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dippedanddripped · 5 years ago

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It was clear from the beginning what Shayne Oliver was trying to convey with Hood By Air, a brand he founded in 2006 with Raul Lopez that was originally named Elite Urban Brigade. At one of their first fashion shows, which took place at New York Fashion Week in 2007, Mobolaji Dawodu, The Fader’s former style editor-at-large, asked Oliver where he saw Hood By Air going. Oliver, then 18, who looks cherubic in the grainy clip, said he wanted to create a lifestyle brand for the new generation that appreciates what’s going on in the streets, but understands urban culture influences the mainstream.

In that moment, Oliver prophesized the impact his brand would have on an industry that spent years looking to Black communities for cues, but rarely exalted the culture, credited it, or brought people from it into the fold. But the 2010s changed that, and the generation Oliver spoke of 12 years ago became the designers private equity firms want to invest in, luxury brands want to partner with, and stores want to carry.

When something is happening, it’s hard to assess its influence, but as the decade comes to a close, it’s apparent that Hood By Air helped create the luxury streetwear category that’s been fueling fashion. You can’t think about the last 10 years without thinking about Hood By Air, which defined style and trends for almost half the decade. Oliver put his very Black, very queer, and very cool world on a pedestal and changed the way brands design, the way retailers merchandise their stores, they way companies approach casting, and, for many, the way they see themselves and their place in fashion.

“SHAYNE OLIVER’S EXISTENCE AND THE CULTURE THAT CREATED HOOD BY AIR, IN MY MIND, ARE VITAL TO WHAT WE HAVE TODAY AS A MIXTURE OF FASHION AND SO-CALLED STREETWEAR.” - VIRGIL ABLOH

“Shayne Oliver’s existence and the culture that created Hood By Air in my mind are vital to what we have today as a mixture of fashion and so-called streetwear,” writes Virgil Abloh, founder of Off-White and artistic director of Louis Vuitton men’s, over email. “In one word, I would say HBA and Shayne’s vision showed the fashion system at large what the word freedom meant. From garments to runway shows, everything exudes freedom.”

Musician Ian Isiah, a longtime member of the Hood By Air collective, calls 2007 HBA’s official birth year. Urban fashion brands like Sean John, Baby Phat, and Rocawear hit a peak in the late ’90s and early 2000s, but lost their cachet—most of them expanded distribution to department stores like Macy’s. Isiah says there was a void of Black-led brands, and Hood By Air was an attempt to fill it. Dominican tailors made Hood By Air’s first T-shirts and they retailed around $200, which wasn’t typical at the time. The initial T-shirts, which were sold out of aNYThing, a now-closed streetwear brand and store on Manhattan’s Lower East Side, were meant to transition from day to night, another new concept. HBA also became known for a plexiglass Hood By Air nameplate necklace that Kid Cudi wore and Kanye West purchased from Seven New York.

Isiah says although the brand was stocked in a couple of stores, their main priority was “selling it to culture and getting it on the right girls and in the right looks.” GHE20G0TH1K (pronounced “ghetto gothic”), a party series founded by Jazmin Soto, better known as Venus X, in 2009, embodied that culture. Oliver DJed on some nights for a crowd made up of streetwear kids, punks, and queer folks. They would all wear HBA. ASAP Rocky was also a part of that culture Isiah mentioned. Isiah says they met Rocky through Jabari Shelton, better known as ASAP Bari, who would bring his friends from Harlem downtown—members of the ASAP Mob appeared in one of HBA’s early lookbooks. Rocky, who would mix brands like Rick Owens and Hood By Air with Jeremy Scott’s Adidas sneakers and Supreme, adopted the line early on, which brought it greater visibility and hype. The brand went on a hiatus in 2009 and became almost a collector’s item for those in the know.

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“It was sort of like this thing that everyone was still talking about but no one knew how to get it,” says Zachary Ching, Oliver’s longtime friend. “They didn’t have a website. There wasn’t even an Instagram. It was just like this mythical thing that you would see someone wearing once.”

Because of the buzz surrounding the brand, Ching called Oliver as soon as he was tasked with turning VFILES’ space on Mercer into a store, but Oliver, who was taking a break from the line to tour with GHE20G0TH1K, didn’t have any product. VFILES produced the pieces and purchased them from Oliver—Ching remembers ordering about 500 T-shirts across six styles—and on June 12, 2012, VFILES held an opening party for the shop that seconded as an HBA relaunch event. Oliver and Venus DJ’d, ASAP Rocky performed—most of the ASAP Mob came through—and on that night both HBA and VFILES were solidified as relevant movements in fashion. Following the party, the HBA pieces sold out within two days, and VFILES had to upgrade its payment systems to accommodate demand, which Ching describes as bananas.

“It was a pivotal moment in VFILES’ history,” says Julie Anne Quay, the founder of VFILES. “To physically see both the community come together, celebrate one of their peers, and shop it was really rewarding to me. It further galvanized me in my passion to really build VFILES into this community platform that was unlike the traditional fashion world at large and embraced a community that I thought was not only overlooked, but was disrespected.”

“IT WAS SORT OF LIKE THIS THING THAT EVERYONE WAS STILL TALKING ABOUT BUT NO ONE KNEW HOW TO GET IT.” - ZACHARY CHING

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Hood By Air helped set the tone for VFILES’ assortment, which eventually included Abloh’s Pyrex, which transitioned to Off-White, Been Trill, and Fear of God—this was before luxury department stores picked them up. Been Trill and Hood By Air even released a collaborative T-shirt in early 2013, which Oliver said started out as a brunch gift for friends and family but turned into something bigger without him knowing. Because celebrities like ASAP Rocky wore HBA and it had an aesthetic and name that resonated with the hood, Danielle Greco, who managed VFILES at the time, says the early consumers who lined up for the product—she describes them as “big, burly, tough men”—probably had no idea who Oliver was or what some of his messaging and graphics meant. Oliver said many of the logo placements for HBA were inspired by documentaries on gays in prison.

