#korn jonathon davis

[korn-dogz]

Interesting…..

My imagination is running wild

[y2k-2day]

Korn - Falling Away From Me (1999)

[suc1d3-1z-th3-0nly-3sc4p3]

I’m gonna start crying what the fuck trans goal man

[jon-ddavis]

i’m cooler than you

[chucklenutss]

i handmade jon, serj and daron photocards 😭

sorry about the shavo and john exclusion 😢 i’m gonna make them + head :-D (i’m very normal about these people.)

is this insane?

also i’m too broke rn for stickers and actual sturdy card sleeves, when i buy stickers i’ll properly decorate :-)

idk where to put these guys😭

bye bye

[bl00dycraniumm]

RULES 4 REQUESTING

☆ i follow back/like from @m3talidk ☆

🕸️ intro…

☆ hey its axel!!

☆ i didnt want to mix up writing with my main..so heres this account!

☆ my main is @wh3r3v3rimayr0am

🕸️ i write..

☆ male readers

☆ trans male readers

☆ gender nuetral

☆ i will only write x reader unless someone requests otherwise - it’s not 100% that i’ll still write the “ship” or “duo” tho! if not, i’ll just leave the request alone!

☆ don’t be upset if i don’t get to your request right away, IM A PROCRASTINATOR IM SORRY!!!

🕸️ i wont write…

☆ rape/sa

☆ pedophelia (age gap is fine as long as both are 18+!!)

☆ female readers

☆ piss/shit/vomit play kinks or any stuff like it

☆ male pregnancy

☆ age/pet regression

☆ if there is sth i wont write that i’m not sure of yet, ill politely decline, im not obligated to write if i dont want to.

☆ stuff for axl rose, nikki sixx, tommy lee, vince neil, fieldy (korn).

🕸️ MASTERLISTS!!!:

☆ metallica masterlist

☆ slipknot masterlist

🕸️ MY SOCIALS!!:

☆ discord/airbuds/snap: dav.mustards (yes my bitmoji is ennis del mar 😸)

☆ insta/tiktok: wher3verimayr0aam

☆ pinterest: wh3r3v3rimayr0am

☆ my main account: @wh3r3v3rimayr0am

☆ my viva la bam/jackass account: @viva-la-axe

🕸️ people i’ll write for (can change):

☆ james hetfield

☆ dave mustaine

☆ jason newsted

☆ ron mcgovney

☆ kirk hammett

☆ lars ulrich

☆ robert trujillo

☆ cliff burton

☆ duff mckagan

☆ slash

☆ izzy stradlin

☆ steven adler

☆ jonathon davis

☆ munky

☆ brian (head) welch

☆ david silveria

☆ corey taylor

☆ sid wilson

☆ joey jordison

☆ mick thomson

☆ mick mars

☆ ville valo

☆ bam margera

☆ fred durst

☆ wes borland

☆ ryan dunn

☆ brandon novak

☆ raab himself

☆ dallas winston

☆ johnny cade

☆ sodapop curtis

☆ snooki

☆ jwoww

☆ sammi sweetheart

☆ deena cortese

please be respectful & patient while requesting! follow the rules or i’ll ignore your request! <3

[fontanelle-heart]

Update on the Korn shirt I wore to school, the only "bad" thing that happened was when I was walking to the bathroom a group of girls behind me, (with no sense of style) kept saying things like "she's so emo" "she gives off emo vibes" like it was a bad thing. I'm not actually emo btw but it's a cool style. Then an actual emo kid complimented my shirt and said that it was Jonathon Davis's birthday recently.

That's honestly all that happened I was expecting much worse.

[forgotn1]

The background on the soundtrack is really interesting too. Jonathon Davis (from Korn) and Richard Gibbs created the score for the entire movie and they wrote the songs Lestat would sing in the film. Jon provided vocals for them in the film, but his contract with Sony meant he couldn't appear on the soundtrack. So he went and asked his friends in the Nu Metal scene to come in and re-record the vocals for each of the songs. Which they ended up absolutely nailing.

