Disquietude: Fall 2020

DISQUIETUDE

FALL 2020

DISQUIETUDE

LETTER FROM THE EDITOR This year, we have faced numerous challenges, the effects of which have weighed heavily on us. The pandemic has offered no end in sight, having only grown into normalcy. Politics have been rife with distrust and a lack of veracity, and will continue to be after the election.

This year, we have been fraught with uncertainty, a shared anxiety for the world that is becoming more and more unfamiliar.

But even in these dark times, we have seen a shift in attitude. Before, it was typical to look away, to escape from harsh reality. Now, people are actively challenging traditional authority, and turning away from blind faith in old beliefs.

Through rational thought and the power of reasoning, we are becoming more enlightened. The education of the people plays a key role; rebellion is achieved through progression.

In Disquietude Fall 2020, we delve into this state of uncertainty, uneasiness which can only be settled through acknowledgment and the pursuit of truth.

Developing the magazine came with its own obstacles. Social distancing guidelines meant fewer people working on a photoshoot, incorporating roommates as models, staggering them to prevent close contact, and masks diligently worn.

This issue prompted us to traverse into the history of punk fashion, to analyze the heavy influence of artificial intelligence, to acknowledge the possibilities in tarot cards, to view the appeal of avant-garde garments. The process included examining our mental priorities, exploring techwear, revealing roller skating’s past, embracing self-confidence, and celebrating today’s hopeful youth.

I am so proud of what the DAMchic team has accomplished, creating an issue that exemplifies perseverance in this time of disquietude. Thank you all for pushing your imagination to create a collective work that represents the continuous journey of challenging ourselves and our past beliefs.

VICKI LIANG

E DIT O R- IN - CH IEF

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Photograher: Jacob Lagmay

THE TEAM

From top left to bottom right: Lanikai Yatomi, Vicki Liang, Gabby Nedney, Ramzy Al-Mulla, Aaron Sanchez, Cooper Baskins, Emma Johnston, Alex Reich, Jo Carstensen, Jessica Thompson, Naomi Kleinschmit, Chloe Lee, Draken Reeves, Jesus Reyes, Nate Olsen, Ryan Nelson, Jacob Lagmay, Tanya Bihari, Claire Nelson, Orion Bibee, Owen Preece.

EDIT O R -I N- C H I E F V I C K I L IANG

A S S I S TA N T E D I T O R J O C A R S TE NS E N

L EA D PHO T O GR AP H E R

PHOTOGR A PHER S COOPER BASKINS AL EX REICH RAMZY AL -MUL L A JACOB L E CL AIRE NEL SON OW EN PREECE JACOB L AGMAY JADE W EBST ER

R A M Z Y AL- MULLA

DES IG N E D I T O R

PR I N T R EPORTER S

C O N T R IB U T I NG D I R E C T O R S

F R EELA N CER S

H A I L E Y THOMAS

O R I O N B IBE E A L I F UE RTE E M M A J OHNS TON C L A I R E NE LS ON D R A K E N R E E VE S JESUS REYES A A R O N S ANCHE Z RYA N NE LS ON J E S S I C A T HOMPS ON N AT E OLS E N L A N I K A I YATOMI

TANYA BIHARI

CHL OE L EE GABBY NEDNEY KEL SEY BIGEL OW DARI EDWARDS NAOMI KL EINSCHMIT HANNA HEL F T S IRIMAESA NUT KUMHANG HOPE JONES KYL E SCHW ER

M ODELS

SOPHIA MCGRAT H MOL LY MYERS RAE MA ENYA COCHREN KARSEN BUCK SHARONA SHNAYDER GRACIOUS ORIAKHI DARIAN SAL INAS MAL L ORY JOKI DE’MAREAE L UST ER ET HAN PAUL ADISON SCOT T CL AIRE GL AZER KEL SEY BIGEL OW PRISCIL A ARECHIGA MEL ISSA SOLT ERO BRIAUNA POPE

CLOTHI N G

ASOS I.AM.GIA H& M L ONDON F OG F OREVER 21 PL UT O PRODUCE PORT L AND MUD AND MAJEST Y URBAN OUT F IT T ERS W IL SONS PSYCHIC SIST ER R.A.G.E NAT ION APPARE L W INDSOR W EST END

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TABLE OF CONTENTS

06 BURNING DESIRE

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10 TECHNOIR

12 PUPPETS FOR SALE

18 ASCENSION

24 SUBURBIA NOUVEAU

30 DECLUTTERING A DISORGANIZED HEADSPACE

34 ISOPOD

38 GLITTER GIRLS

42 ROLLER RINKS

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BURNING DESIRE

Director and writer: Draken Reeves Photographer: Ramzy Al-Mulla Models: Sophia McGrath, Molly Meyers

Human nature drives us to fit ourselves into categories. Whether it be how we interact with our location, our language, or our political landscape, we love to define ourselves. On the internet, the access and drive for these definitions are pushed to its limits and are easier to access.

