Von Leaks Her Bloody Sex Tape: 2.0 The Leak

April 22, 2025

Von is a boundary-pushing artist who makes music from her own orgasm wave patterns, exploring themes of Catholic guilt, gender expression, and queer performance. A staple of NYC’s queer underground, she DJs and performs by night and teaches at NYU’s Clive Davis Institute by day. She’s the founder of performance collective BLOODY MARY and has collaborated with Pussy Riot, Pornhub, Feeld, and more.

Her debut EP, 2.0, dropped on April 11th: Von’s discography recontextualized and immortalized for the underground. In tandem with her manifesto BREED, BIRTH, BRAND, the 2.0 rollout unfolded through a series of invite-only, NSFW, immersive performances.

“There’s this widespread relatability kink right now in music, artists are so pressured to over share absolutely everything,” Von says. “There’s a lot of unsolicited advice about the frequency we should post and how much we should divulge etc. etc. This was kind of my tongue in cheek way of giving in to the over share.”

By Kally Compton
Photography by Paloma Huntington-Ortega and Gabi

2.0 THE LEAK

In the bowels of H0l0, guests were invited to wander around the fog-filled rooms and enjoy another one of Von’s freakshows produced by Chloe Philips.

“Each event there’s a crazier request than the last,” Philips laughs. “Whether it’s explosions, blood, needles, sex, I’m constantly figuring out niche permits and safety protocols you’d never think to consider.”

Rachel, one of Von’s dancers, traipsed around the space with 30 needles intricately placed into her skin (by @babyrocktattoos) that rounded her back like an S—just a typical body horror moment you can expect from a Von event. "Pain, release, destroy, evolve,” Rachel says. “The continuous testing of my own being—the desire to either find myself or lose parts of who I’ve been. It is the act of knowing, then going further. A reconfiguration of self. Of being.”

In the backroom, tattoo artist Tyler etched 10 lucky fans with the iconic Von symbol—which he tattooed on Von’s chest live at her last event, LABOR where she released the single “MOMMY 2.0.”

“There’s something so intimate about permanence,” Von mentions “Sharing something so intimate, permanence and my art, with other people makes me feel really deeply connected. It’s like such a deep form of mutual affection.”

At the heart of the main room the DJ booth was placed atop a California king bed draped in white. Von and a couple of dancers spilled into each other as her sex tape projected around on the walls—like if a boiler room set was a kinky sleepover. Her long red hair whipped around as she performed “TINY BOY 2.0 ft. Ani Klang” and “BLOODHOUND 2.0 ft. Estoc.” The crowd roared and thrashed to her sexy techno-laced music.

Von’s latest spectacle wasn’t just a party or a performance—it was a full-body, full-sensory declaration of creative autonomy. In true Von fashion, THE LEAK wasn’t about scandal, but about surrender—of the body, of narrative control, and of the line between artist and audience. With 2.0, she’s not just releasing music; she’s releasing herself—layer by layer, limit by limit.

And what’s next for Von? “More masochism, art with my friends, and more painful introspection—relentlessly synthesizing all of it together.” Whether through blood, beats, or bodies in motion, Von continues to remind us that art, like identity, is messy, fluid, and radically unfiltered. And that’s exactly the point.

Culture

Coachella 2025 Diary

I made it to the Main Stage just in time for Missy’s takeover—VIP buzzing with familiar faces like Patrick Schwarzenegger, Julia Fox, Rickey Thompson, and Willam. But it was Lady Gaga who stole the show with a jaw-dropping, once-in-a-lifetime performance.

Night two began with frog legs and duck confit under the stars at Outstanding in the Field, where Chef Diego Argoti hosted a cool intimate dinner in the Rose Garden. I turned the duck confit and made it a high fashion green wrap to go to Charli’s set—brat anthems echoing across the field as the sun dipped behind the mountains. She delivered a set that blended her classics with deep cuts only day-one stans would know. I try to avoid trends so I gotta admit I was never officially a brat until now, the live show converted me.