“Streetwear was very much a boys’ lane, and all of the brands that were trending at the time spoke to a very straight man’s world,” says Vashtie Kola, who met Oliver and Lopez in the early 2000s and hosted a Hood By Air TV series on her blog. “I remember they made a tank top with the term ‘Realness’ on it, which comes from the ball scene. And so I remember straight boys wearing tank tops that said realness or banjee. It was really nice to see.”

Because HBA was doing so well, VFILES and MADE helped Oliver secure an official spot on the New York Fashion Week calendar at Milk Studios in September 2013. It was Oliver’s big introduction to the industry and a chance to bring showgoers, who included Abloh, fashion editors, and longtime friends of the brand like Kola, into his world. The music was loud, the lights were dark, and the models weren’t A-typical. Boychild, a trans performance artist, jerked her body in a haunting way as she walked down the runway. This was followed by an appearance by ASAP Rocky, who closed the show wearing a neoprene Hood By Air Jacket. Kevin Amato, a photographer who had never worked on fashion shows until he met Oliver, handled the casting, which became a hallmark of HBA.

“The Hood By Air narrative for me was always just the underrepresented, really,” says Amato, who was casting from the streets. “And that’s what I tried to do with the casting. It was very organic. Rocky wanted to walk the show, but we didn’t just want a celebrity to walk the show. So we cast Boychild and had this contrast of different people and cultures colliding. It wasn’t meant to be hype. But I think after HBA and the casting, the whole fucking industry changed.” You now see this gender-fluid casting from luxury houses like Gucci and Balenciaga. The Yeezy Season 3 collection/Life of Pablo listening party at Madison Square Garden in 2016 featured a mix of professional models and real people, in 2017 Nike dedicated a campaign to voguing, and Victoria’s Secret recently cast its first transgender model, Valentina Sampaio.

In 2013, style was moving beyond the heritage #menswear look. The Watch the Throne Tour with JAY-Z and Kanye West had just ended, ushering a dark, goth aesthetic into streetwear with brands like En Noir and Black Scale. Riccardo Tisci’s Givenchy T-shirts and hoodies were popular—his rottweiler graphic was a hit—and Hedi Slimane’s pieces for Saint Laurent—skinny jeans, tailored coats, and flannel shirts—were selling well at retail.

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Most consumers had known HBA for its T-shirts, but after this show, it was clear HBA wasn’t operating in the same space as its peers. Oliver was playing with gender fluidity before it became a talking point and presenting new silhouettes that played on the familiar, but elevated it. Long-sleeve leather shirts with zipper closures right below the chest could be worn open or closed, depending on the situation; puffer jackets were recreated into capes; and collared shirts were covered in HBA logos. The New York Times’ Guy Trebay questioned if Alexander Wang and Tisci took notes from Hood By Air.

“It was definitely a reinvention. It wasn't a copy-and-paste, which is commonly seen these days,” says Kola. “Shayne understood the hood, but also had aspirations of creating his own unique look and vision. He merged those two worlds so effortlessly.”

Jennifer Williams, wife of Matthew Williams, who was part of Been Trill at the time, handled sales and started showing the line to buyers in Paris, which is where Wanda Colon, Barneys New York’s former vice president of menswear, discovered HBA. Colon says at the time, the luxury/contemporary category was dormant, and the brands Barneys was selling felt “safe and a bit staid.”

“I felt there was an opportunity to offer our customer a new point of view as it related to menswear beyond the brands that were being offered,” says Colon, who purchased the collection. “HBA filled a void in the industry that wasn't being addressed. The brand came to embody the mid-2000s zeitgeist of hybrid XXL silhouettes, deconstructed streetwear, couture fabrics, immaculate tailoring, genderless silhouettes, and big logos—Shayne was there first.”

The HBA merch plan included Hood By Air Classics, which made hood basics like tall T-shirts and sweatshirts, investment pieces, and the more progressive ready-to-wear line, which reconstructed and recontextualized American sportswear. Ching says this changed the way department stores looked.

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“Because of Hood By Air, you go into Barneys and look at a designer section and it has hoodies and sweatpants,” says Ching. “Hood By Air was like a crazy statement jacket, but then you had amazing T-shirts and graphic hoodies to go along with it. And you didn’t feel like you were wearing a Stüssy hoodie.”

On a cultural level, Oliver was a designer who wasn’t typically touted in fashion—he was Black, gay, didn’t have a degree from Parsons or financial backing from his parents. He also represented a movement that was happening in the background. Robin Givhan, fashion critic at the Washington Post, remembers being struck by how he and his team had been able to grab the attention of the industry in an aggressive way with clothes that she says, initially, weren’t well made, but had a bigger story to tell.

“It felt like it was shaking up the industry out of its doldrums and pushing it on a different course,” says Givhan. “The industry needed something that speaks to a moment that was demanding diversity, questioning gender identity, questioning the path that the next generation of designers were going to take the industry on, and into that giant question mark stepped Shayne and Hood By Air.”

While Hood By Air’s star was rising, so was ASAP Rocky’s, and his influence on fashion started to take hold. But in his song “Multiply,” released in 2014, he called HBA weak, and said Been Trill “was booty like ‘Tip Drill.’” At first, Rocky told Complex in 2015 that he dissed both brands because he wasn’t getting the acknowledgement he felt he deserved from them. But he recently revealed he was upset because he asked for ownership in HBA and Oliver said no. "You don't ask Rick to put you on an official level if you wear Rick Owens. You're wearing Rick and that's it. Why is it not the same with us?" aksed Oliver in an interview with Kerwin Frost and Isiah. Years later, Rocky called up Oliver and apologized. But the fashion industry was still intrigued, and Oliver won the inaugural LVMH Prize in 2014 and the Council of Fashion Designers of America’s Swarovski Award for Menswear in 2015.

Isiah says they were skeptical of the recognition, but happy about it, since it supported the idea of giving the underrepresented a seat at the table in fashion after years of going unrecognized. The awards were helpful, but not knowing how to deal with a new brand like HBA, the CFDA would suggest traditional business structures that weren’t in line with how HBA wanted to grow.

