COUPLESHIP ROCK WITH PERRY + ETTY LAU FARRELL

We had the pleasure to connect with rock powerhouse couple, Perry Farrell and his wife, Etty Lau Farrell. Perry is known as the Godfather of Alternative Rock and is noted as one of the people to push the genre forward. From Psi Com, Jane's Addiction, Porno for Pyros and his solo projects, this frontman can do it all from lead vocals, writing and more. Etty is a classically trained dancer who toured with Ricky Martin, Madonna, Bon Jovi and joined the Jane's Addiction tour in 1997. She would go on to being a bandmate and being in a number of projects with Perry including being a vocalist in their band, Satellite Party and Kind Heaven Orchestra and being on the board of Lollapalooza.

We caught up with rock's glam power couple to find out about their love for performing, how they work together, Lollapalooza, and Perry Farrell: The Glitz; The Glamour box set.

ATHLEISURE MAG: Perry when did you first fall in love with music and when did you realize that you wanted to perform?

PERRY FARRELL: I was so fortunate to be able to be introduced to so many artists by my big brother and sister. He turned me onto The Rolling Stones, The Beatles, Jimi Hendrix and The Who which was my starting point. My sister loved fun and soul so I got to know about James Brown, Sly and the Family Stone and George Clinton as well as the Funkadelic - loved that.

I didn't really think about performing until much later in life in my early 20s! I felt that I had the frame for it as a skinny guy and that I could be a frontman. I knew that I could dance, but I had to have that voice.

So, I taught myself to be a lead singer! I would look into the mirror and imitate Mick Jagger and David Bowie. I wanted to create music that people could feel so I had my mixer, headphones, microphone and I would write songs.

AM: Etty, what was your journey to coming into music and being a vocalist, dancer and songwriter?

ETTY LAU: I had been dancing my entire life as I am a classically trained dancer as a ballerina! I was born in Hong Kong and I went to the Royal Academy of Dance and when I moved to Seattle while being in a dance studio there, I also attended the Pacific Northwest Ballet and the Cornish College of the Arts. I came down to LA on a scholarship at 19.

We met in 1997 when Jane's Addiction was going back out on tour and I was on tour with them ever since.

ATHLEISURE MAG: Athleisure Mag is cofounded by a couple so we always like talking to couples who work together. You guys have worked together for decades from Jane’s Addiction, Satellite Party and your latest project, what is that like and how do you navigate the dynamics of work along with your coupleship?

ELF: We have a bit of an odd codependency with one another. So we share everything - a car, a stage, a hotel room.

PF: Even a toothbrush!

AM: Oh my!

ELF: No not a toothbrush, that's gross ha!

AM: Definitely have to have your own on that one haha!

ELF: When it comes to working together, I think of Perry like my boss in many ways. I know that when I'm on tour dancing for Jane's Addiction, he is the boss. I'm on the board of Lolla and I do a lot of the logistical things and make recommendations - but he is the boss.

PF: Absolutely not. I am not your boss, it's a partnership. When we work together, there is a give and take and it's all about immersing yourself and bringing all of these experiences together to make something meaningful and heartfelt.

ELF: We know our strong suits and we're able to play off of one another. What he has, I may not have and what I have he may not have - but together, it works as a true partnership! I know that he respects my opinion, but the final word is with him - I can only advise.

AM: The first music festival that we remember going to was Lollapalooza in 2007 and again in 2008. We saw Satellite Party, Daft Punk, Kanye, Lady Gaga - so many great acts and series of days. It literally started our path to attending festivals.

Like many this past year, it has been insane and between lockdowns, quarantines and pauses, plans were in the air and there were pivots. You guys had Lollapalooza virtually, but with vaccines being available, are there plans to resume this festival this year in Chicago and or global cities?

PF: Lollapalooza is a microcosm of music that has a massive amount of people that enjoy music over a period of days in various cities.

Because of COVID, we did a digital platform in 2020. We did 4 days online and reunited Porno, Janes and had people play live. It was fun because we went into archives and it was a great way to give everyone hope and something to enjoy.

If we can all stay on course, getting vaccinated, socially distant and mask up – maybe please God, we’ll get to go to Chicago in early August with an audience in one capacity or another for Lollapalooza – not a large one but maybe a half capacity. We can only respond to the people and what the city/government professionals say that we can do.

I listen to Joe Biden when he says that July 4th could be when we have our first small celebrations, then I’m going to say, that mine will be in August and I want to have it in Chicago. So I’m planning for a party in some kind of capacity for Kind Heaven Orchestra to come out there.