There was meant to be a duet with Davis and Aaliyah on the soundtrack, but she passed away before it could be recorded.

not enough people talking about the queen of the damned soundtrack... Really really good stuff... should go down in history

[korn-dogz]

What you see vs what she sees

[eliznial]

JOHNATHON ☹️☹️❤️ it’s him in his family values tour Mf outfit plz I love that outfit and “all in the family” song ughhhhhhhhg😩

[suc1d3-1z-th3-0nly-3sc4p3]

jd and this long dress fit? literally my transitions goals istg

fun fact my trans name is based of Jonathon Davis, little contribute since Korn helped me through my dysmorphia and stuff like that💕

[is-she-suffering]

As unapologetic as a hallucination, there's a freakshow skip to the proceedings, off-kilter and off-time like Siamese twins waltzing, while Garside meanders and wafts through her lyrics, like a half-remembered grand mal seizure. That's before the remorseless, unreasoning, piercing spirits of I Adore You, an adoration of the toxic abandonment that come from desire. Balanced somewhere between renouncing and relishing the comforting horrors of derangement, the album is much more an act of guileless seduction than the live trauma of Queen Adreena. Garside, the prime musical and lyrical force behind the throne, is truly terrifying live, but in the studio there's a consciousness of estrangement, more on awareness of the sense of loss and hopelessness that Goth was supposed to suggest but so rarely achieved. There's no cheap theatrics here, but instead the kind of revelation and power-dread that has made Lydia Lunch and Inger Lorre so awe-inspiring. Indeed, although utterly different in musical aspirations, there is more than a passing connection between Taxidermy and Lorre's equally confessional and accusatory Transcendental Medication. Of course, it's easy to get caught up in comparing Garside's work here with that of other female artists: her relationship with Gray will remind some of that between Budgie and Souxsie, for example, or the obvious Lydia Lunch personal vivisection and Courtney Love scuzzy baby doll sexuality analogies, for example. But if we look further and deeper, there's traces of the self-destructive tendencies of Trent Reznor circa The Downward Spiral, or Korn's Jonathon Davies, back on the coruscating vibrance of their first album, not to mention the backwoods perversions of Nick Cave. Insidious, rather than subtle, it insinuates through Garside's wilderness wind tones, then scratches and bludgeons with Gray's glitterstab guitar. Possibly, depending on your mood, it may be a little too Alice Impaled On The Looking Glass for your tastes, but on those darker moments, your ability to empathize with the dour sensibilities of the sepulchral strip-joint theme of Hide From Time or the neo-folk of the deathly Pretty Polly will make you file this under worryingly easy listening. The only real question for Queen Adreena now is whither next? How dangerous would continuing this public flagellation and flagellation of the public become to health and wealth? As Garside herself asks "are these songs my disease?" Wonderful as it is to think that there'll be a second album, the idea that they may feel so driven and despairing as to have to is simply terrifying. Taxidermy by Queen Adreena is out on Blanco y Negro records. RMW

Curmudgeon #22 April 2000

In the mid-1980s, Goth did get such a bad name (and deservedly so): foolish, flouncy nonsense perpetrated by fat kids who sucked their cheek bones in and thought that gave them a personality. Jee-hosephat, you thought that Grunge was whiny: you should have been stuck in Yorkshire in the late 1980s, during the "none more black" years. Yet, at the same time, Goth did provide the world with a handful of advantages. Firstly, you got to laugh at men in fishnets, which was never a bad thing. Secondly, in the form of the Sisters Of Mercy and The Cult it provided the UK's least embarrassing 80s stadium rock bands (OK, next step down is Def Leppard and it's not as dangerous a drop as it should be) yet most importantly it provided a cover-all term for a wide array of bands by which a lot of bands could define themselves by or rail against. There were more bands denying their Goth roots than those accepting them, but they were defined by their fans and eventually even The Fields Of The Nephilim had to drop the spaghetti metal tag and start reading Lovecraft and Crowley. Goth became more about the image than the content, so anyone in a frilly black skirt or a black frou-frou shirt was a Goth of some ilk. Hippy-goth, glam-goth, industri-goth: as long as you looked dour once in a while and shuffled your pixie boots, you were in the club. It got even worse in the late 90s, with the post-black metal piffle of Cradle of Filth and Hecate Enthroned forcing even the most die-hard of teeth-sharpeners to hide their crinoline and crushed velvet in fear (well, fear of embarrassment, maybe). That was always what was weird about Daisy Chainsaw: although never fully gothified, they were sort of adapted by the scene as pop-Goth. Their one memorable single, the infuriatingly jittery Love Your Money was Iggy covering The Stray Cat Strut and danceable as hell, as long as you didn't mind suffering heat-stroke by the second chorus. Maybe that was why the Goth crowd loved them so: it was an excuse to actually look like you were having fun and not have to explain to the fashion police afterwards. Or maybe it was prescience. Y'see, what I objected to most about Goth culture and particularly its feeble coterie of hangers on was the overwhelming desire by many of them to find something wrong with their lives and elevate it to psychosis level.