HBA had always been a collective, but it became more fully formed before and after the 2013 fashion show at Milk Studios. Leilah Weinraub, a filmmaker who was the acting chief executive officer; Isiah, HBA’s brand ambassador; and Amato, who continued to handle casting, remained on board. Newer additions included Ching, who left VFILES to join HBA full time as commercial director. He looked over T-shirts, jeans, hoodies, and graphic T-shirts so Oliver could focus on fashion pieces. Paul Cupo came on as design director to help elevate construction, and Akeem Smith joined as a stylist. Smith says that when he came on, HBA was going through a transitional phase and Oliver gave him free range “to add some more faggotry to the mix and add more chic elements to the brand.” By this time, HBA was showing about four times a year in New York and Paris. Oliver was the father of the house. He had the vision for HBA, and everyone brought their particular expertise to the table.

“It was almost like living in a nomadic community. Wherever it took us, we went and it just worked out. We were never starving, but I think any creative knows that money's not the motive. It was more about building,” says Amato.

Making money was not a primary concern for Oliver in the beginning. The brand was approached early on about investment, but Weinraub told the New Yorker she wanted to remain independent for as long as possible. HBA worked with Edison Chen for a little in Asia, where the brand was wildly popular—Chen brought it to Yo’Hood, a streetwear festival in China. Ching remembers K-pop stars coming to VFILES and buying up all the HBA, and walking through China and seeing the craziest HBA bootleg T-shirts with Hello Kitty on them. In 2014, Oliver partnered with the New Guards Group and moved HBA’s headquarters to Milan. The New Guards Group, the parent company of Off-White, Palm Angels, and Heron Preston, which was acquired by Farfetch earlier this year, handled HBA’s production, distribution, and sales. Everyone from HBA lived in a monastery, and during the day they worked out of a compound alongside Abloh, who produced graphics for HBA’s third major collection. "I was just like, 'Wait, who is this tall African man playing beats in the other room in this Italian studio?'" says Isiah.

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Isiah says he was hesitant about signing with the New Guards Group and that he and Oliver got into arguments about it, but he opened up to the idea. “Instead of working so hard and spending so much money to get 10 samples made in New York, we were now making 100 samples in Italy. It opened up our inventory,” he says.

The shows also got more sophisticated and ideas were better executed. In January 2015, at Pitti Uomo 87, which was Hood By Air’s first show under the New Guards Group, they took over a villa in Tuscany but outfitted the space with strobe lights, smoke machines, a DJ, Venus X, and a neon HBA light logo. The show was dominated by tailored pieces with a Hood By Air spin. Showing in Europe also helped some in the industry view Hood By Air as less of an underground group of misfits and more as a viable brand that presents new fashion concepts. At other shows, celebrities like Whoopi Goldberg, Rick Ross, Jaden Smith, and Naomi Campbell sat front row. Givhan says construction improved, but the show production, which compelled her to the brand, got increasingly tamer. She called it a smart decision to focus more on the clothes, but she did notice growing pains.

“I think they struggled, but I think that’s OK. Brands take a long time for full gestation,” says Givhan. “I think the industry is a bit like a voracious monster sometimes. And it has a tendency to gobble up new ideas and to elevate them sometimes before they are fully baked.”

By then, Amato had left the company due to a death in the family, but he observed HBA’s evolution from afar. Some things he liked, and some things he didn’t. He thought the casting, which was handled by his apprentice Walter Pearce, got more weird, less authentic. And he felt like other brands were trying to get next to HBA for attention.

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“Once business is popping and everything's crazy, it kind of loses some of the main vision, but that happens with every brand,” says Amato. “Instagram was new and it was just a way to strategically align yourself with a brand, and then, boom, all of a sudden, you're in the game. Like Been Trill was a movement, but was it a movement?” From the inside, Ching also noticed changes. Sales were going well and distribution got wider. Once HBA partnered with the New Guards Group, it had 250 stockists, up from 50 in less than three years. At the end of each season, they would assess what stores they would drop and how to edit down different stores’ orders.

“It was always trying to control distribution, which I think towards the end got a little out of hand,” says Ching. “It was too easy to get it and shit was going on sale. It wasn't cute. It, like, really blew up, and then, you know, the market can only take so much.” While at the New Guards Group, Hood By Air was selling a lot of product, but not the product they thought best represented the brand. Oliver told Numéro there was miscommunication between the business side of things and the management and a lot of decisions were made in a "very panicky way." A clear business structure was never created for HBA within the group, so after a few seasons, HBA got out of the deal. In 2016, Oliver came back to New York wanting to position HBA as a conceptual fashion brand, not just a hype, of-the-moment line. Ching eventually left because he didn’t feel job security anymore, and in early 2017 HBA canceled its Paris show, which led to rumors that there were issues. In March, Helmut Lang announced Isabella Burley, Dazed magazine’s editor-in-chief, would be the brand’s editor-in-residence. She tapped Oliver to design a Helmut Lang capsule collection to show in September 2017. In April, Hood By Air released a statement that the brand would go on hiatus.

“THEY DON’T KNOW HOW TO TITLE WITHOUT OFFENDING. SO, IT’S LIKE, ‘OH, HE’S IN FASHION? HE’S MAKING T-SHIRTS? THERE’S HIP-HOP INVOLVED? HE’S A HYPE DESIGNER.’” - IAN ISIAH

“I was so excited,” says Isiah about Oliver putting things on pause. “We needed a break. It was mood board overload. The culture couldn’t even keep up. We’ve already created so many daughters in so many fields, so it was time for them to flourish and grow. It was time for Virgil to flourish and grow. It was time for Heron to flourish and grow. It was time for Alyx to be born and then flourish and grow. The empire had to go silent for everyone else to rise as their own empire.”

In the midst of HBA’s trajectory, the industry was reaping the rewards of a market they helped form. Demna Gvasalia of Vetements, which was positioned as a collective of designers who embraced streetwear sensibilities, was named the creative director of Balenciaga, a position previously held by New York designer Alexander Wang. Gvasalia also won the same LVMH award Oliver received a year prior. And eventually Louis Vuitton tapped Abloh as their artistic director of men’s. Oliver went on to design capsule collections for brands like Diesel and Helmut Lang, but people, including Kanye West, questioned why the Helmut Lang partnership wasn’t longer or why Oliver wasn’t being propped up for a bigger luxury brand.

