Around the Fur

In the spring of 1997, photographer Rick Kosick took just two photos in a Seattle condo jacuzzi that would become one of the most iconic album covers in alternative metal. Kosick, known for his work with Big Brother skateboard magazine and later MTV's Jackass series, had been invited by Deftones to document the recording sessions for their second album.

The Sacramento band was recording at Stone Gossard's Studio Litho, but their creative process extended beyond the studio walls. They had rented a condo nearby where they lived and partied during the spring and summer recording sessions. It was during one of these late-night afterparties, following their usual bar-hopping routine, that the legendary cover shot happened.

Lisa Hughes, a local woman from Auburn who frequented the Seattle nightlife scene, ended up at the condo through friends. She was completely oblivious to who the band members were and was simply enjoying herself, sipping a drink called Silk Panties made of vodka and peach schnapps. Kosick spotted her relaxing by the jacuzzi and, without any specific intention to create album artwork, took two quick shots with his fisheye lens.

Weeks later, Kosick received a call from Maverick Records asking him to visit their offices. Art director Kevin Reagan had been working through potential cover concepts and spread various photographs on a table for consideration. When the options were presented to the label team, everybody immediately pointed to the jacuzzi photograph.

Reagan was struck by the image's raw authenticity and unsettling intimacy. He described it as an eye-opener that crept under your skin and made him feel a little uncomfortable in the best way possible. Crucially, he chose to leave the photograph largely untouched, preserving its imperfections including a visible blemish on Hughes' chest and Kosick's own feet appearing in the frame.

The fisheye perspective creates a voyeuristic, almost claustrophobic viewing angle that looks straight down at Hughes in her black bikini. The distorted lens captures not just her figure but also the glass of Silk Panties, the edge of the hot tub, and Kosick's pale feet - details that Reagan deliberately preserved to maintain the photograph's spontaneous, unpolished character.

When Around the Fur was released in October 1997, the cover immediately sparked controversy and discussion. Some critics and fans speculated about Hughes' identity and role, with unfounded rumors circulating that she was a groupie. Hughes has consistently dismissed these claims, emphasizing that she was simply a local woman having fun with friends.

The image perfectly captured the hedonistic party atmosphere surrounding the album's creation. Chino Moreno later described this period as the band's wild phase, with nonstop partying, bar hopping, and bringing people back to their condo for jacuzzi sessions after hours.

Visually, the cover stands apart from the typically aggressive imagery of 1990s metal albums. The warm, intimate tones and unconventional perspective create an unexpectedly sensual aesthetic that matches the album's blend of heavy aggression and melodic vulnerability. The fisheye distortion adds an almost surreal quality that draws the viewer into the scene.

Around the Fur became a landmark in alternative metal, reaching platinum status and influencing countless bands. The cover art played a significant role in this cultural impact, becoming instantly recognizable and frequently referenced in discussions of provocative album artwork. It appeared on merchandise, posters, and has been endlessly analyzed by music journalists and fans.

Nearly three decades later, the photograph remains controversial and compelling. Hughes, who still lives in Seattle, reflects positively on her unexpected role in music history. She has signed copies for fans over the years and appreciates the artistic quality of Kosick's spontaneous capture, viewing it as a cool-looking representation of her enjoying life in her twenties.