate website Rotten Tomatoes based on 49 reviews, with an average rating of 7.90/10. The site's consensus reads, "Brawny in both intellect and scope, Reds is an intimate epic that captures the tumult of revolutionary change and the passion of those navigating through it." On Metacritic, the film has a score of 76 out of 100 based on 15 reviews, indicating "generally favorable reviews".

John Simon of the National Review wrote, "Never exactly boring, sometimes entertaining, Reds is frequently irritating and finally disappointing". Commentary published a largely negative review by Richard Grenier, who, among other things, saw the film as deliberately obscuring the protagonists' Communist politics and as exaggerating Bryant's talent and accomplishments. Conversely, in a retrospective article for Jacobin, Jim Poe called Reds "one of the greatest and most faithful depictions of revolutionary politics", praising its "light touch and brisk storytelling" for an epic, as well as its cinematography, shifts in mood and performances, in particular those of Keaton and Beatty.

Awards and nominations
The film is recognized by the American Film Institute in these lists:
 * AFI's 100 Years...100 Passions – #55
 * AFI's 10 Top 10 – #9 Epic Film

title: Reds (film)


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Chacmool

A chacmool (also spelled chac-mool or Chac Mool) is a form of pre-Columbian Mesoamerican sculpture depicting a reclining figure with its head facing 90 degrees from the front, supporting itself on its elbows and supporting a bowl or a disk upon its stomach. These figures possibly symbolised slain warriors carrying offerings to the gods; the bowl upon the chest was used to hold sacrificial offerings, including pulque, tamales, tortillas, tobacco, turkeys, feathers, and incense. In Aztec examples, the receptacle is a cuauhxicalli (a stone bowl to receive sacrificed human hearts). Chacmools were often associated with sacrificial stones or thrones. The chacmool form of sculpture first appeared around the 9th century AD in the Valley of Mexico and the northern Yucatán Peninsula.

Aztec chacmools bore water imagery and were associated with Tlaloc, the rain god. Their symbolism placed them on the frontier between the physical and supernatural realms, as intermediaries with the gods.

Form
The chacmool is a distinctive form of Mesoamerican sculpture representing a reclining figure with its head facing 90 degrees from the front, leaning on its elbows and supporting a bowl or a disk upon its chest. There is great variation among individual chacmools, with some possessing heads that are right-facing and others left-facing, and some with the heads facing upwards; some examples have movable heads. The figure may be lying on its back or on its side and the abdomen can be sunken below the level of the chest and knees or at the same level. Some chacmools were raised upon rectangular bases. Some of the figures are richly attired whilst others are almost naked.

The chacmools of Chichen Itza and Tula depict young men with warrior attributes, while the chacmools of Michoacán depict elderly men with wrinkled faces and erect penises. A chacmool from Guácimo, Costa Rica, combines human and jaguar features and grips a bowl. The face of the figure looks upwards and the bowl was apparently used to grind foodstuffs.

A wide variety of materials were used to sculpt chacmools, including limestone and hard metamorphic and igneous rock types. Other materials employed include ceramic and cement.

Discovery and naming
The ancient name for these type of sculptures is unknown. The term chacmool is derived from the name “Chaacmol,” which Augustus Le Plongeon in 1875 gave to a sculpture that he and his wife Alice Dixon Le Plongeon excavated within the Temple of the Eagles and Jaguars at Chichén Itzá in 1875; he translated Chaacmol from Yucatecan Mayan as the “paw swift like thunder.” Le Plongeon believed the statue, which he had found buried beneath the Platform of the Eagles and the Jaguars, depicted a former ruler of Chichen Itza. Le Plongeon's sponsor, Stephen Salisbury of Worcester, Massachusetts, published Le Plongeon's find, but revised the spelling to "Chac-Mool."

Le Plongeon sought permission from Mexico's president to display the statue at the Centennial Exhibition in Philadelphia in 1876, a request that was denied. In 1877 the Yucatecan government seized the statue and brought it to Mérida. Weeks later Yucatán turned over the statue to the federal government, which brought it to Mexico City to the National Museum of Anthropology. Museum worker Jesús Sanchez realised that the Chichen Itza sculpture was stylistically similar to two sculptures from central Mexico and the wide occurrence of the form within Mesoamerica was first recognised. The 19th century discovery of chacmools in both central Mexico and the Yucatán Peninsula helped to promote the idea of a Toltec empire although the chacmool sculptures may have originated in the Maya region.

Although the name chacmool was inappropriately applied, it has become a useful label to link stylistically similar sculptures from different regions and periods without imposing a unified interpretation. Besides these sites, the sculpture was also found in Michoacán, where it is called Uaxanoti (The Seated One) in the Purépecha language.

Distribution
Examples of chacmool sculptures have been found widely across Mesoamerica from Michoacán in Mexico down to El Salvador. The earliest examples date from the Terminal Classic period of Mesoamerican chronology (c. AD 800–900). Examples are known from the Postclassic Aztec capital of Tenochtitlan, from the central Mexican city of Tula and from the Maya city of Chichen Itza in the Yucatán Peninsula. Fourteen chacmools are known from Chichen Itza and twelve from Tula. The chacmool from the palace at Tula is dated to the Early Postclassic (c. AD 900–1200). Further examples are known from Acolman, Cempoala, Michoacán, Querétaro and Tlaxcala.

In Chichen Itza, only five of the fourteen chacmools were securely confirmed in architectural contexts, those in the Castillo, the Chacmool Temple, the North Colonnade, the Temple of the Little Tables and the Temple of the Warriors. The rest were found interred in or near important structures. The five that were found in secure architectural contexts were all placed within entrance areas near a ritual seat or throne. The chacmools in Tula also had an association with thrones or raised seating platforms, either in front of the throne or at the entrance to a chamber containing a throne.

Two chacmools have been recovered that were associated with the Great Temple of Tenochtitlan, the Aztec capital. The first was discovered in 1943, on the junction of Venustiano Carranza and Pino Suarez, about two blocks south of the temple itself. The second chacmool was excavated in the sacred precinct. This is the only fully polychrome chacmool that has been recovered anywhere; it had an open mouth and exposed teeth and stood in front of the temple of Tlaloc, the Aztec rain god; its sculpted bowl probably received heart and blood sacrifices. This latter sculpture is by far the older of the two.

Chacmools have been reported as far south as the Maya city of Quiriguá, near the Guatemalan border with Honduras. The Quiriguá chacmool most likely dated to the Postclassic period and is stylistically similar to those of Tula rather than Chichen Itza. Two chacmools were reported from Tazumal, a Maya site in western El Salvador. A chacmool was excavated at Las Mercedes in Guácimo, Costa Rica.

Dating and origin
The oldest chacmool ever discovered was the Terminal Classic. The form was unknown in such important Mesoamerican cities as Teotihuacan and Tikal. After the first appearance of the form, it was rapidly disseminated throughout Mesoamerica, spreading as far south as Costa Rica. Although a central Mexican origin is generally assumed, there are no antecedents pre-dating the Toltecs and the form is not present in central Mexican codices.

The positioning and context of the chacmool form do have antecedents in Classic Maya art and art historian Mary Ellen Miller has argued that the chacmool developed out of Classic period Maya imagery. No central Mexican chacmool has been found that clearly predates the Chichen Itza examples. However, Tula and Chichen Itza may have developed simultaneously with rapid communication of the chacmool form from one city to the other.

The wider variety of chacmool forms at Chichen Itza has also been used to support the development of the form there; no two possess identical form, dress and proportions. At Tula the chacmools have a standardised form with little variation in position or proportions. Miller has proposed that the chacmool developed out of Classic Maya iconography and underwent a transition into three dimensional sculpture at Chichen Itza, perhaps spurred by the influence of central Mexican sculptural forms. A chacmool from Costa Rica was dated by the excavators to approximately AD 1000.