“When I saw it coming, it read to me that you had become the creative director of Helmut Lang —and it read to other people that way, too,” West said while speaking with Oliver earlier this year for Interview Magazine. “And it felt right, and it felt deserved. The reason I’m on the phone with you right now is that, of our generation of designers, you are the strongest of all of us. Of this entire crew that came up around the same time, you are the most deserving of one of these positions.”

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In a ShowStudio panel discussing the Spring/Summer 2018 collection for Helmut Lang Seen by Shayne Oliver, you get a better sense of how the industry views Oliver and Hood By Air. Olga Kuryshchuk, a Central Saint Martins graduate, founder, and editor-in-chief of 1Granary, a student magazine and showroom, says Oliver was chosen for his hype, not for his design skills. She later offered that no one would reference the collection because it wouldn’t present any new ideas—Oliver told Numéro that because it was only a capsule, it made sense to curate rather than produce something new. Towards the end, Georgina Evans, an editor at ShowStudio, makes a distinction of asking which graduates, not just designers, could take on the role after Oliver. Another panelists suggests that Helmut Lang should look to school in Europe and maybe not one in America or Britain—her logic was although Helmut Lang is identified as an American brand, Lang was Austrian. The video underscored the industry’s tendency to look towards the same funnels or type of person for talent.

“They don’t know how to actually title without offending,” says Isiah. “So it’s like, ‘Oh, Shayne’s a hype designer. Oh, he’s in fashion? He’s making T-shirts? There’s hip hop involved? They’re voguing? He’s a hype designer.’”

Givhan says the most accepted route to lead designer jobs at larger houses is usually graduating from design school, getting a job working for a larger designer, and then being considered for the job when someone retires or passes away. She believes it’s more challenging for designers of color to get into that pipeline and be considered for those positions, but she does think the industry is making progress. She references Abloh going to Louis Vuitton.

In 2019, Oliver announced the relaunch of Hood By Air. Plans around the reboot haven’t been explained in detail, but from different interviews, Oliver seems interested in developing a solid business structure, ensuring that HBA is seen as more than a T-shirt and hoodie brand, and providing a platform for youth to create and not be taken advantage of. Amato, who had dinner with Oliver in Los Angeles a couple of months ago, says he doesn’t want to make any sacrifices this time. “He said it has to be 500 percent or nothing, which I think is the best way to go. I mean, his vision is so strong that it’s hard to even explain half the shit he’s thinking,” says Amato.

The original collective is still cool, but they’ve moved on to other things. Isiah is traveling the world singing and sitting front row at fashion shows—he sang with Dev Hynes at Abloh’s second show for Louis Vuitton. Amato is doing less casting and more artistic directing on projects like Travis Scott’s Rodeo album. Smith is the fashion editor-at-large for Dazed magazine, Cupo is freelancing for different companies, and Weinraub’s film, Shakedown, was a part of the 2017 Whitney Biennial.

And Kola, who was voguing with Oliver and Lopez in her apartment just before the decade started, is no longer just a downtown sweetheart. She travels the world DJing, has her own Jordan, and is paid by brands for her influence—the same influence Oliver talked about at his first fashion show over 10 years ago. When asked what she thought when Oliver said HBA was taking a break, she can’t recall how she felt, exactly. She starts and stops her answer, trying to find the right words to describe her feelings around the hiatus. But when asked about his impending return, she perks up, knowing exactly what to say and how to say it.

“I’m all for it,” says Kola. “I feel like a lot of other brands and designers were birthed from his movement. So I feel like mutha needs to come back and take care of these children she birthed!”

#SHAYNE OLIVER #hood by air #vashtie kola #urbanwear blog #streetwear blog

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ebola-kun · 5 years ago

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L.A.'s Music Industry Women Are Sick of the Same Old Song When It Comes to Equality | L.A. Weekly

"Threats, hate accounts, weird fan interactions, being hacked several times over the last year — reporting harassment and blocking just became a part of life as I now know it," Addams says. "For some fans it became their life's mission to watch my every move via social media, create false narratives, all in order to let people know that I am not perfect. The same fake accounts of online detectives trying to prove by my actions that I might possibly be lying. They suggested I deserved what happened to me. They questioned why after 20 years would I destroy a man's life? I did not destroy anybody's life. The man who did what he did to me and many other women destroyed his own life by his egregious actions."

Courtesy Purple Crush

Women in the music industry who come forward with similar stories can expect just as much harassment, judgment and doubt online as support, and probably more of the former because "sex, drugs and rock & roll" is built into its mystique. It's expected. Still, some have been brave enough to speak out regardless. In the pop world, Taylor Swift and Kesha were the biggest names to call out behaviors ranging from inappropriate to abusive. And in R&B and hip-hop, the list of men accused of varying degrees of assault goes on and on: Russell Simmons, R. Kelly, L.A. Reid, Chris Brown —all of whom seem to have been for the most part, unscathed professionally. Indeed, the inherent rebelliousness and seduction of the music world makes for a slippery slope. While I spoke with women in indie and rock music for this story, there are so many more to talk to and the problem is far-reaching. The L.A. Weekly will continue to explore these issues within other genres and L.A. nightlife environments on a regular basis next year.

The dance music world for example, is particularly troublesome. Isla Jones of the electro-dance group Purple Crush and promoter of L.A.'s Banjee Ball parties recalls how she found herself the target of cyberbullying via DJ/producer Diplo's Hollertronix message board. "There was this 'dude bro' persona that Diplo iconified, which legions of internet DJs emulated. Being the outspoken woman that I am, I became an easy target for them and was clowned on a weekly basis," she says. The clowning translated into physical violence a couple times, and Jones, who is known in L.A. for her inclusive LGBTQ events, says that it was celebrated online. "It felt like digital rape."

Alice Glass, former frontwoman of Crystal Castles, is one of the few indie artists who came out with a story similar to Addams', accusing her ex-bandmate and beau Ethan Kath of physical and sexual abuse in October 2017. He denied it and filed a defamation suit against her, which was later dismissed. She has gone on to make some of the most powerful music of her career and now is seen as an advocate for victims of assault. In general, though, women who want to prove they can rock with the boys seem more likely to suck it up. As one rock legend tells it, it's hard enough getting acknowledged as a musician in the first place.