My friends and I wandered through the night—bar-hopping between hidden speakeasies and vibing across stages—before closing it all out with horsegirl’s dreamy, noise-pop set.

The grand finale? Arca. Draped in a custom Rick Owens look, the Caracas-born icon stunned with a genre-bending set, surprise cameos by Addison Rae and Tokischa, and a sneak peek of new music. With the full moon still high above us, the night felt seductive and surreal—like a desert fever dream we never wanted to end.

Culture

Where Street Dreams Collide

April 18, 2025

Caught in the middle of the California desert, past the palm trees, neon lights, and towering festival stages, a new kind of arena emerged. Once you made your way through the crowds and chaos, behind thousands of moving bodies, stood a metal cage, a soccer ball, and the palpable, raw energy bouncing off its chain-link walls.

Mad Maximus brought the grit of a street-style football showdown to the fields of Coachella, merging performance, culture, and community. Rising stars from across Los Angeles showed up, not just to compete but to represent a vibrant movement of young athletes, creatives, and supporters. A collaboration between Nike and Travis Scott, the event felt like a love letter to the game, where the rules are constantly being rewritten

Words by Michael Anthony Hall
Photos courtesy of Nike and Michael Anthony Hall

Set inside the immersive Cactus Jack pop-up, designed by Travis himself, the space subverted the idea of an activation. Part sport, part underground tournament, part block party, Mad Maximus channeled the unpredictable electricity of street football and layered it with Travis’s signature touch: offbeat, chaotic, and culturally locked in.

The weekend kicked off with the Open Crossbar Challenge, a simple setup that quickly became a crowd favorite. Winners walked away with not only bragging rights but Nike gear and an earned shot at the “Winner Stays” 1v1 tournament on Sunday, where everything truly came to life.

Crews from across L.A. rolled deep, Chicano FC, Culture FC, House of 626, Insainz, La Comunidad, Tiki-Taka, Toque, and Venice Beach Football Club, each bringing their uniqueness to the pitch. Among them was Jaiden Rodriguez, a Nike NIL athlete and rising star from Chicano FC, who delivered moment after moment, proving what happens when style meets substance.

The culture and the Los Angeles community were see. and felt everywhere. The audience waved Mexican flags in support, while cheers and claps echoed through the cage. Mad Maximus blurred the lines between music, movement, and sport, not to showcase a brand, but to celebrate a thriving community that may not always get the recognition it deserves. It was a reminder that empowering the next generation doesn’t come from placing them under a spotlight, it comes from handing them the mic.

By sundown, the energy could still be felt and sounds of cheers and thudding footwork were still at a high. In that moment, under the desert sky, one thing was clear: The future of football doesn’t start in stadiums. It starts in cages and on corners with young creatives playing games on their own terms.

Culture

Vans Milan Design Week

April 14, 2025

This week in Milan, as the city opens its ever-expanding Salone del Mobile to new brand initiatives and installations, Vans through its' OTW Line presents Design Week’s most ambitious three-part offering with ‘CHECKERED FUTURE: FREQUENCY MANIFEST.’

In celebration of the release of their new and futuristic Old Skool 36 FM sneaker, the brand opened CHECKED FUTURE: FREQUENCY MANIFEST at Triennale Milano with a sound, visual and design installation envisioned by Willo Perron and featuring music by Tim Hecker. This was followed by a massive concert in the museum’s garden, where guests enjoyed performances by Bjork, Vegyn and Evissimax.

Our Editor-at-Large, Paige Silveria sat down this week in Milan with Vans OTW’s Vice President and Creative director, Ian Ginoza, as well as sneaker designer Dylan Patrenka to discuss the project.

Interview By Paige Silveria
Photography By Courtesy of Vans

PART I: Q&A WITH VANS OTW VP AND CD IAN GINOZA

Paige Silveria - Tell me a bit about your background?