Aztec Chacmool
During the 1930 excavation of Templo Mayor, the only fully polychrome chacmool to be found at that site was in its original context on the top level of the Tlaloc side (the rain god) of the temple. The position of this chacmool statue mirrored the position of the sacrificial stone on the Huitzilopochtli (the Aztecs' patron deity, associated with war) side of the temple. Archaeologist Eduardo Matos Moctezuma posits that this mirroring confirms his interpretation that the chacmool acted as an "intermediary between the priest and the god, a divine messenger," in the same way the sacrificial stone on the Huitzilopochtli side does.

The pigment that remained on this chacmool sculpture was crucial to its identification, as it does not contain any sculpted iconography or symbols associated with the rain god Tlaloc. Archaeologists were able to create a reconstruction of the sculpture's original colors, which they then compared to pictographic representations of Tlaloc. This comparison confirmed that the polychrome chacmool discovered at Tlaloc's side of the Templo Mayor was a representation of the deity itself. Characteristics such as the "chia circles on the cheeks, the circular gold pectoral medallion, and the color combination of the petticoat, as well as the black skin, the red hands and feet, and the white headdress and bangles" echo the iconography of other depictions of Tlaloc. Art historians Leonardo Lopez Lujan and Giacomo Chiari argue that this "confirms that there is symbolic continuity between the early and late Mexica [Aztec] chacmool," due to early Aztec chacmools containing iconographic nods to Tlaloc.

A second chacmool discovery from the Templo Mayor, dating to a later period, displays iconographic features which are distinct from the larger corpus of chacmool figures but consistent with other sculptures (Tlaloc ritual vessels and bench reliefs) found in a similar context at the Templo Mayor. Whereas Tlaloc's eyes are generally represented with a round goggle-like frame, the later chacmool, the vessels, and the bench relief feature a rectangular eye frame within which almond eyes are engraved. All three sculptures also include large fangs at the corners of the god's mouth. The ornaments worn by the later chacmool and included in the vessels and the bench relief also differ from other representations of Tlaloc. The later chacmool, vessels, and bench relief sport oversized circular earspools, rather than the characteristic earspools with a square plug and central dangal; they are also adorned with a multistrand, beaded collar in which one strand has larger beads that have been interpreted to be hanging bells. The chacmool holds onto a cuauhxicalli vessel that is engraved with the face of Tlaloc, including the same rectangular eye and mouth features. In 1942, archaeologists recovered another chacmool example located a few blocks away from the Templo Mayor. This chacmool has overt iconographic associations with Tlaloc, wearing his mask and holding a cuauhxicalli vessel whose top is carved with the face of Tlaloc (rather than being concave and able to hold something). He is wearing several strands of beaded necklaces, with the outer most ring containing oliva shells, which were a characteristic of Maya costuming. Another Maya influence can be seen in his headdress, which scholars Mary Miller and Marco Samayoa compare to a headdress worn by Maya king Shield Jaguar (also known as Itzamnaaj Bahlam III) of Yaxchilan. Perhaps the most interesting iconographic feature of this chacmool, however, is the large necklace pendant he wears, which Miller and Samayoa argue is a representation of an actual heirloom pendant. They suggest that the pendant was looted from a Maya site, probably "from a stone vessel interred behind a chacmool" and that "its subject is probably the enthroned, resurrected Maize God." This association between chacmools and maize deities is rooted in Maya examples (from which the Aztecs were clearly drawing inspiration, as this example's headdress and shell necklace demonstrate), but does not necessarily mean that the Aztecs would have associated their chacmools with maize deities. In all likelihood, the Aztecs conceived of chacmools as being connected to Tlaloc, as it is his image and associated iconographic characteristics that cover the majority of discovered Aztec chacmools. This chacmool, for instance, features a carving of Tlaloc on its underside, the symbolic meaning of which Miller explores: “With their undersides carved with aquatic symbols, these sculptures seem to float on water. This suspension suggests the liminal qualities of the messenger, the link between earth and supernaturals."

Interpretations
The meaning of the chacmool figures varied across time depending upon the geographical and cultural context. Chacmools do not appear to have been worshipped, since they are never found within inner sanctuary of temples or shrines; it appears to have rather been a piece of religious paraphernalia used by the priesthood in the course of their duties. Three uses have generally been attributed to chacmools.

The first interpretation is that the chacmool is an offering table (or tlamanalco) to receive gifts such as pulque, tamales, tortillas, tobacco, turkeys, feathers and incense. The second is that the chacmool was a cuauhxicalli to receive blood and human hearts; this use is particularly relevant to the Aztecs, who used a cuauhxicalli bowl in place of the usual disc-altar. These bowls may have accepted these blood offerings directly or may have been holders for portable cuauhxicalli bowls that were placed within them. A chacmool from Tlaxcala has a bloodied heart sculpted on the underside, supporting this interpretation.

It has also been suggested that chacmools were used as a techcatl, or sacrificial stone over which victims were stretched so their hearts could be cut from their chests. The Crónica Mexicayotl describes such a sacrificial stone as sculpted in the form of a person with a twisted head. Techcatl were not just used for human sacrifice, they were also used in the yacaxapotlaliztli ceremony, where the nose of a future ruler was pierced. Such rituals may also have been executed upon chacmools, and the presence of small nose jewels sculpted onto various chacmools at Chichen Itza and one at Tula has been used to support this idea.

The backward reclining figure of the chacmool presents a defenceless, passive appearance and has been likened by Miller to the positioning of captives in Classic period Maya sculpture and painting. Bent elbows and knees are common in depictions of Maya captives; the full-frontal view of the face is rare in Maya art except among representations of captives. The form of the Chichen Itza chacmools lacks the typical traits of Maya deities and most scholars have assumed that the iconography of Maya chacmools is equivalent to that of the central Mexican examples. Eduard Seler commented in the early 1960s that chacmools in Chichen Itza tended to be located in temple antechambers, where the bowl or disc gripped by the figure served to receive pulque as an offering.

The chacmools at Chichen Itza were found in a combination of chacmool, throne and serpent column; this chacmool-throne-serpent complex was associated with rulership during the Early Postclassic period. The original chacmool described by Le Plongeon in the 19th century included small images of the central Mexican deity Tlaloc on its ear ornaments. Among the Classic period Maya, such Tlaloc imagery was associated with war and human sacrifice. Associations between the rain god, war and human sacrifice may have continued into the Postclassic period as demonstrated by the chacmool within the Castillo at Chichen Itza, which bears small images of the Maya rain god Chaac on its ear ornaments. The chacmools at Tula, with contextual similarity to those at Chichen Itza, probably also represent war captives.

The lack of the representation of chacmools in Central Mexican codices has led to them being associated with a great variety of deities by scholars, including Cinteotl, Tezcatzoncatl and Tlaloc. Both of the chacmools from the Great Temple of Tenochtitlan were clearly associated with Tlaloc. The chacmool found two blocks south of the temple was sculpted with three images of the deity. These included an elaborate relief image of Tlaloc amongst aquatic symbols on the underside, one on the bowl that the figure grips and the last is the Tlaloc mask with characteristic goggles and fangs that is worn by the chacmool.

The fully polychrome chacmool found in situ in the Great Temple was associated with Tlaloc by its placement on the Tlaloc half of the double pyramid. A further Aztec chacmool was described in the 19th century; it is of uncertain origin but stylistically it is typical of Tenochtitlan. It is sculpted on the underside with aquatic imagery and the figure wears a goggle-and-fangs Tlaloc mask. Spanish observers reported the great quantity of human sacrifices during important ceremonies at the Great Temple and the chacmool was probably used during these rituals to symbolise the sacrificed captives as well as receive their blood.

The discs gripped by some chacmools may represent a mirror. Chacmools were placed in entrances in order to receive sacrificial offerings, including human blood and hearts. The aquatic imagery carved onto the underside of some of the figures symbolised that they were floating on water, on the frontier between the physical world and the supernatural realm. This suggests that chacmools acted as messengers between the mortal realm and that of the gods.