In an age where TikTok’s rise in popularity has built niche platforms and communities, we often only see a tiny sliver of a subculture, especially in regards to alternative fashion. More often than not, a video has popped up in your feed of a person wearing darker clothes; chains, heavy eyeliner, black combat boots, and other elements of a punk aesthetic. These spectacles lead to interest and interest leads to popularity, often leading to a misinformed perspective on a movement or culture as a whole.

A rising discussion among alternative TikTok and queer spaces is the newfound (and often inappropriate) separation of politics and aesthetics within alt fashion subcultures such as goth, emo, and especially punk.

In order to understand the ideology of alt fashion, we need to look at the historical impacts of punk movements. The punk identity emerged during the ’70s and ‘80s as a breakthrough against oppression, classism, and the need for radical change.

Teal Triggs, a professor of design and communication at The Royal College of Arts, describes the “do it yourself” nature of punk as “represent[ing] the working-class experience but [also] the more ‘artful’ of proletarian play.”

Punk’s thrift quality emerged from a lack of upper-class privilege and is inseparable from its ideology. As the punk movement died down, it slowly trickled into a pop-culture staple and has influenced high fashion, with very few facets truly encapsulating the politics.

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One example of a successful punk facet in high fashion was Alexander McQueen’s A/W 1997 show “It’s A Jungle Out There.” Coming down from McQueen’s restrictive work at Givenchy, the show was a rebellion against fashion norms. The models were fitted in revealing and edgy garments, makeup, and hair in order to look rebellious and encapsulate the message of the collection.

The show was held in the back alleys of downtown London, a place where many fashion elites had never stepped foot. In the 2018 biographical documentary “McQueen,” McQueen’s friend and colleague Simon Costin described the collection as the first of its kind, holding “a sort of angst, an anger and fear that was woven through that show.” During the show, students trying to catch a glimpse knocked over a fire pit, setting the catwalk’s car on fire. Despite its controversial nature, McQueen adamantly argued with the crew not to extinguish it till after the show, putting the audience, crew, and models in danger. These actions, while considered “mad,” encapsulate the alternative background in which McQueen came from.

Punk has branched globally into many subcultures. Synonymous with western punk movements, Japan had many alternative subcultures. In her thesis for North Carolina Honors College, “Rebels in Frills: a Literature Review on Lolita Subculture,” Molly Brenan cites the controversial sukeban girl movement was based around anarchy and women empowerment. Members would predominantly dress in, “heavy makeup, clothing embroidered with gang symbols, and tougher hairstyles.” For oppressed people globally, alternative subcultures have been a safe haven and political act against suppressive systems.

Just like any other culture’s aesthetic, alternative subcultures are not something to tread lightly on. It’s been founded by people who have lived common experiences of being shunned and having rebelled against societal norms. Alternative fashion is not just a Sex Pistols tee, Dollskill skirt, and chains— it’s an ideological identity built from a rich tapestry of history and civil liberties.

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Director and photographer: Claire Nelson / Illustrator: Lanikai Yatomi Stylist: Kelsey Bigelow / Models: Rae Ma, Enya Cochren

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CH N OI

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A rising niche street fashion trend, techwear has grown rapidly for its functionality and sleek style. Yet the trend is also a statement of dress. Techwear is a style of fashion which notes a sense of post-futurism and minimalism.

Since its huge popularity growth in 2018, techwear continues to evolve as it has traveled into mainstream fashion from Asian streetwear under the neon lights of Tokyo and Seoul, to a new blend of the concrete urban streetwear in New York.

As 2020 was shaken with large societal change, so has the fashion world. The technical and versatile construction of techwear pieces make them adaptable to one’s everyday casual outfit. Following the style’s functional aesthetic, masks are trending at an all time high, with its anonymity and protective qualities continuing to be prominent for seasons to come.

techwear: a style that emphasizes function and sleekness; an aesthetic rooted in post-futurism and minimalism

A relatively neutral and dark color palette, the style signifies a sense of anonymity as the wearer blends in with the society around them. With the current state and population of the world, it is understandable to want to adapt into your environment. This futuristic style is viewed mainly as monochromatic and layered. Highlighted by buckles, straps, zippers and masks. Fashionable in its range of motion, with comfort in layers and less restrictive clothing, it is well liked by many for its relatively gender neutral style options.