[jon-ddavis]

now i wanna know what was going through bros mind when they made this

[chucklenutss]

jon daviiiiiissssss ladies and gents :-))))) quite happy with this!!!

and some bonus (shitty) JD/KoRn + little soad doodle pages when i was learning how to draw JD 😋😋

excuse my little rambling notes

enjoyyyy bye bye :-]]]

[angry1nch]

[hgghgfd]

As unapologetic as a hallucination, there's a freakshow skip to the proceedings, off-kilter and off-time like Siamese twins waltzing, while Garside meanders and wafts through her lyrics, like a half-remembered grand mal seizure. That's before the remorseless, unreasoning, piercing spirits of I Adore You, an adoration of the toxic abandonment that come from desire. Balanced somewhere between renouncing and relishing the comforting horrors of derangement, the album is much more an act of guileless seduction than the live trauma of Queen Adreena. Garside, the prime musical and lyrical force behind the throne, is truly terrifying live, but in the studio there's a consciousness of estrangement, more on awareness of the sense of loss and hopelessness that Goth was supposed to suggest but so rarely achieved. There's no cheap theatrics here, but instead the kind of revelation and power-dread that has made Lydia Lunch and Inger Lorre so awe-inspiring. Indeed, although utterly different in musical aspirations, there is more than a passing connection between Taxidermy and Lorre's equally confessional and accusatory Transcendental Medication. Of course, it's easy to get caught up in comparing Garside's work here with that of other female artists: her relationship with Gray will remind some of that between Budgie and Souxsie, for example, or the obvious Lydia Lunch personal vivisection and Courtney Love scuzzy baby doll sexuality analogies, for example. But if we look further and deeper, there's traces of the self-destructive tendencies of Trent Reznor circa The Downward Spiral, or Korn's Jonathon Davies, back on the coruscating vibrance of their first album, not to mention the backwoods perversions of Nick Cave. Insidious, rather than subtle, it insinuates through Garside's wilderness wind tones, then scratches and bludgeons with Gray's glitterstab guitar. Possibly, depending on your mood, it may be a little too Alice Impaled On The Looking Glass for your tastes, but on those darker moments, your ability to empathize with the dour sensibilities of the sepulchral strip-joint theme of Hide From Time or the neo-folk of the deathly Pretty Polly will make you file this under worryingly easy listening. The only real question for Queen Adreena now is whither next? How dangerous would continuing this public flagellation and flagellation of the public become to health and wealth? As Garside herself asks "are these songs my disease?" Wonderful as it is to think that there'll be a second album, the idea that they may feel so driven and despairing as to have to is simply terrifying. Taxidermy by Queen Adreena is out on Blanco y Negro records. RMW

Curmudgeon #22 April 2000

In the mid-1980s, Goth did get such a bad name (and deservedly so): foolish, flouncy nonsense perpetrated by fat kids who sucked their cheek bones in and thought that gave them a personality. Jee-hosephat, you thought that Grunge was whiny: you should have been stuck in Yorkshire in the late 1980s, during the "none more black" years. Yet, at the same time, Goth did provide the world with a handful of advantages. Firstly, you got to laugh at men in fishnets, which was never a bad thing. Secondly, in the form of the Sisters Of Mercy and The Cult it provided the UK's least embarrassing 80s stadium rock bands (OK, next step down is Def Leppard and it's not as dangerous a drop as it should be) yet most importantly it provided a cover-all term for a wide array of bands by which a lot of bands could define themselves by or rail against. There were more bands denying their Goth roots than those accepting them, but they were defined by their fans and eventually even The Fields Of The Nephilim had to drop the spaghetti metal tag and start reading Lovecraft and Crowley. Goth became more about the image than the content, so anyone in a frilly black skirt or a black frou-frou shirt was a Goth of some ilk. Hippy-goth, glam-goth, industri-goth: as long as you looked dour once in a while and shuffled your pixie boots, you were in the club. It got even worse in the late 90s, with the post-black metal piffle of Cradle of Filth and Hecate Enthroned forcing even the most die-hard of teeth-sharpeners to hide their crinoline and crushed velvet in fear (well, fear of embarrassment, maybe). That was always what was weird about Daisy Chainsaw: although never fully gothified, they were sort of adapted by the scene as pop-Goth. Their one memorable single, the infuriatingly jittery Love Your Money was Iggy covering The Stray Cat Strut and danceable as hell, as long as you didn't mind suffering heat-stroke by the second chorus. Maybe that was why the Goth crowd loved them so: it was an excuse to actually look like you were having fun and not have to explain to the fashion police afterwards. Or maybe it was prescience. Y'see, what I objected to most about Goth culture and particularly its feeble coterie of hangers on was the overwhelming desire by many of them to find something wrong with their lives and elevate it to psychosis level.