"The Go-Go's had been together for three years and could sell out any club we played on the West Coast," recalls guitarist/songwriter Jane Wiedlin, "yet not one major label was interested in us. The attitude was, there'd never been a successful all-female band and so there never would be. There was even an article on the front page of the L.A. Times' Calendar section: 'Why Can't The Go-Go's Get a Record Deal?' It was very frustrating. Finally, a new and tiny label, I.R.S. Records, came to see us, loved us, and offered us a record deal."

Brit Witt at Coachella

Zane Roessell

Though I.R.S. was small, it cared about the band and supported them irrespective of sex, which put The Go-Go's on a successful, hit-packed trajectory. Still, when Wiedlin forged a career on her own years later, she was not immune to vulturous actions. "When I first went solo, in 1985, I took a dinner meeting with a record producer who claimed he wanted to work with me," she recalls. "He ended up trapping me in a room and wouldn't let me leave until I 'put out.' I ended up giving in because I didn't know what else to do. For decades I thought it was my fault, because I hadn't fought back. Now I feel differently about it. Now I know I was assaulted by a sexual predator."

Wiedlin's story is not revelatory but it does reflect how women who accepted these behaviors back then view their experiences now. And whether onstage or off-, the challenges remain the same. Even when women seemingly are in control, they often have to deal with limitations that hinder their success if they don't act a certain way. Men in power were — and are — allowed to wield it without judgment; women, not so much.

Michelle Carr at Jabberjaw

Courtesy Jabberjaw

Britt Witt has made a name for herself booking and running the Hi Hat in Highland Park, but it didn't come easy. "I think I was in denial. I think I still am because I've always just focused on getting the job done rather than why I can't," she explains. "I [used to] attribute being dismissed, ignored and underpaid to just not being good enough. Nowadays, I realize that I'm constantly overcoming the challenge of being considered intimidating, brash or bitchy just because I put my foot down in the same places men do. Encountering skepticism with ideas and facts where a man repeats the same statement minutes later to celebration."

From management to booking to being a club owner, the frustrations I've heard from women working in the music biz over the years have played like a badly broken record. "Owning a music venue with a guy was very frustrating in that I was never taken seriously," says Michelle Carr, proprietress of legendary '90s music venue Jabberjaw, where Nirvana famously first played L.A. "Most would not take my word. They more often than not would seek out Gary [her former partner] for any wants or needs — he was the default. What was most surprising was when even the Riot Grrrl contingent would treat me as such."

Dayle Gloria, who booked the legendary L.A. club Scream, helping to discover bands like Jane's Addiction in the process, and later the Viper Room, echoes Carr's complaints about being taken seriously. "In order to do that I had to really 'man up,' leaving so much of my femininity behind," she admits. "I was always a tomboy but had to be harder than that. If I asked for something once, it was never enough. It was getting to the point where to be heard I had to yell and scream. To get things done. It's not a great way to live."

"I wanted to be seen as a professional manager and executive, and not looked upon as a groupie, girlfriend or disposable mommy," echoes Vicky Hamilton, known for her work managing Guns N' Roses and Poison in the '80s. "To be treated fairly and paid equal to a man for the work done. I have a much better track record then many of my male counterparts, and the bands I have worked with have sold over 250 million records collectively, but I feel it is much harder to get financial backing for my new record company than it would be for a white male with lesser achievements."

Dayle Gloria with Scott Weiland

Courtesy Dayle Gloria

Witt books some of the hottest shows in L.A. right now, but Gloria and Carr are happily out of the music and club business (though Carr is working on a documentary about Jabberjaw). Hamilton soldiers on with a new label, Dark Spark Music, even after years of not being acknowledged for her contributions. "[When] I was an A&R person at a major label, the executive who was supposed to be mentoring me, who took full credit for a band that I brought to the label, told me that my snake in the grass was about recognition and credit. My response was, 'No shit, since I never seem to get either around here.' A month later my contract option was not renewed," she recalls.

Fear of not being seen as a team player or even losing one's job has been a factor for many women in terms of the varying levels of bad treatment they might accept. It's one of the reasons the news about FYF Fest founder Sean Carlson took so long to surface. Nobody wanted to be the first one, possibly standing alone against a powerful man, to put the truth out there. But as detailed in a 2017 Spin magazine article, Carlson's misconduct was "an open secret" for quite some time. Though the Spin piece featured all but one woman sharing stories anonymously, the tales of assault at FYF-associated parties were corroborated by many on social media afterward, and Carlson himself issued a statement to Spin acknowledging his behavior. "I acted inappropriately and shamefully, and deeply regret my actions," he wrote, though the end of the statement went for the all-too-common "blame it on the alcohol" type of excuses that some felt were disingenuous.

Goldenvoice severed all ties with Carlson just before the story broke around this time last year. Soon after, in what should have been a validating and somewhat victorious moment for women, Goldenvoice announced that FYF would go on, unveiling a female-heavy lineup minus Carlson's input, curated mostly by women at the company, including Goldenvoice vet Jennifer Yacoubian, who previously booked the El Rey Theatre and the Shrine Auditorium. The lineup, one of the best FYF would ever see, included Janet Jackson as headliner along with Florence + the Machine, St. Vincent, The Breeders, The xx, U.S. Girls, My Bloody Valentine, Charlotte Gainsbourg and more. But a few months later the entire fest was canceled, reportedly due to low ticket sales. Many journalists, including this one, were dumbfounded that a lineup like that could fail, and a fair share wondered online if there was more to the cancellation. Many of us are hoping that FYF will try again for a similarly gender-equal lineup next year. We'll see.

Vicky Hamilton with Bret Michaels

Courtesy Vicky Hamilton

Festival culture has in many ways become a microcosm of the music world these days, reflecting sexual culture and pop culture in general. The biggest, Coachella, also put together by Goldenvoice/AEG, has made some strides in representing the concerns of women onstage and off-, but for many of us more is needed, and all the major promoters could do better. Warped Tour brought in a group called Safe Spaces to monitor safety for young girls at the event, and even amidst controversy concerning the group's tactics, it was a signal for change that had a positive impact. Unfortunately, Warped is now kaput.