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Haylie Jacket: Amazon Boots: Amazon Glasses: Amazon

PUPPETS FOR SALE

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Director and illustrator: Lanikai Yatomi Writer: Jo Carstensen

Most of the time, when people think of artificial intelligence running the world, images from “The Terminator” or “Blade Runner” pop into their head. Drones flying around the sky as though we’re going to kill people with AI, but what people miss is that AI already runs today’s world.

TikTok led the way in 2018 with the AI content algorithm that brought the distinctly catered ‘for you page’ to each individual user. “It’s so addicting, I love getting such niche videos,” says Bela Lohman, a junior at Oregon State University. After only a few short months of using the app, Bela says she’s already noticed the types of videos the app pushes her way.

“I think TikTok knows such specific things about me, like it’s so personalized it’s kinda scary. I started out on skater TikTok and it very quickly added in surfing which I also do but then somehow it figured out I was a coast surfer, like versus a Southern California surfer, even though I didn’t interact or anything with those videos.”

Bela isn’t the only one who’s noticed the unsettlingly quick evolution of AI algorithms but the real problem is rooted much deeper. Former CEOs and presidents of Facebook, Instagram and even Pinterest have started expressing ethical concerns about how the developing AI algorithms now running most social media platforms could have serious consequences.

As our time on technology increases, the programs get better and better at catering to the individual, reinforcing the already deafening social media echochamber.

The negative mental health affects, polarization, fake news, and conspiracy theory rabbit-holes that the programs themselves create are concerning. But these only get worse as the AI goes from catering to your interests to predicting them. “[What] most people don’t realize is these social media companies are competing for your attention,” says Tristian Harris, the co-founder of the Center of Humane Technology. Formerly a Design Ethicist for Google, Harris explains that for companies like these, revenue is almost solely based on user interactions. “Their business model is to keep people engaged,” he explains. Meaning, that in a capitalist society where everything is monetized, keeping you on your phone and more specifically on their app is their number one priority.

This is where tech addictions start to come into play as there still isn’t a monetary incentive for companies to get their users, especially the younger ones, to reduce their screen time.

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For the last ten years, the biggest tech companies in Silicon Valley have outgrown selling merely software or programs and have upgraded to the business of selling targeted ad placement. This is something that can only be done with access to lots of data. Data that shows who plays piano, who clicks on weight-loss videos, who rarely reads the news, and who spends less than three seconds watching basketball highlights over football highlights.

Many of these sites that we download on our phone don’t require a monthly payment or a one-time purchase, just a simple username and password. That’s because tech giants no longer have a need for users’ money, they now deal in something much more valuable than currency - your time.

Justin Rosenstein, a former engineer at Facebook and Google, break down this concept in their interview for the Netflix original documentary titled “The Social Dilemma.”

“When you think about how some of these companies work, it starts to make sense,” Rosenstein explains. “They’re all these services on the internet that we think of as free but they’re not free. They’re paid for by advertisers. Why do advertisers pay those companies? They pay in exchange for showing their ads to us. We’re the product, our attention is the product being sold to advertisers.”

There is a classic line that says, if you’re not paying for the product, you are the product.

Jaron Lanier, founding father of virtual reality and author of “10 Arguments for Deleting your Social Media Accounts Right Now,” explains that this brainwashing isn’t a quick, sudden change. “It’s the gradual, slight, imperceptible change in your own behavior and perception of the product,” he clarifies. But he admits that “If you can go to somebody and say, ‘Give me $10 million, and I will change the world one percent in the direction you want it to change,’ that’s still a lot of people.”

Everything from political campaigns to weight-loss programs could buy one percent of the world’s opinions either in favor of their cause, or in opposition of their competitor. When it comes to targeted ads, the real question isn’t when will this affect us, but what has already had an effect.

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Ascension

ESOTERIC TEACHINGS THAT CAN LEAD HUMANITY TO HIGHER STATES OF CONSCIOUSNESS Director and writer: Jessica Thompson Photographer: Jade Webster Models: Karsten Buck, Sharona Shnayder

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issecting the philosopher’s brain, the same three ontological questions have ruminated for milenia: (1) Where did we come from? (2) Who are we? (3) Where are we going?