Costa Rican chacmools gripped sculpted bowls; these chacmools also served ceremonial purposes although the bowl was used to grind foodstuffs.

In contemporary culture
The short story "Chac Mool" by Mexican novelist Carlos Fuentes is found in his book Los días enmascarados (The masked days), published in 1954. A man named Filiberto buys a chacmool for his art collection, and discovers that the stone is slowly becoming flesh. The idol eventually becomes fully human, dominating his life, causing flooding and other disasters. Filiberto dies by drowning. His story is found in a diary describing the terrors brought on by the idol, and his plans to escape. According to the author, this short story was inspired by news reports from 1952 when the lending of a representation of the Maya rain deity to a Mexican exhibition in Europe had coincided with wet weather there. The short story was included in the 2008 anthology Sun, Stone, and Shadows. In Henry Moore's early examples of monumental reclining figures, the artist relied on the cast of a chacmool sculpture he saw in Paris. Commenting on the major impact chacmool sculpted figures had on his early career, Moore stated that "Its stillness and alertness, a sense of readiness - and the whole presence of it, and the legs coming down like columns" were characteristics that inspired his creations.

General references

 * Desmond, Lawrence G. "Chacmool." In Davíd Carrasco (ed). The Oxford Encyclopedia of Mesoamerican Cultures. : Oxford University Press, 2001. ISBN 9780195188431
 * Desmond, Lawrence G. "Chacmool." In Davíd Carrasco (ed). The Oxford Encyclopedia of Mesoamerican Cultures. : Oxford University Press, 2001. ISBN 9780195188431
 * Desmond, Lawrence G. "Chacmool." In Davíd Carrasco (ed). The Oxford Encyclopedia of Mesoamerican Cultures. : Oxford University Press, 2001. ISBN 9780195188431
 * Desmond, Lawrence G. "Chacmool." In Davíd Carrasco (ed). The Oxford Encyclopedia of Mesoamerican Cultures. : Oxford University Press, 2001. ISBN 9780195188431
 * Desmond, Lawrence G. "Chacmool." In Davíd Carrasco (ed). The Oxford Encyclopedia of Mesoamerican Cultures. : Oxford University Press, 2001. ISBN 9780195188431

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Chacmool


text:
Talk:Adventures of Huckleberry Finn

Theme section and theme addressal in the lead
I think that maybe the theme section could be addressed more in the lead. I also think that the theme section could talk less about controversies around the books themes and more about the books themes themselves. What do other people think? Lbrown44 (talk) 16:02, 4 October 2021 (UTC)Lbrown44

. huckleberry finn
What was written on new handbills for circus 5.162.28.86 (talk) 18:45, 14 May 2023 (UTC)

Plot
I corrected and added some element to the plot making it longer than the recommended length of a Plot summary by Wikipedia. Open to discussion about elements that should be removed and added Chaozn (talk) 13:49, 8 December 2023 (UTC)

 * I've reverted that. 850 words is, in my opinion, unacceptably beyond the WP:NOVELPLOT guideline of a maximum of 700 words. You're welcome to outline your changes and provide justifications for why they're needed. DonIago (talk) 14:55, 8 December 2023 (UTC)

title: Talk:Adventures of Huckleberry Finn


text:
Korn

Korn (stylized as KoЯn) is an American nu metal band from Bakersfield, California, formed in 1993. The band is notable for pioneering the nu metal genre and bringing it into the mainstream.

Originally formed in 1993 by three members of the band L.A.P.D., Korn's current lineup features founding members James "Munky" Shaffer (guitar); Reginald "Fieldy" Arvizu (bass); Brian "Head" Welch (guitar); and Jonathan Davis (vocals), with the addition of Ray Luzier (drums) in 2007, replacing the band's first drummer David Silveria.

Korn made a demo tape, Neidermayer's Mind, in 1993, which was distributed free to record companies and on request to members of the public. Their debut album Korn was released in 1994, followed by their commercial breakthrough, Life Is Peachy, in 1996. The band first experienced mainstream success with Follow the Leader (1998) and Issues (1999), both of which debuted at number one on the Billboard 200. The band's mainstream success continued with Untouchables (2002); Take a Look in the Mirror (2003); and See You on the Other Side (2005).

A compilation album, Greatest Hits Vol. 1, was released in 2004, spanning a decade of singles and concluding the band's recording contract with Immortal Records and Epic Records. They signed to Virgin Records, releasing See You on the Other Side in 2005, and an untitled album in 2007. The band's other recent albums, Korn III: Remember Who You Are (2010) and The Path of Totality (2011), were released via Roadrunner Records, with The Paradigm Shift (2013) being released via Prospect Park and Caroline Records. The Serenity of Suffering saw their return to Roadrunner Records, through which The Nothing was released on September 13, 2019. Their latest album, Requiem, was released via Loma Vista Recordings on February 4, 2022.

As of 2021, Korn had sold more than 40 million records worldwide. Twelve of the band's official releases have peaked in the top ten of the Billboard 200, eight of which have peaked in the top five. Seven official releases are certified platinum by the Recording Industry Association of America (RIAA); two are certified double platinum; one is certified triple platinum; one is certified five times platinum; and two are certified Gold.

Korn has released seven video albums and 50 music videos. The band has released 48 singles, the most notable of which include "Blind"; "Got the Life"; "Freak on a Leash"; "Falling Away from Me"; "Here to Stay"; "Did My Time"; "Twisted Transistor"; "Coming Undone"; and "Get Up!"    Korn has earned two Grammy Awards out of eight nominations  and two MTV Video Music Awards out of 11 nominations.

Early years and formation (1989–1993)

Before Korn was formed, three of the original members of the band were associated with the band L.A.P.D. – James Shaffer, Reginald Arvizu, and David Silveria. Originally consisting of Richard Morrill, James Shaffer, and Reginald Arvizu, David Silveria joined when he was 16. When the band moved from Bakersfield, California to Los Angeles, Silveria dropped out of high school and Shaffer stayed in Bakersfield. When Shaffer reunited with the band, they found a manager and released an EP entitled Love and Peace Dude in 1989 through Triple X Records. L.A.P.D. released their first full-length studio album on May 3, 1991, which consisted of 11 tracks. The album was entitled Who's Laughing Now. After releasing two albums, L.A.P.D. broke up. They were also briefly known as Creep, recording a demo with a singer named Corey until Shaffer, Arvizu, and Silveria enlisted Brian Welch and Jonathan Davis to form the band that went on to become Korn.

When thinking of a band name, someone suggested "corn", but the band rejected that name, so Shaffer had the idea to spell the name with a "K" instead of a "C", and a backwards "R", so the band's name would appear as "KoЯn". The idea of using a backwards "R" came from the logo of toy retailer Toys R Us, for which many of the band members had previously worked. The logo was designed by vocalist Jonathan Davis. Silveria explained, "the music makes the name, because Korn's a dumb name. But once we get established, it makes the name cool."

Korn rented a studio from Jeff Creath called Underground Chicken Sound, in Huntington Beach, California. While they were recording at Underground Chicken Sound, a crowd had been loitering outside the studio. The band began playing a prelude to a later song "Clown", resulting in a larger crowd gathering. Arvizu said the crowd gathered because it sounded so "different." Korn started performing at gigs in the summer of 1993, with members saying that touring was a "pain-in-the-ass." While in Huntington Beach, the band was spotted by Immortal Records A&R employee Paul Pontius. Pontius would describe Korn's sound as "the new genre of rock." In 1993, Korn released their first demo album, Neidermayer's Mind. The album had very limited printing and was not well received by critics or the public. It was released to record companies and to people who filled out a flyer given out at gigs they played for free with Biohazard and House of Pain. With this demo, Korn pioneered the nu metal sound, riffs, and rhythm.