Warped vet Monique Powell of the ska-punk outfit Save Ferris has used her social media to call out the disparities she's seen as a performer on the festival circuit for years, such as flyers, posters and advertisements that belittle female performers by putting them at the bottom of the bill, even when their bands have bigger followings. She also has told the world about the outright sexism she's encountered on tour from promoters, other bands and even her own bandmates. Like Addams, Powell became the victim of brutal online harassment after a legal battle ensued over use of Save Ferris' name when she sought to forge a comeback after a long hiatus. It got worse when she won the case.

"People didn't like that I was bringing it back and I was doing it my way," she says wearily. "I was trolled. I got death threats. And the commonality was unmistakable: They were all young men, 25 to 35 and they all liked a specific band from Orange County."

Powell stops short of naming the band but says a long-held rivalry with a male singer in the scene has led to her feeling unsafe and targeted in recent years, even by the media (TMZ, Perez Hilton and O.C. Weekly's reports about the lawsuit all seem to subtly villainize her). Powell, who lives in L.A. now but grew up in Orange County, says she became "a punching bag. I believe that in Orange County, and in L.A. as well, there's still an accepted underlying misogyny, where strong women who have a voice are not considered ladylike, and therefore not to be trusted."

Save Ferris' Monique Powell

Josh Coffman

To counteract this perception, Powell is shining a light on it, sharing her experiences online and hashtagging them with #dontskirttheissue. She hopes to take the conversation that has emerged and turn it into something bigger, with meetups and a bona fide watchdog group that points out women in music being overlooked and judged by their gender unfairly, in promos, media and more.

Mobilization is coming from all fronts right now, and speaking out is only the beginning. Like the women mentioned thus far, Daisy O'Dell, Ana Calderon, Michelle Pesce and Kate Mazzuca are all names known in local music circles nightlife and beyond, the first three as top L.A. DJs and music curators/supervisors and the latter as a marketing and events entrepreneur. Last year, around the same time that #MeToo started building steam, they sought to make change for women in nightlife by creating a group called, fittingly, woman. The collective grew out of a weekly lunch gathering of female DJs, and its goals were many, but the main one was to create welcoming and safe environments for women in a music and club scene where objectification and discrimination had become commonplace and stories of assault and druggings at venues, some where the gals spun, had started to become more frequent. The women of woman. realized that it was the mindset — of venue owners and promoters, who were all male — that needed to change.

Calderon recalls her aggravation sitting in on club meetings. "We would hear some of the most obscene discussions that you would never expect to hear today about women and women attending venues," she reveals, going on to recount the conversation that made her quit doing clubs in bottle service–driven West Hollywood. "I was brought in to bring more interesting people to the club, and it was a lot of Eastside creatives and LGBT, but at one particular meeting a promoter said he appreciated the mix I brought in but he wondered if I could 'target prettier trans people.' I walked out. I was sad and grossed out and felt like something needed to be done. We couldn't have clubs owned and run just by men anymore."

"What's interesting is that these feelings of unrest, of wanting to take action in terms of sexism and misogyny — even though we were all somewhat isolated from each other — happened simultaneously," interjects O'Dell, who encountered a lot of both as a touring DJ for concerts and in clubs. She realized it was embedded into the system she was a part of. "We were all coming to the same realization that, as veterans in this industry, we had to do something because the younger generation kind of looks to us to lead anyway."

Courtesy woman.

Earlier this year, the ladies pulled together their resources and sought to open an all-female-run nightclub. But as fate would have it, on the day they were going to sign the lease for the perfect Hollywood space, an accusation of abuse emerged against one of the building's owners by his former girlfriend. Though he was a male ally to their vision, they opted not to move forward. Hesitant to qualify the allegations as true or false (charges have since been dropped), they admit there was internal conflict. "It was a very difficult decision to make because we had worked so hard and we had come so far and we had gotten so close," O'Dell says. Adds Calderon, "It was heartbreaking."

O'Dell and Calderon say they will open up a club one day but in the meantime they are channeling their energy into initiatives: The first is a list of guidelines for the nightclub industry touting inclusion and equality; and the second is an even bigger objective that goes beyond clubs and into events, including the all-important music festival arena.

soteria.

Named for the Greek goddess of safety and salvation, "soteria." is a designated safe space and service hub at music events created to ensure "the safety and well-being of any visitor experiencing trauma trigger, harassment, sexual misconduct and/or assault."

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They already instituted soteria. (which they stress is for everyone who might feel vulnerable at music events, not just women) at the Form festival in Arizona and the Summit LA18 event last month in DTLA with great success, providing safety ambassadors and crisis managers on the ground as well as a private "sanctuary room" and lounge area. They promise much more to come, changing the game for people who love music and those who make it at events.coalition

Sadly, Addams is not making music any longer, but for those who are, like Glass, and new female artists, establishing boundaries is key so that the various forms of mistreatment outlined here will no longer be normalized. Despite the challenges, more women than ever are out there rocking, and in L.A. acts like Starcrawler, Deap Vally, The Regrettes, Cherry Glazerr, Kate Crash, Beck Black, Feels, Dorothy, War Paint, Best Coast and so many more are re-defining the roles, audaciously and unapologetically, scoring huge opening-band tour slots and higher rankings on festival lineups in the process. Local female ground-breakers like L7, Allison Wolfe, Abby Travis, Alice Bag, and Miss Wiedlin herself, are still at it too.

In addition to woman. other groups are providing even more platforms: the Women of Rock project has been collecting stories for some time now, and there's the Girl Cult coalition (which has an event this weekend). There's also Women in Music L.A, and the new book Women Who Rock has spawned an activist group as well. Private women's groups on Facebook have been a resource for women from all walks of life (the music world included) such as "Girls Night Out" and "Binders Full of Women Writers," both of which throw events in town. The latter has led to a popular annual event called BinderCon in various cities.

Beyond supporting each other and holding certain men responsible for their actions, the cultural reckoning happening right now is about finding power in numbers. In the L.A. music scene, it's transcending talk, taking action and hopefully transforming old norms so that real change can occur and everyone, no matter what gender they identify with, can unite and celebrate life. "Solutions are the future of the conversation," O'Dell says hopefully. "It's so exciting to see what was born out of women in nightlife and music holding space for each other."