At this rate humanity has 2 fates impending Armageddon or a new age of peace and technology.

The tilt of the earth’s axis traces a circular path in the sky. The equinoxes follow a similar path, completing the circle every 26,000 years, our solar systems pass through highly energetic geometric boundaries. This is called the processions of the equinox, the Yuga Cycle, epoch, and now the position is slowly transitioning from the masculine Age of Pisces to the dawning Age of Aquarius.

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any cultures have prophesied this event, The Great Solar Flash, Sāṁvartaka Fire, Frashokereti, Ekpyrosi, and The Rainbow Prophecy.

It is clear to see our ancestors worried about the future just as much as we do. We use divination tools like tarot cards and akashic readings, scientists and meteorologists, temples and runes to find what awaits us in the next season. Those who went before us relied on the tools and synchronicities around them to divine the future and perhaps influence it.

Twentieth century theoretical physicist, Paul Dirac, once said “Pick a flower on Earth and move the farthest star.”

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e must remember the 6 Paramitas, or Perfections: (1) Generosity, (2) Morality, (3) Patience, (4) Determination, (5) Mediation, and (6) Wisdom.

“You are everything, every being, every emotion, every event, every situation. You are unity. You are infinity. You are love and light. You are. This is the Law of One.” — Ra, from “The Ra Material”

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The Fool I

n this piece, Joseph Campbells, The Hero’s Journey, will be forlayed through tarot card renditions. Our protagonist follows the narrative; call to adventure, refusal of call, meeting the mentor, crossing the threshold, test of character, dark night of the soul, seizing the treasure, a victorious return, healing resurrection, and the return of invaluable wisdom.

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he Fool plucks the white rose untouched by the world. The Fool card is numbered 0, which is considered to be a number of infinite potential. She is the symbol of innocence, her intense journey ahead will come to shape her character yet.

She inspires courage, for she understands that every day is a chance to open up new areas in your life, and with that comes a mixture of anticipation, wonder, awe and curiosity.

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he Fool is there to show us that you can never really tell what lies ahead, and you can only greet it with joy. In the upright she can represent a breath of fresh air, however, a reversed Fool can mean recklessness and rose-tinted glasses.

In this card, model Sharona wears a sapphire indigo Worthingotn and St. John outfit, entirely from hand-me-downs or $1 roadside finds, paired with a white vintage leather Commit jacket. She carries only the knapsack on her staff.

The inspiration for this photo was promoted by the International Women’s Day (IWD) 2020 theme: “I am Generation Equality: Realizing Women’s Rights.” The beautiful and mighty goddess, Venus, reflects the color of IWD. Purple Indigo, symbolises dignity and justice, the core values that IWD aims to achieve for all women across the world.

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The Hermit T

he next card in the reading depicts the 9th card in the Major Arcana deck, The Hermit. She moves away from interpersonal relationships and public recognition.

She turns inwardly to follow the path of least resistance. Looming behind the dark night she follows her steady stream of golden light.

Seeking the need to not be limited to traditional wisdom and solidly rooted in her understanding of one’s true self. In her 1998 novel, “The Custodians: Beyond Abduction,” world-renowned hypnotherapist Dolores Cannon once said, “We will find that there are other planes of existence, other dimensions and other universes existing side by side with this one. nce you have removed the blinders that impede our progress, we will know that we are only limited by our imaginations.”

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he Hermit has discovered the esoteric and ancient knowledge that is spherical consciousness, sacred geometry, and astral frequencies.

Model Karsen wears a long chiffon skirt paired with the ETERNAL ALCHEMY YANTRAR semi-sheer sharon by R.A.G.E Nation Apparel. Underneath she wears a copper colored bralette with an Ideology hooded cardigan.

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Justice T

he next fallen card in this reading is the Lady Justice, she represents balanced thought and action. This card tells us to restore our equilibrium. The scales of past and future remain unbalanced. This card calls you to have critical reflection of our current systems of justice, capitalist greed, social inequality, racial disparity, and poverty.

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old on to honesty, transparency, and strong foundations. Rid yourself of all the fragilities that have been engrained through institutionalized imitation virtues.

Model Karsen wears a black London Fog Trench coat and a sandstone colored I.AM.GIA dress.