Korn (1994–1996)
By May 1994, Korn began recording their debut album with Ross Robinson. It was finished recording by the end of June 1994. On October 11, 1994, Korn released a self-titled album through Immortal Records (an Epic imprint label) which peaked at number one on the Heatseekers Albums chart and would eventually reach number 72 on the Billboard 200 in February 1996. The album received positive reviews by critics, and it is said to have established the new wave of metal. As well as sparking the nu metal genre, the album also started record producer Ross Robinson's music career. It also influenced other bands, such as Slipknot, Coal Chamber, and Limp Bizkit.

After Korn finished recording the album, they began touring with Biohazard and House of Pain. Their record company gave them enough money for their own tour bus. Korn's first gig was in Atlanta. About halfway through the tour, the tour bus that their record company gave them stopped working and Korn had to find a new one. Their first tour was not very successful in promoting the album.

The band went on tour with Sick of It All in January 1995. The band embarked on their first European tour, including at LA2 in London and L'Arapaho in Paris. Later that year, Korn was chosen alongside Deftones as direct support for Ozzy Osbourne. The self-titled album went gold in the midst of the tour and was eventually certified two-times platinum by the Recording Industry Association of America (RIAA). Aside from touring, Korn released four singles. "Blind" was released on August 1, 1994, and "Shoots and Ladders" was released on October 31, 1995. The latter received a Grammy nomination in 1997 for Best Metal Performance. "Need To" was also released in 1995, on April 8. The fourth and final single, "Clown", was released on February 2, 1996. "Blind" was the only single to chart, peaking at number 15 on the Canadian RPM Alternative 30.

Life Is Peachy (1996–1997)
After the success of their debut, Korn decided to enter the studio again for a second album. By then, the band had created a large fan base and the expectations for their follow-up album were high. They went back into the studio in early April 1996 at Indigo Ranch Studios, Malibu, California.

The album was released October 15, 1996 and despite minimal radio airplay and television attention, Life Is Peachy debuted at number three on the Billboard 200, and peaked at number one in New Zealand. The album sold 106,000 copies in its first week. Jon Pareles from The New York Times said that the band was "mad at everybody, including themselves." The album was certified double platinum in the United States, platinum in Australia, and gold in Canada.

The first single, "No Place to Hide", spawned a Grammy nomination for Best Metal Performance. "A.D.I.D.A.S." was released as the second single on March 4, 1997. It became the band's first charting single on Billboard, peaking at number 13 on the Bubbling Under Hot 100 chart. The third single, "Good God", was released on July 14, 1997. A promotional disc was released in 1997 to promote both the band and the Life Is Peachy Tour featuring Incubus and the Urge and included three live tracks.

Korn gained more popularity after co-headlining the Lollapalooza summer tour festival in 1997 with Tool. However, Korn was forced to stop touring after Shaffer was diagnosed with viral meningitis. The band remained relatively quiet during the end of the year, resting and setting new goals. The band then founded their own label, Elementree Records, to sign and introduce new bands to their fans. The label was run by Davis who first signed Orgy. Silveria influenced Davis to sign them.

Prior to the release of 1998's Follow the Leader, Gretchen Plewes, a Zeeland, Michigan high school assistant principal, said in an interview for a Michigan newspaper that Korn's music is "indecent, vulgar, obscene and intends to be insulting" after giving a student named Eric VanHoven a one-day suspension for wearing a shirt with the Korn logo on it. WKLQ was filmed giving away hundreds of free Korn T-shirts, which were donated by the band outside the school. Ottawa County policemen also helped hand out shirts. Korn filed a cease and desist order against Plewes and the school district for their comments. They also threatened a multimillion-dollar lawsuit, but both actions were dropped due to the band members' personal lives. The period from 1993 to 1997 was embodied by wearing apparel that contained Adidas clothing brand.

Follow the Leader (1998–1999)
In 1998, Korn signed a publishing contract with Warner Chappell Music. While Korn was waiting for a full partnership with Adidas (which had previously sponsored Run-DMC), the brand refused to sign a contract with Korn. In a contradictory argument, Adidas told them: "We do sports, not music". In 1998, Puma seized the opportunity and offered a $500,000 deal to Korn, including their music featured in Kevin Kerslake-directed advertisements. Korn accepted the contract; Davis said, "That's more than Adidas ever did for us! It wasn't a sell-out thing. It was about respect."

Prior to the release of the band's third album, Korn produced a weekly online TV show called KornTV, which documented the making of the record and featured special guests such as porn star Ron Jeremy, Limp Bizkit, and 311. The project also gave fans (nicknamed "nibletz") the chance to call in and ask the band questions, an approach that represented one of the first times a band utilized the Internet in such a way. Korn released their third album Follow the Leader on August 18, 1998, which featured a number of guest vocalists such as Ice Cube; Pharcyde member Tre Hardson; Fred Durst of Limp Bizkit; and actor Cheech Marin on the hidden track "Earache My Eye" (written by Marin himself).

Korn launched a political campaign-styled tour to promote Follow the Leader’s release, which took the group on a chartered jet all over North America. They talked to fans and answered questions during special "fan conferences" organized at every stop along the tour route and signed autographs. Jim Rose of the Jim Rose Circus hosted the entire "Kampaign" tour.

The album was considered a complete success by the band, debuting at number one on the Billboard 200 with at least 268,000 copies sold in its first week of release and, among other singles, spawning two of their biggest singles: "Got the Life" and "Freak on a Leash". They both exposed Korn to a wider mainstream audience, with the music videos being mainstays on MTV's Total Request Live. "Got the Life" was the show's very first "retired" video, with "Freak on a Leash" also reaching retirement several months later. In September 1998, Korn signed with a second music publisher, Zomba Music Group, through negotiations of the band's then-manager Jeff Kwatinetz (the former CEO of The Firm), along with co-founders Peter Katsis and Michael Green.

"Freak on a Leash" won a Grammy for Best Music Video, Short Form, and received a nomination for Best Hard Rock Performance. The video also earned nine MTV Video Music Awards nominations for Video of the Year; Best Rock Video; Breakthrough Video; Best Direction; Best Special Effects; Best Art Direction; Best Cinematography; Best Editing; and Viewer's Choice. It eventually won two awards for Best Rock Video and for Best Editing. "Freak on a Leash" failed to enter the Billboard Hot 100, although it did manage to peak at number six on the Bubbling Under Hot 100 chart. Follow the Leader is considered by members of Korn to be the band's most commercially–successful album, being certified five-times Platinum by the RIAA and having sold almost 10 million copies worldwide.

Issues (1999–2001)
The band's fourth album, Issues, produced by Brendan O'Brien, was released on November 16, 1999, featuring cover art designed by Alfredo Carlos, who won an MTV contest held for the fans. Issues was released during a week of many highly anticipated records. It debuted at number one on the Billboard 200 with at least 573,000 copies sold, keeping Dr. Dre's second album 2001 and All the Way... A Decade of Song by Céline Dion from hitting number one.

To celebrate the album's release, the band performed the record in its entirety in front of a live audience at New York's historic Apollo Theater and broadcast the concert simultaneously across many radio stations. This performance marked the first performance by a rock band since Buddy Holly in the late 1950s. This special event featured the New York Police Department marching drum and bagpipe band conducted by Richard Gibbs, as well as a group of backup singers to enhance the more melodic choruses Davis used on the album. A snippet of "Falling Away from Me" was featured on RealVideo with a brief interpretive dance by bassist Reginald Arvizu, and also featured on their official website as an MP3 file, although its release was against the advice of its attorneys and the corporate establishment. The album was also promoted by the band's highly successful Sick and Twisted Tour.

A little before Korn's album Issues was released, the band appeared on an episode of South Park titled "Korn's Groovy Pirate Ghost Mystery", in which the first single from Issues, "Falling Away from Me", was premiered. The single became Korn's first entry on the Billboard Hot 100, reaching number 99. "Make Me Bad" was released as the album's second single in February 2000, peaking at number 14 on the Bubbling Under Hot 100 chart. A third single, "Somebody Someone", followed with more moderate success.

