Back to School
. The pre-mix version of Back To School that was floating around in Napster in March 2000 is a lot different than the final release that appeared on the single/enhanced album. In the original version the sound is a lot more compatible to the rest of the album, the drums sound the same (the album version has a higher dynamic range, what makes it sound more “fat”) Also, the beginning has a little static in background (probably due to the “unfinished” status) Plus, in the album version, Chino starts his first verse at 0:22, in the original version he starts at 0:32, because one pattern seems to have been edited. Plus, in the album version, there has been different background vocals added at the end of the song. Plus, the vocals in the album version are a lot louder and more “sharp” than in the original mix. And in addition here’s an english translation of an interview from a german magazine called “VISIONS”, where Chino says something about Back to School:
VISIONS: There seems to be just one song, that negatively affects your general work: Back To School, the single version of “Pink Maggit”.
CHINO: Back To School was a mistake. A calculated song, that has been built up with only one aim in mind: It should be single.
FRANK: It never belonged to the album. Our record company recieved White Pony without that song.
VISIONS: And why was it released afterwards?
CHINO: Because I was an idiot. I wanted to prove ’em some. Months later, after White Pony was released, they wanted us to do a new version of Pink Maggit, They said, we lost our heavyness, and there were no more singles on the album. First, I wanted to stick this idea up my ass, but then I thought, I’m gonna show those fuckers how easy it is to create a hit-single. And so I rapped a hip hop part on that song, we shortened it and half an hour later, the hit-single was ready to roll on. FRANK: They engaged this Pop-director, who worked with Britney Spears before, it really went off shitty, due to that. High-school, glamour, all this shit.
VISIONS: Do you regret it?
CHINO: Yeah, but we learned our lesson. Even on this record they came up and asked me to change a chorus. It doesn’t make sense for a radio-dj, they told me. I told them to go fuck theirselves. (by Daniel)
. “I was walking through rasputins… a cd store by my house… and over the stereo that the store was playing i heard some rapper and suddenly he kept saying “I’ll be the man, watch your backpack, pen and pencil”…i was like WHAT THE FUCK!!?!? thats from back to school!!!!!! so i ran up to the counter and asked the guy who was playing on the stereo…..it was KOOL KEITH…. and i know what big fans the Deftones are of kool keith….. so i went home and found which kool keith song it is….. he uses this line “I’ll be the man, watch your backpack, pen and pencil” several times in his chorus on the track I Don’t Play on the Black Elvis/Lost in Space album…..which came out in 1999…. looks like Deftones were using alluding to kool keith by using his line.” (by Matt)
. Two other bands shot their video at Grant High School after the Deftones. They show shots of the outside only (GRANT HIGH SCHOOL), like the beginning of the back to school video. The bands are Saliva (“Your Disease”) and Tantric (“Breakdown?”). Also if you look close to Chino’s t-shirt, while he’s screaming for the first time “So run!” in his bedroom, you can see that he’s using |here| a Duran Duran t-shirt, one of Chino’s favorite bands.
. It seems that Chino says the word “SHIT” (runtime= 01’07”). When he sings “Stop that quit…” seems like he wants to sing “Stop that sh…” but suddenly the “sh…” becomes a “quit”. The same happens on the first version of Back to School. I think it was kinda “cleaned up” by Maverick Records. And when they played it live he says “SHIT” occasionally.
. The Back To School version on the re-release of the White Pony is a lot louder than the rest of the album. If you start the album from the begging and don’t touch the volume you can really tell the difference. It’s probably because it wasn’t mixed with all the other songs on the album. (props to LodiDodi86@aol.com)
. Now I’m sure! The Back to School video has two different versions. There’s the normal video which starts with some still shots at Chino’s bedroom and there’s another one which shows cheer leaders near their lockers, and also that kid with Korn’s bag is on that 2nd version of this same video.
. The European Back to School CD single contains 2 live tracks (Nosebleed and Teething). The sleeve says that the songs were recorded in Chicago on November 8th, 2000 but they are the same songs from the My Own Summer CD single and the Be Quiet and Drive single so they were really recorded on October 13th, 1997. Also, the track times on the sleeves do not equal the actual times, as the intro to Teething is absent. It starts really loud (source: SACTO)
. Here’s Chino’s thought about the release of “Back to School”:
Chino: “Honestly, I didn’t want Back To School on the record. It was unfinished at the time, and I didn’t want anything too hip-hop-oriented on the album.”
. In the beginning of the “Back to School” video, you can see a guy using a bag with ‘Korn’ written on it. Click |here| to see a shot of that.