AM: Definitely hoping that we can go back to in person events! The fact that you guys use your platform to continue to drive the point home that wearing masks is a must and that they need to get vaccinated! It's a shame that it's become so politicized!

PF: Why do you think it's politicized?

AM: I'm not sure why! I think that wearing a mask is just being a good citizen and keeps yourself as well as those around you safe. It's such a small effort with a great impact to show that you're doing your part. The more we're able to do it, engaging in social distancing and safe behaviours, then we can begin to embrace the things that we have done before. It may be in a different way, but baby steps!

ELF: Without a doubt. I mean we have ideas of things; however, it's based on a number of things and ultimately, it's based on what the city will allow. But we're hopeful so keep checking our site and our socials for the latest information on that!

AM: One of the things that I have loved about your music Perry is that it has such a jazzy element to it. My great uncle was tenor saxophonist Joe Henderson who was with Blue Note Records and was part of the Hard Bop era.

As a power duo, you guys formed The Kind Heaven Orchestra. Can you tell me more about this and this 9 piece ensemble?

PF: Thank you yes and that's phenomenal! I love jazz, I love Duke Ellington, Miles Davis - their sound as well as their sense of style is just really something that I vibe with - that was great music.

The Kind Heaven Orchestra is an art collective and a music collective - an installation. We install for more than one day and I want to keep that going with that intimate scenario to see where it goes. Of course, it can be blown up too!

Before COVID, we were performing and I look forward to getting back to it when we're able to do in person events again!

AM: Your box set, Perry Farrell - The Glitz; The Glamour is a 35 year retrospective of your solo and artistic explorations outside of Jane’s Addiction and Porno for Pyros. With 68 tracks, vinyl, blue ray discs and remixes with Maceo Plex, Groove Armada, UNKLE and Hyper to name a few, photos and art - it's an epic and stunning box set to have. Why did you want to embark upon this project and how long did it take to put together?

ELF: We put it together during quarantine. It became our project!

AM: Wait, you just decided to put out this massive retrospective? Some people were making sourdough and you guys decided to showcase history!

PF: I tend to look forward and don’t look back. I like to keep it fresh. I had music all over the universe from Porno for Pyros stuff to Psi Com stuff and solo stuff. I had tracks floating around like they were comets and stars. I wanted everything in one place and to have my body of work. With the Internet, I love that you have a place where you can have all of your history and I had boxes of photographs which every picture tells a story!

ELF: It was going to a 50 page autobiography with photos . It's all vinyl and all solo work - so not Jane's Addiction. So it starts with Psi Com, Satellite Party and Kind Heaven. We have a few new songs in there too. It ended up being 100 pages with photos and about his childhood.

PF: There are 2 songs in the boxed set with Jim Morrison. I received an unearthed recording of The Doors’ Jim Morrison, written and recorded with Starcrawler. I had one of the tracks mixed by a Palestinian woman as well as an Israeli man who created mixes that are in the box set.

AM: When you look at 2020 and as we continue into 2021, there was a lot going on from COVID-19, the election, social justice, facing the need to talk about equality within Black Lives Matter as well as Stop Asian Hate – how are you guys utilizing your platform to lend your voices to this?

ELF: A lot of people don't know that I was born in Hong Kong and I know growing up when I came to the states, I had instances of prejudice and scary situations, but it is nothing like the trauma that is going on right now. We have to educate and bring awareness to what is happening and to speak out!

There are so many things that I want to do to continue to let people know about this. I'm even educating myself as well. When I open my mouth to speak, I'll know what I'm talking about. I think the more we learn about this topic, the more we learn about what we don't know.

AM: Couldn't agree more. It's so important to realize that this is going on and then to be an ally! As a Black Co-Founder whose boyfriend is Italian American/Jewish, he finds it important to not only be aware of what's going on but steps in to be an ally. I think this is so important when it comes to underrepresented groups whether we're talking about Asian, Blacks, LGBTQIA+. This is one of those issues that we need get people to realize that we will not continue to allow these horrific activities to take place!

PF: Absolutely. We need to stand in solidarity, love each other and to unite.

IG @PerryFarrellOfficial

@EttyLauFarrell

@Lollapalooza

PHOTOGRAPHY COURTESY | Perry + Etty Lau Farrell

Read the Apr Issue #64 of Athleisure Mag and see Coupleship Rock with Perry + Etty Lau Farrell in mag.

CONTACT HIGH

We enjoyed Contact High, a Visual History of HipHop: Pop Up Experience at the Hasselblad NY Experience Studio in Soho. The exhibition celebrated the recently published book Contact High: A Visual History of Hip Hop by Vikki Tobak, documenting the history and progression of Hiphop and some of its key influencers over a 40 year span.