Music videos were filmed for all three singles, with long-time friend Fred Durst directing "Falling Away from Me" and Martin Weisz directing a concept video for "Make Me Bad", as well as a performance-based video for "Somebody Someone", which featured CGI effects. Every video was a staple on Total Request Live, two of which made it to retirement. Issues was described by Stephen Thomas Erlewine to be less hip hop-oriented than Follow the Leader. It was certified three-times Platinum, following up the success of Follow the Leader. In 2001, the brand PONY reappeared in the clothing industry and initiated a partnership with Korn.

Untouchables (2002–2003)
On June 11, 2002, Korn re-emerged into the media with their fifth album Untouchables. It debuted at number two on the Billboard 200 with 434,000 in sales. The band has blamed music piracy for the drop in sales, as an unmastered version of the album had leaked three months prior to its official release date. On April 2, 2002, the Opie and Anthony Show began airing songs from Untouchables. After playing a few songs, the broadcasters received a cease-and-desist letter from Sony Music Entertainment. Opie and Anthony said "The reason for the premature premiere was to infuriate a rival New York station, which disallows their in-studio guests to appear on 'The Opie and Anthony Show.'" The release of this album was preceded by a show at the Hammerstein Ballroom in New York a day prior to the album's release broadcast digitally throughout movie theatres in the United States.

The album contained experiments and styles never previously attempted by Korn. AllMusic related: "The band is far more experimental this time out, delivering Helmet-like ringing guitars that melt and morph into each other, a mix of Metallica-esque blastbeats and tight funk drumming from the constantly improving David Silveria, and memorable riffs that take the shape of dark sound structures and offer more than just a collection of chords." The first two music videos from Untouchables, "Here to Stay" and "Thoughtless", were directed by the Hughes Brothers. "Here to Stay" earned Korn a Grammy Award for Best Metal Performance. "Here to Stay" peaked at number 72 on the Billboard Hot 100. During an interview with Wall of Sound, Munky revealed the album was the band's most expensive to make, but it produced several of his favourite songs, including "Thoughtless" and "Here To Stay".

Take a Look in the Mirror and Welch's departure (2003–2005)
Due to the album Untouchables leaking onto the Internet, Take a Look in the Mirror was released on Friday November 21, 2003– four days earlier than its original release date. The album therefore received a weekend's worth of sales, which resulted in a poor showing on the Billboard 200. During its first full week, Take a Look in the Mirror soared ten places from number 19 to number 9, increasing the album's total sales to 179,000.

It is the first album self-produced by Korn. The band explained that they wanted fans to hear the music as it should be. The album presented different styles and themes compared to previous albums. Lead vocalist Jonathan Davis related: "The whole album is about love, hate and my hate of people and just losing my mind. The previous albums I did, I think the last three, I was coming from a place of hurt. And I just finally got to the point where I'm done hurting and I'm just pissed off about it now. It's turned back to just sheer hate and anger. And it definitely comes across on the album." MTV News said that Davis convinced his fans that they "will be shocked, particularly with the album's second track, 'Break Some Off,' which he called 'brutal'."

Korn released the single "Did My Time" on July 22, 2003, which was used to promote the film Lara Croft Tomb Raider: The Cradle of Life but did not appear on its soundtrack due to unspecified legal issues. The single debuted and peaked at number 38 on the Billboard Hot 100, becoming Korn's first and only top 40 hit in the United States. "Did My Time" gave Korn another Grammy nomination in the Best Metal Performance category.

Korn released their greatest hits album, Greatest Hits Vol. 1, on October 5, 2004. The album debuted at number four on Billboard, selling more than 129,000 copies. This album assembles choice tracks from six Korn studio albums released between 1994 and 2003. The first single was a cover of the song "Word Up!" originally composed by Cameo. The single peaked at number 23 on the Bubbling Under Hot 100 chart. Special editions of Greatest Hits Vol. 1 included a DVD titled Korn: Live at CBGB, featuring seven select songs from their show of November 24, 2003 at CBGB.

In early 2005, Brian Welch announced that he would be quitting the band. In front of a crowd of 10,000 in three services at Valley Bible Fellowship in Bakersfield, California, Welch said "I was addicted to methamphetamines and tried everything ... rehab, stuff on the Internet, but nothing helped me kick it. I was trying on my own to quit and couldn't do it. I wanted to die. No one knew what I was going through. I could not quit. Church was my last shot. I would sit in church high [on drugs]. I would wonder why people would go up to the front after the service. But one day it was for me. I said [to God], 'Show me how to quit.'"

In a 2013 interview with Rolling Stone, Head described his final moments in the band as very tense: "the last year I was in the band, we were gonna kick out the bass player, Fieldy, and this guy's girlfriend couldn't be on this side of the stage because there were fights with another wife in the band. And obviously the drugs – it's no secret I was into the drugs, so crazy stuff, like having to finish our blow right before we got to the border because they were gonna come check to see if we had anything." Following his departure from Korn, Welch released two autobiographies, a solo album, and formed a band named Love and Death, which released a debut album in 2013.

See You on the Other Side and Silveria's departure (2005–2007)
Upon completing their record deal with Sony, Korn partnered with EMI and signed to Virgin Records. As part of this innovative arrangement, Virgin paid Korn $25 million upfront in exchange for a share in the profits of their next two studio albums, including tours and merchandising. Virgin also received a 30 percent stake in the band's licensing, ticket sales, and other revenue sources.

The band's first album for Virgin Records, See You on the Other Side, was released on December 6, 2005, and debuted at number three on the Billboard 200, scanning close to 221,000 copies. The album managed to stay in the top half of the Billboard 200 for 34 consecutive weeks. The first single from the album, "Twisted Transistor", was accompanied by a music video directed by Dave Meyers in which hip hop artists Xzibit, Lil Jon, Snoop Dogg, and David Banner portray Korn. "Twisted Transistor" peaked at number 64 on the Billboard Hot 100. The second single, "Coming Undone", was released in February 2006, peaking at number 79 on the Billboard Hot 100. The music video was directed by Little X. See You on the Other Side was certified Platinum in the United States, and by mid-2007, the album had sold over 2.2 million copies worldwide.

Korn held a press conference at the Hollywood Forever Cemetery on January 13, 2006, announcing the See You on the Other Side Tour. 10 Years and Mudvayne were selected to open all dates of the tour, which kicked off in their hometown of Bakersfield on what Mayor Harvey Hall officially declared as "Korn Day", February 24. The resurrection of their Family Values Tour was announced on April 18, 2006, which featured co-headliners Deftones, Stone Sour, Flyleaf, and the Japanese metal group Dir En Grey on the main stage. Korn and Evanescence co-headlined the 2007 edition, with Atreyu, Flyleaf, Hellyeah, and Trivium rounding out the main stage.

While promoting See You on the Other Side in Europe, Jonathan Davis was diagnosed with idiopathic thrombocytopenic purpura, a blood platelet disorder that hospitalized him for the weekend and prevented him from performing at the renowned Download Festival. Despite the illness, the band still performed with guest singers, including Corey Taylor of Slipknot and Stone Sour fame; Trivium's Matt Heafy; Skindred's Benji Webbe; and Avenged Sevenfold's M. Shadows. This led to Korn canceling the rest of their European bill for 2006, including the Hellfest Summer Open Air. It was originally unknown to the public what his ailment was, but the singer revealed in a letter to fans that he was "dangerously low on blood platelets and at a high risk of death from a hemorrhage if the problem was not treated".

In early December 2006 it was announced that founding drummer David Silveria would be taking an indefinite "temporary hiatus" from the band. Korn then performed at the MTV studios in Times Square on December 9, 2006, for the MTV Unplugged series, which was broadcast on February 23, 2007, through MTV.com and on March 2, 2007, across North American, South American, European, and Asian MTV stations. Korn played a 14-song acoustic set, complete with guest appearances by the Cure and Amy Lee of Evanescence. The performance was eventually cut down to 11 songs for the album, two of which did not air on MTV. Sales of nearly 51,000 brought MTV Unplugged: Korn to number nine in its first week out.