. Also in the “Back to School” video, Chino passes the gothic teens and greets Chi (0:00:26 in Quicktime time). And passes him again in 00:00:29. I didn’t notice that until now. Another weird thing in this video is that Chino’s posters in his bedroom are kinda pixilated. We can’t see what posters he has. Check these secrets |here|, |here| & |here| (thanks to Taco)
Feiticeira
. The first word on ‘Feiticeira’ is ‘Fuck’. It’s not ‘Stop’ like the official lyrics says. And right after he says ‘New murderer…’ there’s another hidden ‘Fuck’. Chino told me it has to be that way, otherwise ‘White Pony’ would get a ‘parental advisory’ stick on it.
. About “White Pony” 1st track “Feiticeira”, Chino Moreno said:
“It’s named after a Brazilian female, but it’s lyrically about a kidnapping scenario.”
This Brazilian female that Chino talks about, is one of the most wanted women in Brazil. She’s a sex symbol. Her trademark is a veil she uses and of course her body and sexy lingerie (few lingerie just the essential). She became famous in a TV show where only men could participate – The host asked a few questions (really hard ones) then if the player fails “Feiticeira” began to hurt him, like for example shaving is leg with wax, shaving his head…she really embarrassed men for being so greedy, but in the other hand if they get the right answer (a few made) then “Feiticeira” concede him a wish…like staying with her alone…get into love games with her, everything except sex! In Portuguese “Feiticeira” means witch… That’s why she was named “Feiticeira”, because she makes magic between men… Click |here| to see who’s mysterious “Feiticeira” that Chino talks about!
Digital Bath
. Chino wrote this song thinking about a sexual fantasy that he had about luring a girl into a bath and then electrocuting her with an appliance or something then dressing her back up. “It was probably 5 in the morning–we were still up partying–and I just pictured this whole scenario of having this girl, bringing her downstairs and taking a bath and like, out of nowhere, just reaching back and electrocuting–basically throwing some kind of electrical device in the bathtub and then taking her out of the bath and drying her off and putting her clothes back on.” – CHINO (thanks to Nat Jeanneret / GhettoRocker316@aol.com)
. In the “Digital Bath” video that at 1:55 when Chi is stretching. It shows a brief shot of the band assistant Juan Gonzalez, in the right hand corner. And At 1:43-1:46. When the guys are running to stand in the front, it flashes twice – It’s someone’s eyes. (thanks to Brent Starr)
. If you hear ‘Digital Bath’ from 2′:30” till 2′:50” you could imagine yourself in a bathroom laid on the bath with the faucet dripping huge drops and making this kind of echo on the bathroom.
Rx Queen
. RX is a term used in communications to indicate data being received (the opposite being TX – transmitted), and is a term commonly associated with faxes/modems and the like. If you look on your modem there may well be a light that is called RX (“red light in june” ?). Also, RX is also used to abbreviate Radix, which is Latin for Root. (thanks to Rob)
. At the end of ‘Rx Queen’ at about 4:00 till the end of the song, it sounds like a telephone is ringing or like the sound of when you’re transmitting a fax (the first ring is at 4:00 exactly).
. On the ‘White Pony’ EPK (short movie), right before the camera went into the TV on the ‘Rx Queen’ part, you can see that under the TV that shows the videos, it’s written ‘SACTO’ (vertical). And between ‘SACTO’ and the TV, it’s the ‘White Pony’ release date ’06 20 00′. Check |here| a screenshot of that.
. Like ‘Mx’ I asked Chino about the x in ‘Rx Queen’ and it was seconds before I saw his face for the last time when I met the Deftones. I was with them in their van and the driver was in a hurry, so it was the last thing I asked him: “What about the x in ‘Rx Queen’? It stands for what girl’s name?” and at the exact time I asked it, the driver started the engine, and Chino spoke at the same time and I guess he said ‘Rayanne’ cause with all the engine’s noise I didn’t get it, but when I was about to ask him ‘what?’ the driver put the foot on the gas and drove them to the airport ’cause I was being such a pain in the ass always asking them stuff, and they were late for their flight. – RX also stands for prescription in the U.S.
Street Carp
. In this song the official lyrics at one part say “now take in home, and have fun with it” when in reality he’s saying –now take it home, and fuck with it–
Once again selling strategies were behind this.
Teenager
. Crook revealed something more about this song:
Deftones Fan: On Teenager, who is playing what in that song? Its been bugging me since it came out cuz I cant tell if its all programmed or what?