This content was originally published here.

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longlistshort · 6 years ago

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Z Berg- I Fall For The Same Face Every Time

Things to do in Los Angeles this weekend (9/27-9/30/18)-

Thursday

Hammer Museum celebrates the restaging of David Antin's Sky Poems (taking place on Saturday over LACMA and Museum of Contemporary Art San Diego) with a convening of a group of poets, artists, and scholars, including Blaise Antin, Eleanor Antin, Julien Bismuth, Steve Kado, Aram Moshayedi, Marjorie Perloff, Jerome Rothenberg, and Hamza Walker, to discuss Antin and his legacy.

LACMA has a free screening of The Old Man & The Gun, and a post-screening conversation with writer David Lowery moderated by Gregory Ellwood.

Ukranian quartet DakhaBrakha are performing at The Theatre at Ace Hotel

Wye Oak is opening for Ben Howard at the Shrine Auditorium

For MOCA Music at MOCA Grand Avenue, Danke and Yialmelic Frequencies will be performing (free)

HOLYCHILD are playing at the Moroccan Lounge with Jen Awad opening

Friday

Ai WeiWei will be speaking about his work at LACMA with LACMA CEO and Wallis Annenberg Director Michael Govan (free but standby line only- get there early)

Beck is playing at the Hollywood Bowl with St. Vincent DJ'ing

The Van Nuys Arts Festival returns for its second year with art installations, live music, art making workshops and more (free)

The Presets are playing at The Fonda Theatre with Blood Red Shoes opening

The Beths are playing at The Roxy Theatre with Ariel View opening

Gateway Drugs are opening for The Pink Slips at The Hi Hat

Friday through Sunday

Ohana Festival is taking place all weekend at Doheny State Beach in Dana Point with bands that include Norah Jones, Yeah Yeah Yeahs, Plague Vendor, Beck, Johnny Marr, and more

Saturday

DUBLAB is celebrating its 19th Anniversary with an all evening (until 2am) fundraising party at Zebulon featuring live music by performers that include The Pantones, Linafornia, Prophet, and Ann Magnuson, DJs, video artists, and more

Artist Nina Chanel Abney will be in discussing her solo exhibition at The California African American Museum with curators Jamillah James and Naima Keith (free but register)

Pop-Up Magazine's live magazine night returns to The Theatre at Ace Hotel with "photography, film, radio, and original music mixed together and performed live onstage by a cast of talented people"

The Broad's final Summer Happenings event, A Journey That Wasn't, Part 2, "will explore how artists manipulate time through memory, appropriation and repetition" with performances by Kim Gordon and YoshimiO, The Banjee Ball creating a "vogue opera" with performances by the LA ballroom dance community, and more

The Range of Light Wilderness are playing at the Bootleg Theater with Luke Temple of Here We Go Magic opening

The New Division and Nite are playing at Union nightclub

Saturday and Sunday

Music Tastes Good returns to Marina Green Park in Long Beach with lots of great bands including New Order, Joey Bada$$, Santigold, Lil B, Big Thief, Cherry Glazerr, Janelle Monáe, Ezra Furman, De Lux, and more

Sunday

Z Berg is playing at the Bootleg Theater with Benmont Tench, Ethan Gruska, Natalie Bergman, Bobcat Goldthwait, Joseph Keefe, Paige Anderson and special guests

CicLAvia is partnering with the LA Philharmonic for its centennial celebration and closing off streets between the Walt Disney Concert Hall and Hollywood with six hubs that will have live music, dance performances, art and more along the route. Also make sure to check out WDCH Dreams, media artist Refik Anadol's projections on the concert hall (starting Friday and running until 10/6)

The Watts Towers Jazz Festival is a free day of music and art and a chance to see the famous sculptures

Curators Cynthia Burlingham and Allegra Pesenti will be at the Hammer Museum to discuss the background of the exhibition Stones to Stains: The Drawings of Victor Hugo

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dustedmagazine · 7 years ago

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Xiu Xiu - Forget (Polyvinyl)

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It is necessary, maybe, for some people (or even most people) to find Xiu Xiu ridiculous. The one constant for Jamie Stewart and his often-shifting band over their fifteen(!) year history is a complete refusal to be anything less than 100% devoted and sincere about what they do, and what they do is create art about trauma, abuse, neglect, mental health, bad situations, bad people, existential dread, unworthy impulses, self-destruction, violent catharsis (figurative and literal), revenge, doubt, emotional poisons, structural violence, and also trauma. It doesn’t matter how ‘poppy’ or ‘abstract’ a particular Xiu Xiu album is, an awful lot of people (including most people who have been lucky enough to largely or wholly avoid the direct effects of the above) are going to find that off-putting, and since Stewart and co. go after these topics, again and again, with a breathless commitment and a total willingness to be abstract, unpleasant, atonal, or, yeah, ridiculous… it’s safer to just read them as such. Whether or not you like the band, if you ever get the chance to see Xiu Xiu open for someone else, it’s worth seeing them playing to a mostly unconverted crowd. Half the venue will wander outdoors for a smoke or just to escape, but the group that clusters around the stage? I’m not sure I’ve ever seen more committed listeners, or seen such a high proportion of people openly shrieking, weeping, living through something as the band on stage plays.

It would be a cop out to then claim that new album Forget’s particular qualities (or level of quality) doesn’t matter, but it is worth acknowledging that Xiu Xiu have a group for which they do something different than most bands do for fans, and it would take a truly radical failure on their part for this to be a real disappointment to them. For everyone else, it’s worth noting that while the band’s LPs have gained a certain consistency of quality ever since Angela Seo joined with 2010’s Dear God, I Hate Myself (give or take a covers album or two, depending on how you feel about them), Forget does mark the first time since 2004’s surprisingly widely well-received Fabulous Muscles that Xiu Xiu has sounded this downright accessible.