Untitled eighth album and Luzier's addition (2007–2008)
Korn's untitled album was released on July 31, 2007, debuting at number two on the Billboard 200 with 123,000 copies sold in its first week. The album was certified gold by the RIAA. It concluded Korn's deal with Virgin Records and features touring keyboardist Zac Baird. Drumming duties were left up to Terry Bozzio and Bad Religion's Brooks Wackerman, as David Silveria went on a hiatus. Joey Jordison from Slipknot played drums during Korn's live shows until the permanent addition of Ray Luzier (Army of Anyone, David Lee Roth). This confirmed David's departure.

"Evolution" and "Hold On" were released as singles to promote the untitled album. The former peaked at number seven on the Bubbling Under Hot 100 chart. A third single, "Kiss", had a limited release in April 2008. Korn covered the song "Kidnap the Sandy Claws" in 2008, which was originally performed by Paul Reubens, Catherine O'Hara, and Danny Elfman and was released on the compilation album Nightmare Revisited.

Ubisoft reported in October 2008 that Korn had "written and recorded an original song inspired by Ubisoft's Haze video game, simply entitled "Haze", which was released on April 22, 2008. Korn also released a live DVD, Live at Montreux 2004, one of their performances with former guitarist Brian Welch on May 12, 2008.

Korn III: Remember Who You Are (2009–2011)
In a YouTube video, bassist Reginald "Fieldy" Arvizu affirmed that a charity song titled "A Song for Chi" would be released, featuring Slipknot guitarist Jim Root; Clint Lowery of Sevendust; drummer Dave McClain of Machine Head; and former Korn guitarist Brian "Head" Welch, among many other musicians. The song was intended to raise money for Deftones bassist Chi Cheng, who fell into a comatose state following a car accident in November 2008.

Along with the announcement of the Ballroom Blitz Tour in March 2010, the title for the new album was revealed as Korn III: Remember Who You Are. Later that month, Munky announced that Korn has officially signed to Roadrunner Records. Jonathan Davis later confirmed the record deal: "We're going to go to Roadrunner. [It is] real exciting for us, too, because they're one of the last record companies to let you do what you want to do." Davis continued, "All the great bands around are on that label and everything seems to just work out right and it seems like a good home for us right now."

The lead single, "Oildale", was made available for streaming in May 2010. "Oildale (Leave Me Alone)" was simultaneously released to radio stations and became a top-10 hit on the Billboard Mainstream Rock airplay chart. A music video directed by Phil Mucci received an exclusive premiere on MTV2.

Korn III: Remember Who You Are was released on July 13, 2010. It debuted and peaked at number two on the Billboard 200 with 63,000 purchases reported. A second single, "Let the Guilt Go", was released that same month, reaching number 23 on Mainstream Rock. "Pop a Pill" was scheduled to be the third single from Korn III: Remember Who You Are, but plans were scrapped by Roadrunner Records due to unsatisfactory results with previous singles. Korn co-headlined the Music as a Weapon V tour with Disturbed in late 2010 and early 2011. The tour also featured supporting acts Sevendust and In This Moment.

The Path of Totality (2011–2012)
Korn's tenth studio album, The Path of Totality, was released on December 6, 2011. It was the second and final studio album for Roadrunner Records. The album features contributions from Skrillex; 12th Planet; Excision; Downlink; Kill the Noise; Noisia; and various other EDM artists.

The Path of Totality debuted and peaked at number ten on the Billboard 200 with 55,000 copies scanned. "Get Up!" was premiered as the lead single via Spin in April 2011. The single managed to peak at number eight on the Bubbling Under Hot 100 chart. It eventually became their first single to be certified gold in the United States. The second single, "Narcissistic Cannibal", was released in October 2011, with its music video being directed and produced by Alexander Bulkley of ShadowMachine Films.

After a stint of festival appearances, Korn promoted The Path of Totality during a headlining tour of the same name. Korn split their show into three sections. The band kicked off by playing tracks from their first two albums, including the B-side "Proud", which was originally included on the soundtrack to the 1997 film I Know What You Did Last Summer. They followed with a different stage set up, playing several of their new songs. The set list ended with hit singles and an encore. Other appearances came from Datsik, Downlink, and Dope D.O.D. A special album release performance filmed and recorded at the Hollywood Palladium was issued in various formats through Shout! Factory in September 2012. The Path of Totality won Album of the Year at the 2012 Revolver Golden Gods Awards. This was Korn's first victory at the Golden Gods Awards, a ceremony that celebrates the best in hard rock and heavy metal music. Korn was also inducted into the Kerrang! Hall of Fame during the 2011 Kerrang! Awards.

The Paradigm Shift and Welch's return (2012–2015)
On May 5, 2012, guitarist Brian "Head" Welch joined Korn on stage at the Carolina Rebellion festival to play "Blind" for the first time since his departure.

As recalled in the documentary DVD Reconciliation, Welch's appearance was a spur-of-the-moment decision: Welch initially visited the festival because of his daughter, who was a fan of bands performing. Welch joined Red on stage for a song, and would eventually be persuaded to join his old bandmates in Korn for a meet and greet. Upon Korn preparing for the show, the guitar tech prepared an extra guitar and amplifier for Welch, "just in case".

On July 18, 2012, Jonathan Davis told Billboard.com that Korn was getting ready to start recording their eleventh studio album that would be released independently. It was also announced that their next album would not contain any dubstep influences like The Path of Totality. Guitarist James "Munky" Shaffer stated in an interview with the Phoenix New Times that the new album would be heavier, with more aggressive "in-your-face" guitars and vocals. He went on to say that he would be using new recording techniques in the studio to give his riffs a fresh approach.

In November 2012, Mudvayne bassist Ryan Martinie toured Korn as a temporary replacement for Reginald Arvizu, who stayed at home during his wife's pregnancy. That month also saw the confirmation of Welch's return to the band. His comeback was initially thought to be temporary as he was only scheduled for two shows in June 2013 at Rock Am Ring and Rock Im Park, but Ray Luzier announced at the January 25 Sabian show during NAMM that Welch would be working the whole tour.

In January 2013, techno artist Beta Traxx acknowledged he was working on a new Korn song for their upcoming album, which he commented would sound "like the past and the future at the same time." Luzier affirmed that the album would be produced by Don Gilmore. The BK Entertainment Group updated their clients list on February 12 and attested that Korn had signed to their management's independent label - Prospect Park Productions.

On June 1, Caroline Records added Korn to their roster confirming that the band have been signed on to a contract with the label; they are partnered with Korn's management Prospect Park. On February 18, 2013, Korn posted a photo showing Head as part of the line up, which escalated rumors that he was in the process to rejoin Korn permanently. This was confirmed by Head himself in May, when it was also confirmed that he had been recording as part of the band for their upcoming album.

Fieldy has said of the album "Right now, I will tell you this ... we've done something we've never done before. Normally if we do a new Korn record, we'll normally put 12 or 13 songs and that's how many we make. This time we've made 20-plus songs, and we'll put the best of what we have on there, whatever the numbers end up being. We have so many to choose from, I think it's going to be a little extra special this time." Munky later confirmed this by saying that the band completed 25 songs and 15 of them would be put on the album. Head later elaborated that musically this was Korn's best album.

Korn's eleventh studio album, The Paradigm Shift, was released on October 8, 2013. Their first single, "Never Never" was set to be released August 12, 2013. The band recorded an episode of Guitar Center Sessions for DirecTV on September 11, 2013, which is scheduled to premiere November 1, 2013 on DirecTV Audience Channel. Korn will also be the latest act to be inducted into the world-famous Hollywood Rockwalk on October 8, 2013.

