DAMEHT BOYZ 

RIVINGTON STARCHILD ( Vocals )

ROMAN LEWIS  ( Drums )

LUCAS GARZOLI  ( Guitar )

Los Angeles, CA — Dameht, the trailblazing collective known for pushing artistic boundaries, embarks on a momentous new adventure with Lower East Side legend Clayton Patterson. This groundbreaking collaboration, a significant milestone in the nexus of music, fashion, and cultural heritage, echoes the rebellious spirit that once defined New York City’s underground scene.

Patterson, a maverick whose influence shaped the gritty landscape of downtown Manhattan in the ’80s and ’90s, joins forces with Dameht to resurrect his iconic Caps collection. These pieces, once the sought-after symbols of countercultural cool, adorned the heads of icons ranging from Keith Haring to Mick Jagger, standing as a testament to Patterson’s enduring legacy.

“We’re thrilled to embark on this journey with Clayton, resurrecting his visionary designs,” enthuses Dameht. “This isn’t just about fashion; it’s a revival of cultural legacy, celebrating the fearless spirit that defined an era.”

Delving into Patterson’s storied archive, Dameht meticulously reimagines his timeless creations, infusing historical resonance with contemporary edge. Each revived piece pays homage to Patterson’s bold artistic ethos and embodies Dameht’s unwavering commitment to creative expression and authenticity.

Reflecting on the collaboration, Patterson reflects, “Dameht embodies everything I’ve stood for—innovation, authenticity, and a fierce dedication to artistic freedom. Together, we’re rewriting New York City’s underground art scene narrative.”

Beyond its fashion statement, Dameht continues to captivate global audiences with its distinctive musical style. Their latest single, “Creeper Creeper,” pays homage to British punk rock legends like Jordan, capturing the rebellious essence that defines Dameht’s sonic landscape.

DT 500 ZINE:  -It’s a pleasure to meet you, DAMEHT! With the reopening of the Clayton Gallery and Outlaw Art Museum, could you share how you contributed to this exciting milestone?

DAMEHT: – We were blessed enough to be able to work and live alongside Clayton after many years of idolising him.

DT 500 ZINE: – Could you elaborate on how this opportunity has been a blessing for you?

DAMEHT: We needed to do this show with him, which was the next step. We went through his archive and collaborated – not in a way that we manipulated his work, but mainly in helping rerelease these Caps, which were a Downtown staple for a while. He had already succeeded with them in the ’90s but stopped when he pivoted more into activism. It was a desire to wear the Caps that drove us. And now we get to share them with other people.

DAMEHT: -What challenges did Clayton Patterson face in maintaining authenticity through his designs, amidst opposition aiming to deter him from staying true to himself?

“…it was the normal way an artist was enjoying his credibility in an original manner of L.E.S. community in the ’80s…before the great gentrification…”

– Clayton Patterson talks about his Caps production in one of his interviews.

Stepping into the vibrant world of Clayton Caps, where each design tells a story woven from the fabric of ’80s New York City. From the iconic checker cab motifs to Patterson’s whimsical cartoon devil variations, DAMEHT’s homage to these caps aims to reignite the spirit of one of NYC’s most visionary style pioneers. These caps are not just fashion statements; they’re cultural artefacts that have adorned the heads of icons like Keith Haring, Matt Dillon, and Mick Jagger.

Featured prominently in G.Q. Magazine as one of America’s top two baseball hat brands, Clayton Hats epitomises innovation and individuality. With a legacy rooted in creativity and a clientele that reads like a who’s who of art, film, and music, Clayton Caps by DAMEHT is poised to captivate a new generation of tastemakers seeking authentic, avant-garde style.

DAMEHT: – Now, in 2016, with the reissue, it’s not about the money because none of us really come from it. We don’t know what that even means. We’ve been doing this for years with no return. This is just our time for giving- our work has been returned by Clayton’s generosity in working with us and the love we have around us with each other.

 

DT 500 MAG: – Who is Mr Big Clayton?

DAMEHT: – He’s the role model – and the ability to meet him and be part of his history is something he has allowed us to be part of.

 “It’s confused in a sense – what is Clayton, what is DAMEHT – it is one group of people sharing an idea, crosses generations, races and our view of the future and how to move forward from here.”