Curated by Vikki Tobak, based on the bestselling book of the same name, and with creative direction by Fab 5 Freddy and forward by Questlove, it includes works from 60 photographers forming a chronological journey from old-school to alternative hip-hop. The ultimate companion for music and photography enthusiasts, Contact High is the definitive history of hip-hop’s early days, celebrating the artists that shaped the iconic album covers, t-shirts and posters beloved by hip-hop fans today.

On display at the pop up experience were images made with various Hasselblad cameras from Janette Beckman, Danny Clinch, Armen Djerrahian, George Dubose, Jamil GS, Danny Hastings and Jayson Keeling.

Founded in 1941, Hasselblad is the leading manufacturer of medium format cameras and lenses. Made in Sweden, Hasselblad cameras are renowned for their iconic ergonomic design, uncompromising image quality and Swedish craftsmanship. For over half a century, Hasselblad cameras have captured some of the world’s most iconic images – including the first landing on the moon - and helped shape the way we look at the world through genuine photographic artistry. Trusted by NASA and used by the greatest photographers in the world, Hasselblad continues to create products with uncompromising image quality that inspire. In 2016, Hasselblad introduced the world’s first compact mirrorless digital medium format camera – the X1D.

ATHLEISURE MAG: We loved seeing the contact sheets presented in the book at Hasselblad's pop-up experience exhibit. When did you come up with the concept for the book and how long was the process making it?

VIKKI TOBAK: The whole process took about three years for me to write and research the book, but the idea came from me actually working in the music business in the early ’90s. I worked for an indie Hiphop label called Payday Records and Empire Management and worked with a lot of young Hiphop artists. I would coordinate a lot of their photo shoots, so I also met all these young photographers way back then. As I started my writing career and became a journalist working for bigger news organizations like CNN, I saw how they treated their archives, contact sheets, and historic photos and got to thinking about all the photos that I had worked on in my younger days – all the photographers who had these archives they were sitting on. So I set out to tell that story: The story of the photographer and a deeper story of those photos.

AM: How did you go about connecting with and interviewing the photographers and essayists featured in the book to hear about the accompanying stories of the shoots and how the images were created?

VT: I t wasn’t easy because photographers don’t generally like to show their contact sheets, they don’t like to show their outtakes or imperfect moments. So I started by going to the photographers who I already knew and who really trusted me with their stories. One by one, I started reaching out to Janette Beckman, then to Delphine Fawundu, Jamil GS – photographers that I have been on-set with when they photographed young Jay-Z, young Mos Def, young Gang Starr… I started writing a column for a magazine called Mass Appeal while I was researching the book. At first, the photographers thought it was kind of weird, like, “You want to see my contact sheets?” And I was like, "Yeah, I want to hear the back stories and I want to see all those weird photos of the person not looking into the frame or the photos that you shot of what was going on around them to kind of give it a more candid, documentary feel. And they loved the idea because they also like seeing each other’s contact sheets – photographers work really independently, so just seeing the work of their peers and just seeing that all these photos lie on a historic continuum (if you will) was really great. They realized that they were part of this great collective that documented this music, this new music that was created in our lifetime and was really something that nobody had ever seen before. They visualized that music.

AM: Did you have the title “Contact High” going into the project, or did it emerge during the course of the book?

VT: I didn’t have the name at first but it came to me pretty quickly. It just kind of popped into my head very early on. I had a good laugh with myself because a lot of Hiphop is associated with weed-smoking and hanging out. But more than that, Contact High speaks to immersing others into this world, this kind of bubble. It speaks to bringing people not just into one photo but bringing them into the world where that photo lives.

AM: We see chronologically, the first featured shoot kicks off in 1979 in the Bronx with Kool Herc. How is it to trace the past of Hiphop visual culture from its early days as a small subculture?

VT: Because I’ve been writing about the music for so long, I understood that this was the music that started with everyday people in neighborhoods, in communities. A lot of the earlier photos are not of the big stars but are of the dancers, the DJs, the kids from the neighborhood where a lot of the MCs came from. You see photos from the early days of Brooklyn and the Bronx all these places where the culture was born. Those early documentary photos also talk about the fact that this is much bigger than the music and much bigger than just this cultural phenomenon that we now know is kind of leading our mainstream. You can trace the history through the photos from the late ’70s and see it going into other cities, all of which have their own styles. You see it go into L.A., which had a very specific look and feel to it, to New Orleans, to Houston, to Detroit, to Atlanta. All the artists and photos that came out of that are super distinct, with their own flavor. So you have to see it and not just hear it. That’s what the contact sheets do.