The band brought back their Family Values Tour as a one-day festival, on October 5, 2013. The venue and line up were revealed on September 3, 2013. The music video for "Spike in My Veins" was released on February 6, 2014. The band performed the entirety of their self-titled debut album on several occasions during 2015.

The Serenity of Suffering (2015–2018)
Korn soon began the process of writing new songs for a twelfth studio album. Guitarist Head described the music on the new album as "heavier than anyone's heard us in a long time." Their twelfth studio album The Serenity of Suffering was released on October 21, 2016. On July 14, 2016, guitarist James "Munky" Shaffer revealed to Metal Hammer that Corey Taylor of Slipknot/Stone Sour would make a guest appearance on the new album. He also revealed Nick Raskulinecz as the album's producer. On July 16, 2016, Korn premiered a new song, "Rotting in Vain", at Chicago Open Air Festival.

In late 2016, Zac Baird left the live band after 10 years. Jules Venturini completed the tour before Davey Oberlin was brought into the band. It was later announced that Fieldy would be missing Korn's South American tour and Robert Trujillo's then-12-year-old son Tye was brought in to perform with the band for the tour's duration.

In March 2018, Korn embarked on a Japanese tour with support from Deadly Apples, including a stop at Vans Warped Tour Japan.

The Nothing (2018–2020)
On May 15, 2018, Korn announced the dates of special shows in order to mark the 20th anniversary of their album Follow the Leader. In order to mark the album's 20th anniversary, the band partnered with the clothing company Pleasures to release clothing merchandise dedicated to the album.

In August 2018, Luzier reported via Instagram that Korn has begun the process of tracking drums for the upcoming thirteenth album. In a December 2018 interview to Revolver Magazine, Welch revealed that the upcoming album was scheduled for release in fall 2019, with Nick Raskulinecz resuming production duties. He also stated some of the tracks had been co-written with John Feldmann and that the band had tracked demos with Travis Barker on drums.

On June 25, 2019, the band revealed that their latest album, The Nothing, would be released on September 13, 2019, and unveiled its first single: "You'll Never Find Me". On August 2, the band released a brand new song from The Nothing called "Cold". On August 22, Korn announced their new album by playing a concert in multiplayer game AdventureQuest 3D, complete with in-game merchandise, a virtual meet-and-greet, and performing a new song on a digital stage.

In July 2020, Korn released a cover of "The Devil Went Down to Georgia" by Charlie Daniels, who had died earlier that year. The cover was recorded during sessions for The Nothing and featured rapper Yelawolf and proceeds were donated to non-profit Awakening Youth.

During an interview with Wall of Sound, Munky spoke about COVID ruining their plans to tour The Nothing, stating "It was kind of a fucking bummer, I gotta be honest man. I was so excited [with] that album. We put the artwork together, we designed the stages, we got everything ready to roll out, merch and all; you know everything a band does before they go on the road and promote an album."

Requiem, Fieldy's hiatus and upcoming fifteenth studio album (2021–present)
In his first online interview of 2021, Brian Welch revealed that the band had plans for 2021 but was coy about what they were, hinting it had something to do with touring in a powerful way. On April 24, 2021, Korn released a one-off, online streaming event entitled Monumental that was filmed on the top of a parking structure at the Stranger Things: A Drive-Into Experience set in Los Angeles.

On May 12, the band announced a 28-date summer US tour with Staind as the supporting act. The 2021 tour comes after Korn was forced to cancel their planned 2020 run with Faith No More due to the COVID-19 pandemic. On June 21, the band announced that their bassist Arvizu will be taking a hiatus from the band and won't be performing with them on their upcoming summer tour. Ra Díaz of Suicidal Tendencies replaced Arvizu on the tour.

The tour was marred by several separate instances where members contracted COVID-19: first, Jonathan Davis tested positive in August, causing several dates to be postponed. Then in September, Munky was forced to sit out several dates, being replaced by Love and Death guitarist JR Bareis while he recovered. Lastly, in October Ray Luzier also tested positive, missing the next three shows while Fever 333 drummer Aric Improta stepped in.

On April 23, the band confirmed that they had begun work on a fourteenth studio album, utilizing the period of lockdown due to COVID-19 to begin writing. The album was said to be fully written as of April 2021. A new single was released November 11 entitled "Start the Healing", with the music video debuting in a YouTube premiere. On January 13, 2022, the band released the second single from the album entitled "Forgotten". The album Requiem was released on February 4, 2022. On April 21, 2022, the band released a music video for the song, "Worst Is on Its Way".

Shortly prior to the release of Requiem, Davis revealed in an interview with Music Feeds that the band were already in the process of working on a follow-up studio album. Welch later stated in a September 2023 interview that a release of new material in 2024 was likely: "Yeah, [there will be] new music coming out next year. I don't know. We're just kind of in hiding right now, just doing our own thing." Welch reiterated in late March 2024 that work was still underway, speaking positively regarding the content recorded thus far.

Style and lyrics
Korn is identified as the pioneers of nu metal music, a form of alternative metal music which began in the mid-1990s. *
 * While generally considered an alternative metal and nu metal band, the band has also been labeled as heavy metal, grunge, rap rock, rap metal, funk metal, groove metal and hard rock. They are characterized by the style that incorporated downtuned guitars, a groove-heavy rhythm section, haunted atmospheric production, and dark lyrics. Their lyrics focus on pain and personal alienation rather than traditional heavy metal themes.
 * While generally considered an alternative metal and nu metal band, the band has also been labeled as heavy metal, grunge, rap rock, rap metal, funk metal, groove metal and hard rock. They are characterized by the style that incorporated downtuned guitars, a groove-heavy rhythm section, haunted atmospheric production, and dark lyrics. Their lyrics focus on pain and personal alienation rather than traditional heavy metal themes.
 * While generally considered an alternative metal and nu metal band, the band has also been labeled as heavy metal, grunge, rap rock, rap metal, funk metal, groove metal and hard rock. They are characterized by the style that incorporated downtuned guitars, a groove-heavy rhythm section, haunted atmospheric production, and dark lyrics. Their lyrics focus on pain and personal alienation rather than traditional heavy metal themes.
 * While generally considered an alternative metal and nu metal band, the band has also been labeled as heavy metal, grunge, rap rock, rap metal, funk metal, groove metal and hard rock. They are characterized by the style that incorporated downtuned guitars, a groove-heavy rhythm section, haunted atmospheric production, and dark lyrics. Their lyrics focus on pain and personal alienation rather than traditional heavy metal themes.
 * While generally considered an alternative metal and nu metal band, the band has also been labeled as heavy metal, grunge, rap rock, rap metal, funk metal, groove metal and hard rock. They are characterized by the style that incorporated downtuned guitars, a groove-heavy rhythm section, haunted atmospheric production, and dark lyrics. Their lyrics focus on pain and personal alienation rather than traditional heavy metal themes.
 * While generally considered an alternative metal and nu metal band, the band has also been labeled as heavy metal, grunge, rap rock, rap metal, funk metal, groove metal and hard rock. They are characterized by the style that incorporated downtuned guitars, a groove-heavy rhythm section, haunted atmospheric production, and dark lyrics. Their lyrics focus on pain and personal alienation rather than traditional heavy metal themes.

Historically, when Life Is Peachy was released, the band's music was not yet labeled "nu metal". Thus, in November 1996, Korn was described as "one of the key players in an American metal revival" alongside Deftones, "two bands that share the same roots". In the music community, there have been disagreements whether the band should be considered as "heavy metal". In 2015, lead singer Jonathan Davis commented, "Yeah, we're heavy and downtuned, but metal, to me, is like Judas Priest and Iron Maiden, that's metal man. I always thought of us as a funk band." Additionally, in an interview with Metal Hammer, Davis said that he had hated the "nu metal" tag. Korn is widely credited as the originators of the nu metal scene. It means that the genre was suddenly inundated with imitators of their sound.