DJ Crook: chino – vocals / frank – turntables / frank or Stephan (not sure) – keyboard / me – everything else
Matt (another fan): so… you’re on the acoustic guitar, Crook?
DJ Crook: in a roundabout way…yes, rather not go into details. but basically yes i wrote the music to Teenager…
Then, after this Crook just posted THIS awesome pic (the original teenager disk).
. If you didn’t know “Teenager” beatings are from a drum machine, those are drum loops. Abe’s not playing it, just Frank and Chino are on “Teenager”. Also if you listen very closely to the left speaker at the very beginning of teenager it sounds like someone is lightly knocking at a door. ( also thanks to Matt)
. “Teenager” was originally a Team Sleep song (Chino’s side project). But Chino brought it into to the White Pony and it turned on a Deftones song. The weirdest in their career. (thanks to David)
Knife Prty
. Right before Rodleen starts to scream (runtime=2’51”) someone, I don’t know if it’s her or Chino, makes a strange noise just as if somebody was sticking a knife or something in her/his body. It’s like ‘AuhOh!’. This sound is really softly so you have to put it louder to hear.
Korea
. Helmet’s album “Betty” (1994) has a song called “Tic”, at a certain part of this song it goes like this:
“Wearing slim fast you carve your niche
Lean smug back and work your pitch”
Coincidence or not, the truth is that Chino’s chorus lines for “Korea” are quite the same. (Thanks to: R)
. Here’s what Korea means to Chino:
Chino: “that song is just really abstract. There’s a lot of underworld kind of life in there. I’m talking strippers and drugs and all kinds of shit. ” (thanks to Matt)
. Between the 3rd and the 5th second you’ll hear on ‘Korea’ what it seems to be some glass knocking on the background. The glass is knocked twice before the guitar starts. It’s best heard with the headphones on. (thanks to Evilsraven)
Passenger
. Chi: (About Maynard appearance) “Well, shit, it’s amazing that he wants to work with us.” So we were already blown away. Right on, let’s do it, what an honor. We’ve always respected the way Tool has done things. Nobody goes, “That’s new metal,” it’s more like, “Oh, that’s Tool.” It’s indigenous to their own nature. He never intended to sing on anything. He just wanted to see how we wrote and give us ideas about how Tool does things, just because he’s interested in bands. So we went down to work with him, and we already had the music for “Passenger” done. We were playing (while) Chino was out getting a beer or something; he wasn’t in the room. Maynard was listening and he said, “Why put things in 4/4 when you can go 3/4 or 7/8 or something like that?” And then he just grabbed the mike and started singing, and it was like [sigh]–you know what I mean? And Chino had come back at that point, so they started trading off and doing their thing.We didn’t ever really intend to use Maynard on the new album, because every band is like,
“Okay, here’s our token celebrity guest appearance, our celebrity crutch for the album.” We didn’t really want to go that route. But when we actually recorded it, we couldn’t get Maynard out of our heads. And I said, “Look, dude, just call Maynard and ask him to come in and do the song.” So Maynard came in for two days: wrote, recorded, done.”
. Chino: ” Having Maynard perform on the record wasn’t something that we planned on doing. We didn’t plan on having any guest on the record. But being a fan of Tool and A Perfect Circle, once Maynard was involved, it was just a magical thing for us. Honestly, when he first started working with us, he wasn’t supposed to sing with us. He was just working on the arrangements, riff structures, time signatures, and things like that. I don’t know if you’re a big fan of Tool’s music, but they’re really mathematical. I’ve been to their rehearsal space, and there’s this big chart that just looks like calculus–the way they write songs, it’s just crazy. It was good to have someone else who has different ways of writing songs, ’cause everyone has a different way of doing it. He came in and we started working on this one song in particular, and he just grabbed the microphone and started singing along to it, and my jaw just dropped. All of a sudden our band sounded like Tool; it was just crazy. Then, probably two months later, we went in to record the album, and I went in to record the vocals on it, and I just kept hearing his voice, this re-occurring melody with his voice coming over it. So I called him and asked him if he wanted to come down and sing on the record, and he had no problem with it. Once he came in, I gave him sort of what I wanted the song to be about, and he wrote a couple of ideas down, and the next day he came in with all the lyrics written all out with blank spaces where my lyrics were supposed to be. He’s very professional like that. He wants everything set perfectly, which is the complete opposite to the way that I write, so it was cool. And then I
went in and did my vocals over it, and it just seemed that our voices blended together pretty good. Yeah, it came out pretty good, so we decided to put it on the record. ”