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The High Priestess O

nce justice is received, humanity can move forward to receive the spiritual seeds of fruition. The High Priestess stands guard at a magical threshold and possesses deep secrets, wisdom, and answers. Gatekeeper of the divine realm, Sharona, sits majestically on her throne as an incarnation of the Ancient Egyptian mother, Goddess Isis. In the Harvard Theological Review, Vol. 75, Canadian religious studies professor John S. Kloppenborg, explains in his piece “Isis and Sophia in the Book of Wisdom” that the Goddess Isis “was not subject to Fate, and she exercised her considerable powers in aid of farmers, seamen, marriages, and women. She provided knowledge, wealth, and immortality to her devotees. This is the Isis of the aretalogies, the poems and hymns,” and of the cross-cultural philosophers such as Plutarch, Mesomedes, and the Supreme Sage Solomon.

I Model Sharona wears 3D printed horns made by Mud and Majesty, an aqua cottagecore dress from Urban Outfitters, and a black Lush shawl.

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n the first century BC, the book “The Wisdom of Solomon,” served as a protreptic, it was intended to be instructional as to preach the dangers of falling away from divine creation. The headdress of Hathor (the Goddess of Fertility) is a crown of cow horns and a solar disk. The cow horns are symbolic of abundance, resurrection, and the cosmos. Her radiating chest represents her rainbow light body living within and her powers to ascend into the higher worlds.

The Star A

fter undergoing all acts of transformation the final form is, The Star. Her left hand represents the subconscious, with the water nourishing the earth and continuing the cycle of fertility in the lush landscape around her. In her right hand, consciousness pours water giving birth to all sensation. She engages in a purification ritual, letting go of that which no longer serves her and instead embracing the flow of life. The Star card is also marked by a single large star, symbolizing her enlightened essence, and seven smaller stars, which represent the chakras and our subtle energy.

She represents the coming of a new dawn that will ascend into the cosmos to join our star families.

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cross the multidimensional realms we’ve traveled. Traversing the darkest depths of consciousness and risen. Into the Light of Truth we return with timeless wisdom. World events seemingly showing us chaotic realities, we must together focus our energy and thoughts into positive manifestations to move past this dying paradigm.

Model Sharona wears a thrifted vintage blue slip dress from Psychic Sister paired with a Wilsons leather Maxima vest.

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ppreciate that esoteric and occult knowledge will help aid and assist in an imminent planetary shift where the vibration of the planet will lift; from a third density physical existence to a fourth density spirit essence. A transition from egoic fear-based reality to unconditional love. Admit. Let go. Surrender. Receive. Share. There is no room for evil intentions. WE are the knowledge and light that is here to stay and flourish into the New Earth. We are One.

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s u b u r b i a

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Director: Jesus Reyes Photographer: Cooper Baskins Models: Gracious Oriakhi, Darian Salinas

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Home. A sanctuary that makes us feel safe and loved. It is a

fortress of solitude. In today’s society, many of these dwellingsearchers are Millennials and Gen Zers. They are now young individuals on the verge of adulthood. At this stage, there’s an innate sense to find and claim a place to call home.

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Although the popular opinion towards them portrays them as both polarizing and problematic, they are remarkably inspiring in how they form and dictate their own narrative. Avoiding the trappings of the suburbs like last year’s fashion, they are taking over metropolitan cities and painting the town.

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They are rewriting the book of comfort and safety, and in the process, are paving their own paths, always leading to their heart’s desire.

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Jvckfrost Vest: ASRV Pants: Jessica Thompson Seakers: Adidas Human Race NMD

After all, home is where the heart is.

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Director: Orion Bibee Photographer: Owen Preece Models: Mallory Joki, De’mareae Luster, Ethan Paul

In a time where a hug is dangerous, the system isn’t trustworthy, the sky is an ashy shade of orange and your friends are in different time zones, it’s easy to feel alone, tired, and stressed. It’s easy to feel like you have no control over your future. Easy, is kicking back and avoiding the news. It’s telling yourself “Yeah, but that would never happen here.” It’s making excuses to not add your voice to a chant. It’s waiting for things to calm down, so your life can go back to “normal.” It’s posting a black square and moving on.

What’s easy is falling into a pit of despair and blaming 2020.

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taying positive and finding ways to rally and fight for what is right is the hard part, and yet the youth have been busy at work. Hard work looks like a tireless machine of informational TikToks, and K-pop armies taking over Twitter. Hard work is studying for a final, working to pay the bills during a recession, and finally at the end of the day, putting together an educational post. It’s calling your representatives and signing petitions while engaging in debates with your grandparents.