AM: How was it to have Fab 5 Freddy as a creative director with the book?

VT: Oh my goodness, he’s a dream. He is a historian, he was a part of the culture, and he also gets this as part of the larger storytelling of Hiphop. As soon as I told him about this project, he got it right away. To be able to go deeper into these photos, he also realized there had never been a real retrospective done of Hiphop photography. Individual artists had sort of had little shows here and there but never on this kind of scale. So he not only wrote an essay for the book (which was incredible), he’s also in a lot of photos in the book.

And when it came time for me to curate the show’s exhibition, which we now have at the Annenberg Space For Photography in Los Angles through August 18 and which we hope to make a traveling exhibit after that, I knew he was the right person to be the creative director because he just got it – he got the whole project. We worked great together. He’s now working on so many amazing things related to the culture: He has a new film on Netflix called The Grass Is Greener about cannabis policy and the history of music in the black community. I like that he is a deeper, broader thinker – more than just about the music and more than just about the style. He sees how all the dots connect, which is why I really wanted to work with him.

AM: Core roots and aspects of athleisure are steeped in Hiphop style and culture. We love seeing Adidas, Kangol, Dapper Dan, and an array of other iconic fashion and culture laced throughout the images and contact sheets. What are some stories that the photographers and essayists offered about Hiphop style from the early days to rising to mainstream as a truly dominant and global authoritative stature?

VT: The whole phenomenon and athleisure wear and just comfort was really something that started in Hiphop, absolutely. Young kids were very aspirational in wanting certain sneakers or wanting a certain look, but at the same time this was all super personalized and all flipped on its head to have a very unique look and feel that was very Hiphop. So they started trends, they started a lot of the sneaker culture that you see right now: Run DMC and Adidas, the whole Nike Air Force 1 movement. A lot of even little details like the baggy sweatsuits, the caps, all that kind of stuff was very much self-styled and sort of remixed, if you will, from mainstream fashion. To see it come 360 now and be thriving as mainstream fashion is really cool. All these elements that were originally just about being an individual are now available to everyone.

AM: Tell us more about your spotlight on the importance of telling the story of women and Hiphop in the book.

VT: It wasn’t really a decision to play it up in the book. For someone who has always worked in the industry (as a woman, obviously), writing about the music for years, women have always been a really strong part of Hiphop, both in front of the camera and behind it. I had so many incredible black women editors when I was a writer; so many women ran the label that I worked for: Lucia Cortez, Silvia Rowne, really powerful women. And then of course the artists….

People ask me a lot, “How did you find all the women photographers in the book?” They were there all along. It wasn’t an effort on my part to become equitable – I wish I could say it was, but it just is. To me it’s just been something that I recognized always, and I think it’s a little bit of a stereotype with Hiphop. If you look at Hiphop as a culture, women have always been super prominent.

Also, April Walker started Walker Wear, and a lot of people didn’t even realize she was a woman because Tupac and Treach from Naughty By Nature were her spokespeople. There was this big wave of streetwear entrepreneurs in the early ’90s, and she should really be commended as part of that: she and all the women stylists who gave Hiphop its look in terms of selecting baggy clothes for Mary J. Blige or a lot of the other looks. I think all those women deserve to be celebrated and remembered.

AM: What have you seen with having such a multi-dimensional audience by design as it cuts across music, Hiphop, photography, portraiture and selfies, as shown with such acclaim, like the dynamic Amazon chart success across categories?

VT: A lot of people say Hiphop is now post-genre, so there’s not just one kind of Hiphop, there’s not just one kind of listener or audience. Hiphop now is global on all levels – it’s not just the subculture in a neighborhood anymore. The elements of it have been appropriated. That’s a loaded word; I guess a better word would be integrated into all facets of fashion and music. Kids in the suburbs listen to it, everyone listens to it, but at its core it will always be a music that speaks truth to power. That attitude will always come through in the photos, that attitude will always come through in the lyrics and all the different offshoot of any music culture. But now it’s a global phenomenon. Biggie has this line in one of his songs where he says, “You never thought that Hiphop would take it this far.” Indeed, a lot of people thought it was going to be a passing fad. It’s just really beautiful to celebrate the men and women who documented this culture that has not just stayed around but now defines many facets of our shared lives.

AM: It’s so interesting – and a treat – to get such an extensive intimate look at contact sheets and outtakes and see the interplay of photographers and artists in the creative journey together. What are some behind-the-scenes stories in the book about how the shoots started and went?