. I remember reading an interview in a magazine around the time when White Pony first came out. Chino was talkin about each song from the album and he mentioned Passenger. In this article he said that the song was already written and that it was meant to just be him singin but Maynard popped by the studio and just started singin the lyrics for a joke and Chino loved it and asked Maynard to be apart of the song. But in another article I read Chino sayin this: “I did this song with Maynard from Tool. Basically, I told him I wanted to create a scenario of being in a car and being taken for a drive when you don’t really know what’s going on. I wanted him to create a lot of imagery. he wrote a majority of the of the lyrics and left blanks for me to fill in. it seems like you’re being held captive, but enjoy what’s going on.” And when Deftones were at much music back in November Chino said Maynard and him wrote the song with eachother just bouncing ideas off eachother. So there are three different explanations for this song and I don’t know which one is the real one. (thanks to Dave Di Tomasso)
. At the end of “Passenger” (5’49”) there is a couple of notes played. It seems like a piano but it’s actually a guitar… its played by plucking the end string at the head of the guitar. He strongs the strings on the the end of the guitar well that is what he does here except he’s not stroking but plucking and their is no distortion… probably some effect he uses to achieve this sound….(much thanks to Ryan and Rowdy)
. Starting at 5:04 to 5:17 on “Passenger” when Maynard says ‘Go (9x)’, Maynard says ‘go’ first then directly after each time Maynard says ‘go’ you can hear a faint go which sounds like Chino… but almost like he doesn’t finish the word ‘go’. (thanks to iNhaLe)
. During “Passenger” between 4:41 and about 4:46 if you listen really closely in the background you can here an extremely faint sound that sounds like a train blowing its horn and coming down the tracks. (thanks to Matt Evans)
. Between the 21st second and the 30th second, Chino whispers twice (like Ohhhh…Ohhh…).
Change (in the house of flies)
. Chino: When we wrote “Change (In The House Of Flies).” That was one of those defining songs were we we all wrote together. It started out with Stephen and I playing guitar and Frank doing his keyboard thing over it. Right then, everybody joined in. Nobody told anybody else what to do, it all just came out freely. That’s when it all started to come together.
. Here’s a correction…Chino was thinking on filming Change video at his house but it wasn’t. It was filmed at Hollywood Hills and the director wasn’t Nigel Dick as he’s saying in this interview from April, 2000. Change video was directed by Liz Friedlander. Here’s what Chino told before the White Pony came out…
Chino: “We got a ton of video treatments sent to us and they were all pretty much over-artsy, trying to take us out of our element,” he says. “Or they were just straight up silly, basically having us perform and having all these skateboarders and **** like that. Everything was either too complicated or too easy. So I just ended up writing my own treatment with Chi. The label sent it out to Nigel Dick, the director. I wanted to have performance in it, but not be us on a stage with a bunch of kids with tattoos and piercings stage-diving. I don’t think we need that. And at the same time we don’t need us in a desert dressed in Gucci clothing trying to look weird. I figure if we film it my house it’s pretty much us, so it’s a true sense of what we do.” (thanks to Matt)
. You know the “Change” single with “Crenshaw” and the “Change” video right? Well when it brings up the controls like the volume and playing of the video it says “change (in the house of FILES)” not FLIES, they screwed up! (thanks to VoodooChango@aol.com)
. In the White Pony EPK as the band starts playing ‘Change’, it cuts to the television with the name of the song on it… but the song is named as ‘Change (in A house of flies)’ instead of ‘Change (in THE house of flies)… (thanks to Craig O’neil)
. Also on my interview with Chino I asked why the official lyrics were ‘give you the lungs…’ and not ‘give you the gun…’ like he really says in ‘Change’ and just like that ‘Fuck’ on ‘Feiticeira’ he said it was because of selling strategies.
. During the video “Change (in the house of flies)”, Chino accidentally butt the lampshade on his right side. If you get a better look, right on the beginning of the video, when he says for the first time “…into a fly” he butts the lampshade. Then right before Chino makes the first chorus “…I watched a change in you” he puts his arm up and when the music explodes he punches the lampshade…ttccchhhh! Get out of my way!!! Pic of that moment |here|
Pink Maggit
At the end of “Pink Maggit” from 6:58 to 7:16 it sounds like something is being dragged across the strings (Maybe Stef’s teeth…just a thought :p). (thanks to Janine)
The Boy’s Republic
I knew that ‘The Boy’s Republic’ had a didgeridoo on it, but I thought it was Frank mixing some stuff. And when I interviewed Chino he said that this didgeridoo was played in fact by Chi Cheng. You can hear that instrument since the beginning of the song until the 35th second, when Chino says ‘Down!’