There’s a heavy relative quality to that accessibility, of course; this is Xiu Xiu, so the title track still features Stewart bellowing “FORGET!” like he’s trying to repress a memory and a section where it sounds like they set all their synthesizers to “autocannibalize”; “Wondering” sounds like an 80s synth prom jam dragged backwards through hell (and still kinda cheery); there are multiple songs devoted to the underage sex trafficking Stewart saw carried out on Backpage; the pounding “Queen of the Losers” features the refrain “everyone hates you, the pain is just because”; the most sleekly, straightforwardly song here features Stewart constantly, fervidly whispering “go go” like you need to get out of the apartment right now; and of course the whole record starts off with L.A. Banjee Ball commentator Enyce Smith charging out of the speakers and later demanding that we “clap, bitches”.

But again, you can construct more than one type of thing out of all those pieces (and the many more found here); it’s easy to make Xiu Xiu sound flailing or mawkish, but the fact is if you’re willing at all to let these things work on you there’s a lot of dark and, yes, cathartic beauty to be found in all these grinding machines, in Stewart’s stentorian tones and Seo and Shayna Dunkelman’s synth and organ parts, in Seo and Greg Saunier’s stark production. Another strength here is the set of well-chosen and -deployed collaborators, Saunier and Smith among them but also including Charlemagne Palestine and Vaginal Davis providing voice and carillon on the closing, shattering “Faith, Torn Apart” (already harrowing before the organs subside and Davis reads out a poem sourced from dozens of potentially shattered lives), and Swans’ Christoph Hahn on guitar. The real strength of Xiu Xiu’s music, as present here as it was on the more overtly challenging likes of 2014’s Angel Guts: Red Classroom, is the way that even a song as seemingly over the top depressed as “Get Up” (“When I repeat that I am shocked by my own foolishness/You get up and leave the room”) can so precisely pinpoint the way many people actual feel, however temporarily (or however much they don’t want to feel that way). Maybe Xiu Xiu are sometimes ridiculous, but human beings are ridiculous creatures; that’s why these songs feel so real.

#Xiu Xiu #forget #polyvinyl #ian mathers #albumreview #dusted magazine #jamie stewart #angela seo #trauma #pop experimental #guitar #organ #charlemagne palestine #vaginal davis #greg saunier

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venusasatwink · 7 years ago

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Banjee ball tonight was so dope

It was my first ball and I can't wait to go to more. Everyone was so beautiful and loving, I am so empowered. It was truly a safe place. I also saw the photographer that I want to have a photoshoot with. How weird that he was there and how we kept looking at each other!! It's clearly meant to be, and will definitely be a story to tell once we meet should life permit that. I can't wait to experience life more. Life is beautiful!

#personal #recovery

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oilsteven80-blog · 6 years ago

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Roaring and Soaring: How Women Are Making Themselves Heard in L.A. Music and Nightlife

Most women in the music world just put up with it. They didn't want to seem "difficult" or be looked upon as a "bitch." As a music and culture journalist who's interviewed hundreds of women in entertainment over the years, I know that the ol' "women fighting for respect in a male-dominated field" discussion has always been a given but I think that at some point we all got weary of it. It's always been there but highlighting it started to sound, even for those who've never censored themselves, like complaining with no purpose. So many decided to overlook the crap they dealt with and simply focus on their craft. Though the playing field was never level, they didn't want to be highlighted for their gender in magazine spreads or music festival bills, or talk about their hardships. But post-#MeToo, this is changing.

Right now, women in music and nightlife don't care as much about being seen as too sensitive or man-hating feminists. They don't fear slut-shaming as much as they used to or being blackballed for exposing bad behavior. They are very aware that LGBTQ, gender-nonconforming and straight male allies deal with some of the same mistreatment. But patriarchal power has not allowed for change and they know that something must be done or that mistreatment will never end. Younger artists now use social media to call out wrongs and older artists are leading by example, sharing realizations that stuff they went through in the past was not OK.

As the year of #MeToo comes to a close, and many of us strive to live with the triggering aftermath of the Kavanaugh hearings — not to mention our pussy-grabber president's continuing disrespect of women's minds and bodies — many want to do more. They want not only to speak but to act, beyond the occasional march, especially within the music world, which has been uncharacteristically quiet. I'm talking about musicians, managers, bookers, promoters, DJs and anyone who works in the music, club or concert orbit. But I am also talking about you and me — women who buy music, who go to shows and festivals and clubs, who might want to have a few drinks while doing so, or smoke a joint, or wear a halter top or a mini skirt while banging our heads in the pit, or shaking our booties blissfully and freely on a dance floor — because that carefree joy is what it's all about. Though music never had a major #MeToo moment like film did, in L.A., where both enjoy high profiles, women have slowly been mobilizing for change on both sides of the stage, and they will not stay quiet any longer.

"Sexual misconduct is built into the foundation of the music industry," proclaims Jessicka Addams, frontwoman of the band Jack Off Jill. "In my personal experience, dozens of women have come forward to me privately. That number is very high considering my limited reach. How many more are out there? The abuse, the violence and the intrinsic sexism that fuels this industry is unacceptable and disturbing."

Addams is one of the first and few musicians who did come forward after the Weinstein revelations. She reached out to me last year even before that, and she wasn't the first with an exclusive story of abuse or assault, either. But the publications I write for (including this one, under different ownership at the time) were trepidatious about these types of stories and potential legal action that might arise from publishing the claims. Addams ended up sharing her story via Facebook in October 2017, detailing the actions of her ex-boyfriend Jeordie White, aka Twiggy Ramirez of Marilyn Manson. Addams, who now lives in L.A., came up in the Florida scene along with Manson, and her story included a shocking account of her and White's abusive relationship, which included not only violence and rape but psychological torment and even a lifting of her stage persona (both musicians wore dreadlocks, goth makeup and old house dresses onstage).

Manson fired White soon after, but it didn't end there. While sharing her story led to an outpouring of support from fans who had their own upsetting stories to tell (which led to a private group page, Sparkle in Darkness, on Facebook), Addams also found herself the target of even more abuse by Manson fans online.

Isla Jones

Courtesy Purple Crush

"The abuse, the violence and the intrinsic sexism that fuels [the music] industry is unacceptable and disturbing." —Jessicka Addams, Jack Off Jill frontwoman