Ian Ginoza - I’m originally from Honolulu. I’m a surfer, skater, and pseudo creative, I guess. Being from Hawaii, I’ve always been really connected to the ocean. A lot of my pursuits were really through that. My father, for instance, was a big diver and body surfer — so these types of things. Some of my fondest memories are connected to being creative in the ocean. This is why I love Vans. Out of all the places that I've worked at, they’re the most dedicated to the ocean and to Hawaii. We activate there and we're a big part of the community of Hawaii. And of course we grew up either barefoot or in flip-flops until I found skateboarding, and because of this, Vans were the first sneakers I ever wore.

PS - How would you describe OTW and the initiatives you’re pushing for with it?

IG - With OTW in general, we're tasked to kind of push the boundaries and edges of product and brand experience. Like in ’23 in Paris, we had King Krule and Onyx Collective perform. We’ve hosted an exhibition with Atiba Jefferson at Art Basel; Sterling Ruby during Frieze LA. We’re bringing back Max Fish and TV on the Radio at NYFW — all these things. Music is definitely at the center of culture and really considered carefully.

PG - I mean, you have Bjork performing tonight. Can you get more iconic than that?

IG - And she’s such an innovator in the space. And I think it's the same thing with Vans being connected to the skateboarding community. I think innovation’s at the center of that culture and that community. You know, like in a lot of ways I view skateboarders and their perspective as viewing the invisible. A person that doesn't skate goes to a swimming pool and sees a place to swim, but a skateboarder sees it very differently, right? So in that way, that perspective and that lens on the world in life in general is kind of what OTW tasks to personify.

I think innovation’s at the center of that culture and that community

PART II: Q&A WITH SHOE DESIGNER DYLAN PETRENKA ON THE NEW OLD SKOOL 36 FM SNEAKER DESIGN

PAUGE SILVERIA - How’d you get into designing shoes?

DYLAN PETRENKA - It was initially through architecture — I was first studying custom homes, then furniture, and industrial design as a field. But when I took a footwear elective randomly, that was it. I switched and stayed there. Also, growing up skateboarding in the ’90s footwear was highly important style-wise of course, but also from a functional standpoint. It’s funny, you know, you have these loves or passions in your life. But you don't really connect them with your career or what you’ll make your living off of. So it’s really cool that I’m able to make a living off of not only skate, but also design.

PS - Tell me about these new shoes you’re releasing this week. They look pretty wild.

DP - Vans, at its origins, was a rubber company. So even though we were pushing things into this futuristic space, we thought that was an appropriate place and material to start from — especially because the original shoe was focused on durability. Foam wouldn’t make sense, for instance, for durability. So I wanted to figure out how to build a rubber cupsole in a new way. Instead, we chose to move away from a clean sidewall and make it visually different. We had this tread expression that wrapped up to the sides.

PS - I love how classic waffles on the bottoms were reimagined and mimicked the sound waves of Willo’s installation.

DP - From a visual standpoint, I don't know how nerdy you want me to get on this, but all the tread zones are individually placed. It was this painstaking process to craft each zone. We started looking at fields of industry that were focused around durability, like hazmat suits, and built this entire mood board with a design team; we just started looking at electrostatic workwear, and anything else made for an extreme condition. We thought it would be fun to take that and use it as a style choice. Then the knit portion isn’t dye-cut. It comes off the knit machine engineered perfectly to the shape of the pattern piece, which is kind of cool because then you don't have to create a bunch of scrap waste.

(ABOVE: Vans OTW Old Skool 36 FM)

PS - I’m sure you can talk for hours about all the aspects. It’d be cool to see your moodboard!

DP - Yeah, it was super fun to create these.

PS - They’re also super comfortable, as Vans always are.

DP - Good, yeah, and I mean that's another thing; we want to create a shoe that you can put on at 9am before heading to work or school. And after will remain comfortable through all social obligations and errands, etc. So when you arrive home at 9pm, your feet are still in good shape.

PS - And you’re based in Long Beach? I love being out there, riding bikes around, grabbing some pickled eggs and a beer at Joe Jost’s. Perfect shoes for this.

DP - Yes, agreed.