VT: Oh my goodness, I have so many. The one that people bring up most often is the story of Biggie in the crown that was taken by Barron Claiborne because it is a very stern-looking photo. The story behind it is that Barron was a young black photographer who was given the opportunity to photograph a fellow young black man and wanted to go against all the cliché imagery that he was seeing in the mainstream media at the time. He decided to photograph Biggie as a king. The editor of Rap Pages Magazine, a woman by the name of Dream Hampton, saw the importance of Barron’s vision of portraying someone like Biggie as royalty. In fact, that photo was called King of New York. The photo almost didn’t happen because Puffy/Diddy, who was leading Biggie’s career at that time, thought that he would kind of look like Burger King. So there was a lot of behind-the-scenes back-and forth, and it was interesting to hear the “this classic photo almost didn’t happen” accounts. I really like that photo for sure. I would say that’s a really good story.

AM: What are some accounts from the photographers about their work at that time? What cameras and gear were they shooting with, and did they comment about how it impacted the look and feel of their work and narrative?

VT: A lot o f big photographers – Janette Beckman, Danny Clinch – love shooting with medium-format Hasselblads. Lugging medium-format cameras around different neighborhoods, on the subways, is a little more challenging. But they always said it was very worth it. Not only did they produce this very beautiful, serious, historic moment, the Hiphop artist also felt that way. Janette Beckman shares the story about when she showed up in Hollis, Queens to photograph Run DMC. She had brought her Hasselblad on the subway from Manhattan way up to Queens. When she showed up, they understood that she was serious – not just here to take a few snapshots of us but here to really photograph us. Same goes for Danny Clinch for the Big L album covershot taken in front of his stoop in Harlem. Same thing. I feel like the photographers loved using Hasselblad medium-format because it set the tone.

AM: What have you heard from newer photographer fans, who love seeing contact sheets and negatives as a secret workflow?

VT: In digital culture, Instagram, imagery in general is very disposable in many ways, and we’re also bombarded with a lot of it. For younger fans, it’s often hard to imagine a world where you didn’t see the photo instantly or where you didn’t erase any photos. They’re also used to seeing a lot of finished product. The concept of contact sheets is important because it shows the stakes and it shows growth and it shows the artist in an imperfect setting and it shows the photographer working their process out, their creative process of trying to get the lighting right or not quite getting one out of 36 photos or one out of 12 photos right if you’re shooting medium-format.

So for young people, they see that the process takes time, and a lot of mistakes were made. That’s really important in this day and age. I think they really appreciate it - seeing photos of a young Kendrick Lamar in the studio where he looks kind of tired or frustrated recording his debut album. It’s a different Kendrick Lamar than the Pulitzer Prize winner with this amazing album on the other side of the process. So young people are really loving it. Also, just picking up on all those great style elements of the early days. A lot of it has definitely come back, and a lot of younger fans don’t even realize it’s been around for years and years.

British photographer Janette Beckman began her career at the dawn of punk rock working for publications such as The Face and Melody Maker. She shot bands from The Clash to Boy George as well as three Police album covers and documented the youth culture of the era. Moving to NYC in 1983, Beckman was drawn to the underground hip-hop scene where she photographed the pioneers of the culture such as RUN DMC, Slick Rick, Salt-N-Pepa, Grandmaster Flash, Big Daddy Kane, and LL Cool J.

Beckman has published five books: ‘Rap, Portraits & Lyrics of a Generation of Black Rockers’, ‘Made In The UK The Music of Attitude 1977-1983’, ‘The Beckman has publi-Breaks, Stylin' and Profilin' 1982-1990", 'El Hoyo Maravilla’ and ‘The MashUp, Hip Hop Photos Remixed by Iconic Graffiti Artists’.

Her dedication to documenting the outliers of society remains evident in the works she creates surrounding subjects such as Manhattan based dirt bike bandits, The Go Hard Boyz, an illegal girl fight club in Brownsville, New York, and the hardnosed rodeo riders of the River City Rodeo in Omaha, Nebraska. Her work has been shown in galleries worldwide and is in the permanent collections of the Smithsonian National Museum of African American History and Culture, the Museum of the City of New York and the Musée des Civilisations de l’Europe. She is represented by the Fahey Klein Gallery. She continues to live and work in New York City today. Beckman’s commercial work includes assignments for clients such as Dior, Kangol, Levi’s, Schott, and Shinola.

ATHLEISURE MAG: How did you know you wanted to make portraits growing up?