Many of Korn's first works are based on early experiences. The song "Daddy" was described by lead singer Jonathan Davis: "When I was a kid, I was being abused by somebody else and I went to my parents and told them about it, and they thought I was lying and joking around. They never did shit about it. They didn't believe it was happening to their son.... I don't really like to talk about that song. This is as much as I've ever talked about it..." "Kill You" was written about Davis's experiences as a child with his stepmother. Follow the Leader marked the first album where the majority of the lyrics did not have origins relating to early occurrences, with songs like "Justin" and "Pretty" written about incidents occurring during adulthood.

Bassist Reginald Arvizu plays his instrument using both the techniques of fingerstyle and slapping. Jonathan Davis was said by author Doug Small to be "the eye of the storm around which the music of Korn rages." Small described the band as "a basket-case full of contradictions."

Influences
A few years before establishing Korn, James "Munky" Shaffer; Reginald "Fieldy" Arvizu; and David Silveria (who were three members of the funk rock band L.A.P.D.), alongside friend Brian "Head" Welch, all had the common influences of Red Hot Chili Peppers and especially the Faith No More album The Real Thing. Likewise, Davis was greatly inspired by the adventurousness of The Real Thing upon its 1989 release: "It showed everybody you could do heavy music and not be 'metal'. It was something completely different."

Munky later acknowledged the song structures and instrumentations of Faith No More in inspiring Korn's future songwriting: "Faith No More steered us in the direction where we ultimately ended up." They became "fanatics" of Faith No More singer Mike Patton, researched about him, and traveled to the band's hometown of San Francisco in order to watch them play. In this way, they discovered Patton's avant-garde metal band Mr. Bungle, whose 1991 self-titled album had a long-standing impact on Korn's experimentation, dissonance, and eccentric stylings. A notable example of Bungle's influence has been what Korn dubbed the "Mr. Bungle chord" (a flat fifth chord or "tritone"), which became a band trademark throughout their discography.

Besides the projects of Patton, Korn had a wide range of influences that included groove-oriented metal acts such as Sepultura, Prong, and Biohazard, in addition to the dynamics and live performances of Rage Against the Machine and its frontman Zack de la Rocha. Head later explained that they tried to mix the weird elements of Bungle with catchy choruses and melodies, alongside the songwriting and grooves from those metal bands. On the other hand, Fieldy discards any influence classic rock groups like The Rolling Stones and Led Zeppelin have had on Korn; "Nobody in the band ever listened to that stuff." However, Jonathan Davis acknowledged in 2022 that the song that first made him interested in rock music was Led Zeppelin's "Whole Lotta Love" (1969).

Much of Korn's work has also been inspired by hip hop music, as suggested in the band's song "All in the Family" and the cover song of Ice Cube's "Wicked". The band imitated the samples used by Cypress Hill, with Davis going as far to say "If there's no Cypress Hill there would be no Korn."

In the Guitar World section "The Album that Changed My Life" of January 1997, Welch listed The Real Thing by Faith No More as the album that changed his life, while Arvizu named both the Red Hot Chili Peppers' Freaky Styley and Faith No More's Introduce Yourself. Fieldy's biggest bass influences were Flea from Red Hot Chili Peppers and Les Claypool from Primus. He was also greatly inspired by Billy Gould's chemistry with his Faith No More bandmates and Stanley Clarke. In 2015, asked about what record has stuck with him through the years, Munky first named 1992's Angel Dust by Faith No More, followed by Evil Empire by Rage Against the Machine and The Fragile by Nine Inch Nails. For his part, David Silveria named Mike Bordin of Faith No More one of his biggest influences.

Many reviewers point out stark similarities between the vocals of Davis and several techniques employed by Mike Patton, such as those from Angel Dust. Davis' rhythmic and aggressive singing was also based on toasting, a reggae/dancehall vocal style that emphasizes rhythm and embellishments.

The members of Korn are also influenced by Alice in Chains, Pantera, N.W.A, Bauhaus, Geto Boys, Van Halen, The Pharcyde, Nine Inch Nails, Deftones, and John Zorn.

In other media
They have contributed music to the soundtracks for movies such as The Crow: City of Angels, I Know What You Did Last Summer, Spawn, End of Days and Lara Croft Tomb Raider: The Cradle of Life. The music of Korn has also been featured on various television series, including South Park (which they starred as guests), Beavis and Butt-head, Daria, and The Simpsons.

Legacy
Korn's debut album has been recognized for its influence on heavy music. Bands such as Coal Chamber and Limp Bizkit were inspired by the album's "churning rage, emphasizing similar grooves and song structures" and "the sound's hip-hop elements." Slipknot, Machine Head, and Sepultura were also inspired by Korn's debut album. The album launched the career of record producer Ross Robinson, who later produced albums such as Three Dollar Bill, Yall by Limp Bizkit, Sepultura's Roots and Slipknot's first two albums. Amy Lee of Evanescence also cited Korn as an influence growing up. Mucc guitarist Miya said that Davis' intense personal expressions in Korn influenced him to do the same in his own music.

Richard S. He of Billboard wrote: "More than any other album, Follow the Leader opened the floodgates for countless nu-metal acts to infiltrate the mainstream." In the book Nu-metal: The Next Generation of Rock & Punk, Korn was marked as the third biggest nu metal band in the world. Korn created a fan-base described by Doug Small and Eaton Entertainment as extremely loyal.

Band members
Current members
 * Jonathan Davis – lead vocals, bagpipes (1993–present) ; programming (2011–present) ; drums (2006–2008)
 * James "Munky" Shaffer – guitar (1993–present) ; backing vocals (2005–present)
 * Reginald "Fieldy" Arvizu – bass (1993–present; on hiatus since 2021)
 * Brian "Head" Welch – guitar, backing vocals (1993–2005, 2013–present)
 * Ray Luzier – drums (2008–present)

Current touring musicians
 * Davey Oberlin – keyboards (2017–present)
 * Ra Díaz – bass (2021–present)

Former members
 * David Silveria – drums, percussion (1993–2006)

Former touring musicians
 * Rob Patterson – guitar, backing vocals (2005–2006; touring substitute for James Shaffer in 2008)
 * Michael Jochum – percussion (2006–2007) ; drums (2007; touring substitute for Ray Luzier in 2008)
 * Kalen Chase – percussion, backing vocals (2006–2008)
 * Clint Lowery – guitar (2007)
 * Brooks Wackerman – drums (2007)
 * Joey Jordison – drums (2007; died 2021)
 * Shane Gibson – guitar (2007–2010; died 2014)
 * Wesley Geer – guitar (2010–2013)
 * Zac Baird – keyboards, backing vocals (2006–2016)

Touring substitutes
 * Mike Bordin – drums (2000–2001; substituted for David Silveria)
 * Christian Olde Wolbers – guitar (2006; substituted for Rob Patterson)
 * Morgan Rose – drums (2011; substituted for Ray Luzier)
 * Ryan Martinie – bass (2012; substituted for Reginald Arvizu)
 * JR Bareis – guitar, backing vocals (substituted for Brian Welch in 2014; 2019, 2021, 2022 substituted James Shaffer)
 * Abel Vallejo – drums (2015; substituted for Ray Luzier)
 * Tye Trujillo – bass (2017; substituted for Reginald Arvizu)
 * Aric Improta – drums (2021; substituted for Ray Luzier)

Official band members timeline

Touring musicians timeline

Discography

 * Korn (1994)
 * Life Is Peachy (1996)
 * Follow the Leader (1998)
 * Issues (1999)
 * Untouchables (2002)
 * Take a Look in the Mirror (2003)
 * See You on the Other Side (2005)
 * Untitled (2007)
 * Korn III: Remember Who You Are (2010)
 * The Path of Totality (2011)
 * The Paradigm Shift (2013)
 * The Serenity of Suffering (2016)
 * The Nothing (2019)
 * Requiem (2022)

title: Korn


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