Discovering the depth of Patterson’s Lower East Side archive is an odyssey. This treasure trove encompasses an awe-inspiring collection of photography, video, art, press clippings, and books, offering a panoramic view into the cultural tapestry of downtown Manhattan. Imagine half a million print photos, complemented by hundreds of thousands of digital images and thousands of hours of diverse videotape formats, capturing the essence of an era.

Within this labyrinth of creativity, Patterson and his wife, Mrs. Rensaa, alongside other New York artists, have contributed countless artworks that reflect the soul of the city. The archive also preserves gritty remnants of urban life, including brand-stamped glassine heroin bags, protest banners and flyers, graffiti stickers, and street art—each a poignant artifact of New York’s vibrant streets.

Yet, this profound collection is not without controversy. Some of Patterson’s documentary materials have faced censorship, banned from public exhibition by the NYC Court, adding a layer of intrigue to his enduring legacy and the cultural impact of his work.

DT500 ZINE: – What sets DAMEHT apart from other bands in their genre?

 DAMEHT: – We have a fantastic team around us, not just the three of us in creativity and management, and Clayton Patterson – it’s a magic crucible.

“We’re not just working on the music – photography, video, aesthetic that translates from how we dress to how we present the content. It’s more of a “lifestyle package,” but it exists because we live it. “

DT 500 MAG:  – What does DAMEHT actually mean?

DAMEHT: – DAMEHT came as a symbol to us, but it’s THE MAD backwards.

 

DT 500 ZINE: – What innovative elements distinguish your concept today from other contemporary talents in the industry?

“ The idea could create a lot of disturbance in a human being – it can create a lot of neuroses.”

DAMEHT: – A new is us having all of this and wearing it, putting it on and taking it off. The way we are presenting it is in this format, with a band.

“ Clayton had “the conversation” already. We are just quoting it and have other things to say.” 

DAMEHT: – Clayton brought an excellent aesthetic. When we came to him, we needed to solidify the aesthetic – we had the music, concepts, and visuals, and he tied it all together with the first collaboration, Triberus, and now, beyond.

” Clayton is to us what Warhol was for the Velvet Underground. We want to connect people and create a conversation for everyone who wants to participate. “

DT 500 ZINE: – Wherever you perform, what resonates most with your audience? Can you describe the archetype of fans who connect with your music?

DAMEHT:

ALEJANDRO JODOROWSKY SAID, “SOMEONE AND SOMETHING ARE DREAMING US. EMBRACE THE ILLUSION. LIVE!” THERE IS AN AUDIENCE WHO IS DREAMING ABOUT US AND ALLOWS US TO BE A PART OF THEM.

DT 500 ZINE: – How did you build your audience and connect with your listeners?

DAMEHT: – We’ve been gathering audiences through different mediums: music at our concerts, our art shows, our videos, and visuals. The people who find us through Clayton and the Caps, the shoe collaboration with George Cox, and people who have only seen us through Facebook. It’s building on many different fronts, but it’s hard to consolidate it into one group at this point.

 

DT 500 ZINE: – I would like to learn more about your agendas?

DAMEHT: – Content-wise – what is the most important thing we can say to the world? – More than a message, it’s more a need to relate, trying to bring our words and stories within a relatable context or narrative. There’s not a lot on YouTube, but we’re telling our story in a different way than a lot of people. It’s a natural and evolving process.

DT500 ZINE: – What advice do you have for your listeners?

DAMEHT: – To Trust Life. We do it all the time and face the same exact reasons why people stop working on their projects and dreams every day, and these things eventually reveal themselves as helping us where we need to go.

“It’s all done with love towards whoever is watching and listening – we are with them. And if they are with us, we are together in DAMEHT.”

NYLON MAGAZINE writes:

” A new video for their single “Creeper Creeper”, and it’s a campy blast. Taking cultural hints from Steve Strange, Soo the Cat Woman, and New Romanticism, the video is a visual treat and an appropriate ode to a band known best for their secret shows.” 

DT 500 ZINE: – Could you elaborate on your latest record, ‘Creeper Creeper’? It’s generating quite a buzz. What inspired the creative direction behind this project?