JANETTE BECKMAN: I always liked portraits, I used to visit a lot of museums like the National Portrait Gallery in London as a kid and stare at the paintings, imagining what life was like in the 1800’s or whenever.

AM: Tell us about the London punk scene in the late-70s and how you became immersed?

JB: I came out of art school and the punk and youth culture scenes were happening on the streets. I was always into music and style, so it was natural for me to start documenting what I saw on my doorstep. I started working for a weekly music magazine called Sounds and soon was photographing 2 or 3 bands a week.

AM: What led you to NYC in the early 80’s and how did you start photographing rap groups?

JB: I saw my first Hiphop show in London in the fall of 1982 and that Christmas I came to NYC to visit a friend. The trains were covered in graffiti, kids with boomboxes on the platform. I loved it.

AM: What were some of the first Hiphop concerts that you attended, and how did the blend of DJs, rappers, break dancers and graffiti artists speak to you and what you saw with the culture at large?

JB: The first Hiphop concert was in London in 1982. I was blown away by the sounds and visuals, rappers, DJs, graffiti writers, break dancers all on stage together - I photographed Fab 5 Freddy, Grand Mixer DST, Afrika Bambaataa, RockSteady Crew, Double Dutch Girls, Rammellzee, Futura, Dondi - legends of the culture.

AM: Tell us about the 1984 shoot with Run-DMC for The Face magazine.

JB: The British magazine The Face commissioned me to photograph Run DMC. They gave me a phone number, which turned out to be Jam Master Jay’s mom’s house. I spoke to Jay and we arranged to meet at the Hollis subway station. Hollis turned out to be a leafy suburb in Queens. I walked down the street with him, met Run DMC hanging out under the trees on a spring day with some friends, and began taking photos - I got that shot in the first few frames. It was really a moment in time.

AM: What camera and lenses did you shoot with? How important was it to be shoot-ready when approaching shoots those days?

JB: I had a Hasselblad with an 80mm lens, I had 3 backs (12 shots in each), always ready/loaded.

AM: What was it like to work with Def Jam?

JB: Def Jam was a small label. I was also working with other small labels like Next Plateau and Sleeping Bag. They would bring their artists ’round to my studio. I had shown my portfolio to Lyor Cohen and Def Jam started to hire me. The first shoot I did for them was when Bill Adler, the Press Officer for Def Jam, brought LL Cool J to my studio for his first press shot.

AM: We loved seeing the early Afrocentric style reflected with your work with Tribe Called Quest. How did this come about and what was the day like?

JB: I was a huge fan of Tribe Called Quest and Hiphop style was becoming more Afrocentric. We decided that we wanted to shoot in nature. We were in NYC and the trees were still bare, so we went to the Chelsea Flower Market and found this greenery. The band had their little cousin with them and we had him in the shot too.

AM: What are some of the similarities and differences between shooting album covers and magazine candids and portraits?

JB: Album covers are square, you have to think about that when you are composing a shot. Magazine pages are usually vertical.

PHOTOGRAPHY COURTESY OF CONTACT HIGH: A VISUAL HISTORY OF HIP HOP, BY VIKKI TOBAK | Fugees - Jayson Keeling | Jay-Z – Danny Hastings | Kanye – Danny Clinch | Memphis Bleek - Armen Djerrahain | Mos Def - Jamil GS | RUN DMC – Janette Beckman | Salt-n-Pepa – Janette Beckman | A Tribe Called Quest – Janette Beckman |

Read the May Issue of Athleisure Mag and see Contact High in mag.

THE JET

The life of athletes is one of dedication and extreme focus, mentally and physically. They focus on a number of areas to be successful - breaking records, obtaining metals, and establishing their legacy. With the Olympics™ days away, we chatted with sprinter and three time Olympic medallist, Carmelita Jeter. 

ATHLEISURE MAG: We know that your athletic career started in high school but what made you want to be a sprinter?

CARMELITA JETER: In the 9th grade, my basketball coach said that I needed to stay in shape and so I went on the track team to do that – it was my only objective. Then I ended up being good and like any person, when you realize that you are good at something – you decide to stick with it. I’m not saying that I wasn’t good at basketball – I was. I just loved the individualism of track and that you took all the credit and all the blame. I feel that the sport builds a lot of character as you have to push, sacrifice, and train harder. It’s not a sport where 4 other people can save you. Starting as late as I did, people thought that I wouldn’t have made it as far as I did. I think that by starting later on, it assisted me in not burning out. I was fresher in the mind.

AM: How was it like when you prepared for your first Olympic appearance and how was it when you were doing so for the games in Rio?

