Screw drugs, sometimes all it takes is a potent mix of sex and rock to set the music industry off in a histrionic fervor filled with lies and slander that showcases many of the worst traits of the human condition. Yes, we're talking about Krewella—the one-time trio, now duo that sans kicked-out-of-group DJ/producer Kris Trindl, leaves sisters Jahan and Yasmine Yousaf in a sad situation—the targets of damning whore-calling and slut-shaming. However, in an intriguing twist of fate, there's a situation from 35 years prior that if the duo can mimic, they could be at the beginning of legendary careers. See, if a student of music, you'd be remiss if you didn't believe Krewella to be EDM's answer to The Runaways. Of course, given that groundbreaking female musicians Joan Jett and Lita Ford started their careers in that salacious '70s teen-girl band, toning down the sex and ramping up the music could lead Jahan and Yasmine Yousaf to a level of mainstream stardom and respect. As well, if successful, nary a slur will be dropped towards them by naysayers in the process. Jahan Yousaf's op-ed for Billboard was intriguing in the sense that it was honest and gut-wrenchingly sad instead of bitter and filled with anger. It also pulled back the curtain from the Yousaf sisters as (arguably) hyper-sexualized frontwomen at the forefront of the first wave of EDM's mainstream crossover. As many of us likely remember, they stood firmly in front of a platform that advocated, Play Hard, Play Harder and Get Wet. Their brand was driven by a hair-whipping and pulse-pounding hedonistic mess of energy both in their music and live show that did much for engendering a devoted fanbase of not just young women, but men excited by their sex-forward presentation. In 1975, rock impresario Kim Fowley put together a quintet of teenage girls (Joan Jett, Sandy West, Lita Ford and Cherie Currie) who combined male glam-rock attitude with frank sexual overtones in songs like "Cherry Bomb," "Hollywood," and "Queens of Noise." "Cherry Bomb" was the global smash, a song about "wild" teenage girls who were high school dropouts who shattered their parents' hopes and dreams and wanted to "have" and "grab" boys "until [they're] sore." Famously, on a TV appearance in Japan, four of the still teenage five-some performed in skintight body suits, with lead singer Currie going to another level and wearing lingerie. Similar to Krewella, The Runaways has a devoted fanbase of young women. Also, yes, men went nuts for their sex-forward presentation in this case, too. However, hate certainly balances love, and just as The Runaways received backlash for their presence, Krewella was already "EDM's most hated act." However, when they parted ways with Trindl due to Trindl's apparent substance abuse issues, Krewella hate apparently expanded, as Jahan Yousaf shows via a series of slut-shaming screengrabs of Facebook and Twitter posts in her Billboard editorial. Similar to Krewella's trio becoming a duo, The Runaways split in 1979 after issues involving money, management and significant allegations of sexual improprieties by lead singer Cherie Currie. The breakup was met with much derision from the public, and the decision to move ahead as solo artists by Joan Jett and Lita Ford was met with considerable intrigue and wonder if the musicians could succeed without the aid of their super-sexy imaging. Joan Jett's now thrice re-released debut solo album Joan Jett was famously turned down by 23 record labels before she self-released it in 1980, with 1981's second album I Love Rock and Roll's eponymous lead single hitting number one in six countries and the release reaching platinum status. As well, Jett's been Grammy-nominated and oftentimes just a few votes shy of Rock and Roll Hall of Fame induction. Insofar as Lita Ford, her debut album Out For Blood was considered a flop in 1983, but by 1988 she was one of many who achieved stardom during the glam metal era. It's entirely possible that similar success can occur for the sisters Yousaf. As of now, Jahan and Yadine are in the tough dark space that exists when the initial blast of stardom has seemingly suddenly faded, and the derision from fans and critics alike is high. However, now moreso than ever—like Ford and Jett did three decades prior—the focus must be less on the sex and one-time brand push of their career and more upon the quality of the music. Positively for them, there aren't 23 record labels to turn down a new Krewella EP, nor in a market where music sales are less significant than ever, a "flop" may not hurt them. The solution? Maybe the Yousaf's need to shut it down for a bit, hit the studio, and find a sound in which they can express their best musical selves. From there, maybe a club tour sans lights, lazers, dripping hair, and the appearance of over-sexualization can put the focus back on their music. Sometimes, failure is the nest from which superstardom is hatched.