DAMEHT: – It indeed suggested itself. That song came with that idea and respect for the record. We started the record in Los Angeles, and the song indicated the art direction. The reference to Pamela Rooke (Jordan) was an archetype for punk rock. This title that’s been following us – “there it is” – comes in all our insecurities. Indeed, they are usually the sweetest and most vulnerable people – it’s not as dark as when it’s in a suit-and-tie. She comes in as an archetype to us – who are not punk – and dances with us.

“We are here – everyone is here.”

(Known by the pseudonym HER, the real identity of this girl is Pamela Rooke, celebrated as Jordan—an influential figure in British punk culture. In the mid-1970s, she made waves as a model and actress, collaborating prominently with Vivienne Westwood and the legendary SEX boutique on London’s vibrant King’s Road. Jordan’s presence became synonymous with the early Sex Pistols performances, embodying the essence of London’s punk subculture. Her distinctive style—a striking bleached platinum blonde bouffant and bold raccoon-like eye makeup—solidified her as an enduring icon of rebellion and individuality.)

In the vibrant tapestry of London’s punk movement, alongside icons such as Johnny Rotten, Soo Catwoman, and Siouxsie Sioux, Jordan emerges as a central figure credited with shaping W10’s Punk Royalty. Revered as London’s foremost punk queen, Jordan’s fearless persona and distinctive style made her a standout Punkette on the scene. Her influence was pivotal, so much so that even Johnny Rotten attested to her indispensable role, underscoring her profound impact on defining London’s punk culture’s rebellious spirit and allure.

DAMEHT: – We mean well! One big inspiration was the film ‘Jubilee’ (in which she stars). Within that film, they were all themselves. It was really how they were -perhaps that’s our movie, maybe that’s us. It is much less about playing parts and more about being yourself as part of anything. You can’t script too far, remain yourself, and even if you fail at it, you come out with you, but just a little more of it.

DAMEHT: – Jordan represents everyone outside who desires to find their voice. Regarding the London punk scene, the world would lack particular individuality without that look.

DT 500 ZINE: – It was a chill vibe meeting Jordan at the punk reunion at the London Museum. We kicked back, chatting about her heritage. So, what do you reckon sparked that passion for her in the first place?

DAMEHT: – In short, the search for individualism and staying true to yourself. Which is a recurring theme in our music and Clayton’s work?

“In the whole mix, it’s a sweet message.”

DT 500 ZINE: -Do you have any juicy tales to share aside from making the record?

DAMEHT: – It was one of the most fun productions, involving many people.

DT 500 ZINE: – I have heard tales about you making the video. 

DAMEHT: There are stories about that night. Yeah, that video was a party; it was our first party. Those bottles weren’t a prop, and everyone was wasted. We got cell phone videos from everyone and edited them together.

DT 500 ZINE: – Tell us more…

DAMEHT: – It was pure chaos but very well orchestrated. We threw a dance party, and it was our first performance. We thought, well, if we played the song twice and asked everyone to film, something would happen – and it did. In this case, in particular, it was pretty nailed.

DT 500 ZINE: – What’s the latest unforgettable moment that left a mark on you?

DAMEHT:

” We are in the desert right now, experiencing incredible sunsets. “

DT 500 ZINE: – What motivated your move to California?

DAMEHT: – We didn’t have a particular premeditated thing. We came, and we stayed and got absorbed. We’re here, working, living our lives.

DT 500 ZINE: – What’s on the horizon for DAMEHT? Where can we catch your next gig?

DAMEHT: – In LA, we prepare a single for January, followed by an EP in early Spring. We will play in LA in our warehouse Downtown and use our website and social media to keep announcing what’s happening. The name of the EP is still a secret to us – let us know what it will be named!

“ WITH YOU IN DAME HT ”

“We’re not just creating music; we’re sparking a cultural revolution,” declares Dameht. “Our collaboration with Clayton Patterson celebrates creativity and the enduring allure of New York City’s avant-garde.”

As Dameht prepares to unveil a new single in January and an eagerly anticipated EP in Spring, their innovative fusion of music and art promises to resonate with aficionados worldwide and inspire a new generation of cultural adventurers.

For further information on Dameht and their visionary collaboration with Clayton Patterson, please visit www.dameht.com or follow @dameht on social media.

DT 500 ZINE: – Thank you, guys!  #RAPTURE!

© Photography: Clayton Patterson, Johnny De Guzman

© Interview by Arthur Sopin