CJ: The first Olympics™ in 2012 – I was coming off of so many great years! In 2009, I ran a 10.64 which made me the second fastest woman ever and the fastest woman alive. I didn’t lose a lot of races that year. In 2010, I came off excelling as well and won a Diamond League Trophy. In 2011 it was World Championships and I won the 100 meters and took 2nd in the 200 and won gold in the 4x100m. 

So I had all these great years going into 2012. The momentum was, “ok you’re hot right now” and what are you going to do to stay hot? I was going into the Olympics, doing all of these cover shoots, interviews, and at that moment, everyone wanted a piece of Carmelita Jeter. 

Unfortunately, in 2012 my aunt who had been diagnosed with cancer in 2009 passed away. This was difficult for me as I was very close to her. I bought my first home down the street from her – who buys a home down the street from their relative unless they are really close? Her passing in March 2012 was really devastating. I didn’t want to run anymore. My approach had changed. I went from being really aggressive and focused to my coach having to call me to make me come to practice. That shows how bad it had gotten as I didn’t want to go. Before she had passed away, I told her that I was going to make the team. I had to check myself and say, “ok are you really going to fail now and not do what you said you would do?” At that moment, I became a monster and you couldn’t stop me – no holds barred and I was going to make the team!

My preparation for 2016 was different as I was 4 years older. I had torn 2 quads and had a quad surgery going into 2016. I had to change how I ate – I went all organic with Nutrifit. I was fortunate enough to have AquaHydrate supply me with bottles of water. I started physical therapy with Evolution PT in Culver City. There were all these things I did adding Pilates with Pilates Platinum in Venice Beach to my equation. This was my Pinky and the Brain – I wanted to stay healthy and it was my only objective. We all know that mentally, I am just a monster. I can run on one leg. I did it in 2013 and tore my quad that year and still got a bronze metal. My heart and mind was never the question. It was whether my body could hold up. After doing so many years of pounding to it – would it hold up? In that aspect, my everything had changed as I needed my body to stay together. 

The week before Olympic trials came, my left quad started to aggravate me and I thought, “you have to be kidding me.” It was devastating because you workout so hard and this time it was an emotional workout more than a physical work. Emotionally, I said that you can do this at 36, but my body was like, “I don’t know boo – I don’t know.” I decided not to run because I got an MRI and it said that my tendon was completely inflamed in my quad. My doctor, Dr Frederick (who is also the doctor for the LA Clippers and Wayne Griffin) gave me the doctor and the friend conversation. The first conversation hurt as he was honest. He said, “if you go out there, you'll make it through the first round and the second one. But when you have to really put your foot down on the gas – you might tear this tendon Carmelita and you’ll be back here and we might have to have a surgery.” That was the doctor conversation and then as a friend he said, I know how hard you work and how tough you are – I know you could pull it off but he didn’t want me to mess my body up forever. For him to have that type of conversation with me let me know how much he cared about me beyond being a doctor and he gave me both scenarios. 

It was so emotional, but I called my coach and I cried like my best friend had stolen my boyfriend. He wanted me to come to the trials but I was so emotionally messed up that there was no way I could be there. I stayed home and watched the trials and of course I want Team USA to win. I’m such a competitor and patriotic – I just want to go out there and get it. So seeing this new team get selected – I knew this was the new era. A lot of the people that I typically run with didn’t make it or got injured. It was hard to watch that as well – other runners not making it showed me the reality that this was a changing of the guard moment. 

AM: When training for meets, what does a typical day look like?

CJ: Right now I am still waking up at 5:30 in the morning, which is the worst thing as I’m not working out – so I just look at the wall. Usually, my schedule is to wake up at 5:30 and to be out the door by 6:15. I’m in the weight room by 6:45. We would train at Gold’s Gym in Venice Beach, so I would be there from them until about 8am in the morning. That’s lifting weight, power weights, power clinking and then I would drive to UCLA in about 30 minutes and we would start practicing there starting at 9/9:15. I’m out there until about 11/11:30. Then it depended on what I had that day. I would leave practice and go to CryoTherapy (imagine getting into a giant freezer) in LA and then grab food as Nutrifit, would bring my meals every morning so I would have it with me and pop it in the microwave somewhere. I would either head home and relax to get ready for Evolution PT which was about an hour. My day would be done by 1:30/2pm as I tried to keep everything together so that things wouldn’t linger out.

After that I didn’t have anything else to do. I would go to Pilates on Tues night at 8pm – my only day that I did something late. This way I could come home, drink water, and relax. So I couldn’t complain about the schedule.  

AM: What was on your playlist during training/working out?