It’s managing mental and physical health while being socially responsible. Avoiding that pit of despair is a hard feat, and slipping into it from time to time is altogether too familiar.

What’s hard is climbing back out, brushing off your shoulders, and doing your part.

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ut that’s the next step.

Getting back up and getting back out there.

Understanding that things won’tget better unless we make it better. A healthy future can come through hard work and smart decisions. We all have a role to play, and some of us have more work to do than others (white people, I’m talking to you). Reflecting on our roles in society and how we can benefit our communities, is the perfect place to start.

Change comes through casting your vote. But it doesn’t stop there. We have found ways to thrive and embrace the chaos of a pandemic. Many of us have become more engaged with our political and justice systems (perhaps for the first time), and we must continue to work together towards the next steps of managing that chaos, exterminating racism, and promoting peace, love, and sustainability.

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GLITTER

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GIRLS

Director: Aaron Sanchez Photographer: Jacob Le Models: Claire Glazer, Kelsey Bigelow, Priscila Arechiga, Melissa Soltero

This series reowns what was once shamed, instead transforming it into a movement that embraces the beauty of self-expression and confidence for any person identifying as a woman. We have reached a time where women don’t dress up for others, but for themselves. It’s amazing to see the power women possess after getting fully glammed up. When a woman says “I dress up for myself,” that is a form of self love that should never be stopped. The more we accept people expressing and embracing their bodies, the more people will feel comfortable and happy in what they wear. In this series there is no room for judgment, the main intent is to inspire everyone to wear whatever makes them feel their best. Having self-confidence is something many people struggle with. If we hype ourselves and others up, we can live in a world where no one is afraid to dress the way they want. This series celebrates a continuous period of acceptance and freedom of expression. An era where women can dress how they want to and feel good without judgment. While there’s still a long way to go, this set of images is a part of the ongoing empowerment of women and the importance of self-confidence.

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R O L L E R

R i n k s

Director and writer: Ali Fuerte Photographer: Jacob Lagmay Model: Briauna Pope

At the start of the COVID-19 pandemic, increases in screen time spiked due to the quarantine order.

Resorting to entertainment found online and through social media, people across the country were exposed to many different types of hobbies. While scrolling through Tik-Tok, users watched as others flashed their new skills. Amongst these activities were baking, sewing, crafting, dancing and learning new instruments.

Inspired by the possibilities, they set out to recreate these videos and adopt some of their own. One activity that was especially popular was roller skating. Countless clips of men, women, elders and children grooving to music surfaced on the timeline. As more TikTokers posted their rolling skating videos, shops everywhere struggled to keep up with the growing demand. News outlets posted about this “new� trend.

Roller skating however, is not a new trend. It is a reemerging tradition that was fought to be kept alive by generations before us. These generations spent the free time they had in roller rinks, unknowingly building the rap and hip-hop culture that stands before us today.

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Skateland U.S.A located in Compton, California was the catalyst that sparked this culture shift, according to the documentary “United Skates.” Being a gem to the community, teens in the area treated the place more like a nightclub than a skating rink. It was a hub for interaction and a safe space, having been deemed neutral territory by the local gangs, the Bloods and Crips. Music played in the area was unlike anything people had heard before, nothing of the type played on any local radio stations. It drew a number of clientele in. Andre Young, known by his stage name Dr. Dre, was only 18 when he got hired to DJ at Skateland U.S.A. The owner would let Dre and his friends hang out at the rink, with Eric Wright - also known as Eazy-E - being a regular. As the rink grew, multiple people were able to meet, including O’Shea Jackson a.k.a. Ice Cube, Antoine Carraby a.k.a. Yella and Marquette Hawkins, a.k.a Cli-N-Tel. As a result, the group N.W.A was born. N.W.A were pioneers of the industry at the time. Hundreds of people were enticed by the love of skating and this new type of rap that they could relate to. Others did not like what was going on inside the skating rinks. Oftentimes these groups classified the rinks as being provocative, belligerent and chaotic.

Many communities around Compton fought to stifle the scene. Young folks who ignited the movement, refused to let that happen. Energy in the building was unmatched, and it united the community.

Since the days of Skateland U.S.A, this sector of the music industry has only grown and blossomed. Rap has now become one of the most popular music genres in the world.

It is crucial to acknowledge that the videos we see now, with the music that plays alongside of it, is something that started inside of a skate rink.

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