CJ: It always mattered how I felt in the morning. If I woke up and felt the birds were chirping – I’d listen to Maroon 5. I always loved listening to old songs from Aaliyah – something about her voice made me feel calm. If the day was different and I didn’t want to go to practice, I’d have to listen to Jay-Z, Nas, Beyonce, Rihanna. If someone pissed me off – Kanye was always on the playlist and always waiting. 

AM: What’s next on your calendar in terms of in the sport and outside of it?

CJ: Right now, I have actually been pretty busy. I’m trying to stick my hand in all kinds of pots! A few days ago I presented an award at the Humanitarian Sports ESPN of the Year Award to one of teams. It was really exciting and my first time doing that and standing up there. It always feels like everyone’s looking at you and judging you to see if you are going to mess up and I was like, “no I’m not!” I really enjoyed that. I have been a professional since 2007 and this year’s ESPY Awards was my first time in attendance! How crazy is that? I’m usually out of the country in July training or competing. So for me to get glammed up and to go – it was a highlight and I’ve always seen it wishing I could be there. Being in the environment and seeing the tribute that they did for Muhammad Ali and hearing his stories that I didn’t know to it’s fullest extent brought tears to my eyes. 

I’ve been talking with NBC, and hopefully, I can start commentating with them through the Olympics. I want to do so many things – commentate, do public speaking, talk to athletes, empower women to be freaking amazing and get into acting. I know it’s not easy to do it as like a sport, it’s a craft that you have to focus and dedicate yourself to. I feel that I have the personality to do it. I wouldn’t mind being on a sports panel talking with athletes or a day time show! 

I loved that I have been able to get dressed the last couple of days. Many people think that if you’re an athlete you’re just that, but no boo – I clean up VERY well! I’m just excited about so many avenues that I can get into. I really want to be the first woman that can coach in the combine – to coach the guys to run fast in the 40s. I am always trying to set goals to be the best at it. Just like Becky Hammond is the first woman to assistant coach for the Spurs. I want to be the first woman trainer in the combine for sprint. Not just setting it up for football, baseball – I just want to break some barriers. There are so many barriers for women to just smash and I’m just trying to get a bat right now and just go crazy - Lemonade it! 

AM: What’s your personal style on the track, when you’re going out, and then for brunch?

CJ: For the track – honestly I never match unless I am doing interviews. As long as it said Nike, I would put it on – it could be burgundy, orange, green. I went to practice as if I was going to work and to get dirty – it was not a fashion show for me. That was my mindset when I got dressed in the morning as half the time I would get dressed in the dark. It was about sportbra, shirt, tights, bag – let’s roll. I had my gear in certain drawers and it was easy to grab. I didn’t put thought in it. Interviews – I was matching from the hats to the socks, in matching Nike. 

For red carpet, it matters what the event is – fancy dancy, LA casual etc. If there is a lot of energy and press, I use Noel Smith who has been dressing me for these last two events. I have used her before, but I told I’m really going to need her when I’m truly stepping out. She’s keeping my style as she knows I don’t want to be uncomfortable. I want to be classy and give a little sass. 

For brunch, it just matters how I feel that day. I am a vneck and jeans girl. I have 20 – 30 fresh with tags tees on. I will pop one on with a pair of jeans and a blazer and roll. It’s my go to that works with everything. If it’s an event that I have to wear a dress then I will do a flowy dress by BCBG as they always have a number of them that works! For the most part- I’m a vneck/jeans and heel kind of girl. 

But it you’re my friend and I don’t care, then I’m going to throw on sweats, a baseball cap, tee-shirt and some high tops and we’re going to eat. It just matters who I’m with. 

AM: You have a lot of commitments with friends, family, etc – how do you stay balanced and give yourself the time that you need?

CJ: I just got back from Cancun. I like to take vacations, but I don’t like to be gone for too long so I take a number of short trips. I like to lay on the beach, think, and relax. When I need to just be Carmelita, I like to shop – there’s nothing like a little retail therapy. It can be something small or big but I like to give to myself as I work so hard. I love to be with my family as I love them – we’re like Soul Food. I love the energy and that I don’t have to do interviews or overly smile and play nice. We can talk crazy and it will just stay there and I don’t have to worry about it showing up somewhere. I definitely like people who love ‘Lita (that’s what people call me who know me). I love horseback riding, go carting (I’m a champion) – I love being active and things that have nothing to do with track. When you come into my home, there is nothing in there that lets you know I run track and I like that I can open the door to my house and have that serenity now feel. Now if you go into the garage, that is something different!

Read more from the July Issue