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teanicolae · 3 years

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Tender Run Through Memories: You are crazy, my child. You must go to Berlin (2018)

extracts from a Berlin travel guide i worked on during my first internship. i was spellbound by Berlin’s entrancing mix of rich culture & gritty club-scene. i fell in love with the city, bit by bit, and i spent one month reviewing its art, museums and vegan food. during my time there, David Bowie kept ringing in my ears, as it was one of his soul-cities 🌼 you got the width of my tongue name on the sun 🌷 velvet goldmine, you stroke me like the rain, snake it, take it, panther princess you must stay 🦋

Feature: Introduction to Berlin

Much has been written about Berlin’s blend of history, outstanding culture and infamous nightlife. Proclaimed the capital of cool, Berlin is where you can “go to all-night parties, attend a screening of an arthouse film and an anti-Trump demonstration within 24 hours”, as The Times noted. Some talk about Berlin’s fall from grace, wondering if the city’s growing popularity diminished its authenticity and turned the city into a growingly expensive tourist trap.

From Marlene Dietrich, who sang “I still keep a suitcase in Berlin” with a piercing longing, to the rebellious singer Iggy Pop, who called Berlin his home, many artists have voiced their love for Berlin.

“You are crazy, my child. You must go to Berlin” (Franz von Suppé)

Affordable, buzzing, wild and carefree, Berlin is a symbol for tolerance and open-mindedness. Unlike other metropolises in Europe, it’s a place where you can relax. Berliners do not rush. They take their time, basking in the sun with their low-cut T-shirts and heavily tattooed arms, flicking back their occasionally bright-coloured hair.

Nights in Berlin are freaky, intense and fiery. The club culture is exhilarating; anything goes. Berlin is a techno capital: notorious DJs, outrageous raves and 36-hour long parties. There are plenty of clubs to choose from, perhaps the most infamous being Berghain, which pays the same taxes as theatres and concert halls, as it is considered to produce work of cultural significance.

It’s magical to lose yourself in Berlin’s night scene, in the hazy beat of electronic music and in the half-clothed masses. There is a strong sense of acceptance. You are free to be yourself. You won’t be judged.

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“Berlin, the greatest cultural extravaganza that one could imagine” (David Bowie)

Berlin is a home to artists and a paradise to emerging creators, who come here to pursue their dreams. There are around 20,000 artists living and working in the city, lured by cheap rents, the city’s libertine energy and the massive studio spaces. The street art mirrors the city’s fantastic art scene.

Berlin is bursting with culture and history. It has 175 museums, even more than New York. It’s an open museum too: from the Berlin Wall to Checkpoint Charlie and to the Nazi book burning site at Babelplatz, Berlin’s unique history can be seen by foot.

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“Berlin is cheap, but sexy” (Klaus Wowereit)

Berlin is the cheapest capital city in Western Europe. While it is getting expensive, perhaps because of its touristy appeal, it is the perfect place for backpackers, artists and adventurers for now. You can get a cup of coffee for €2, a lunch for less than €10, a pint of beer for €2-4, a day travel pass for €6,50 and a decent double room in a hotel for €50 per night. What is more, some of the attractions of Berlin are free, such as East Side Gallery, Raw Tempel and Yaam Beach.

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Paris is always Paris and Berlin is never Berlin! (Jack Lang)

Nonetheless, Berlin is constantly changing, you never know what to expect. You need to experience it yourself.

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Reviews: Art, Beauty & Vegan Food

Beyond Compare: How African and European Sculptures Carve the Essence of Humanity

There are few exhibitions as fascinating as Bode Museum’s “Beyond Compare”. “Beyond Compare” brings together, compares and analyses the sculptural traditions of two continents by displaying, side by side, 70 African sculptures, along with renowned masterpieces from Byzantium, Italy and central Europe.

Despite their radical stylistic differences, it is interesting to observe how the artworks touch the same themes. They illustrate the frailty of the human experience, exploring subjects such as death, beauty, motherhood, power, spirituality and love. Cultures apart, humans seemed to be moved by the same matters; it is remarkable to see the dainty, gothic sculpture of Madonna, Virgin of Mercy, appear next to a seemingly raw sculpture which represents a power figure from Congo. The second sculpture looks quite crude next to the carefully-carved Madonna, but both were made with the intent to ask for protection, to invoke forces that are beyond the physical world.

In the exhibition’s first slide, it is noted that the works displayed were made by human beings, and not by “cultures”, “tribes”, “ethnic groups” or “nations”. It is important to keep this in mind while strolling through the museum, as this exhibition is not an objective comparison between two different cultures, but a soft reflection of human nature.

Address: Am Kupfergraben, 10117 Berlin. Closest stations: Friedrichstraße, Hackescher Markt; Bus TXL Staatsoper, Lustgarten, Friedrichstraße. Opening hours: Monday – closed; Tuesday, Wednesday, Friday, Saturday, Sunday: 10:00 – 18:00; Thursday: 10.00 – 20.00. Prices: 12,00 EUR, Reduced 6,00. Website: https://www.smb.museum/museen-und-einrichtungen/bode-museum/home.html Contact: Tel 030 266 42 42 42

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Enjoy the silence in Museum der Stille

Museum der Stille (“Museum of Silence”) is a unique invitation to embrace the silence in the middle of the lively district of Berlin Mitte. It’s a small, free and beautiful exhibition of paintings and architectural models that illustrate different stages of stillness. It is lovely, subtle and, above all, silent. In the middle of the museum, there is only one piercing painting of a woman who’s gazing through you, with a simple wooden bench in front it. The walls are a deep, warm red and the light is dimmed. The profound silence makes the experience sincere and intense; you are struck by a strong feeling of here and now. While at the beginning you might be put off by the awkwardness of hearing your feet clumsily shuffling through the museum, you will gently ease into the museum’s serenity, if you let yourself. For once, you do not have to rush. It’s enough just to take it all in.

Even after leaving the museum and walking back into broad daylight, the spell of silence is not broken. You might be finding yourself humming Depeche Mode and thinking that they were right, perhaps. It is enough just to enjoy the silence.

Address: Linienstraße 154A, 10115 Berlin Closest stations: Oranienburger Tor, Oranienburger Straße. Opening hours: Tuesday - Sunday 14:00 - 19:00 Prices: Free Website: http://museum-der-stille.de/de/ Contact: [email protected] Tel: +49 (0) 30 278 919 90

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CWC Gallery: exploring the modern and the contemporary

If you have a soft spot for art, but find most museums to be too sombre and a little old-fashioned, CWC Gallery might just be the place for you. “CWC” stands for “Camera Work Contemporary” and, as its name suggests, it focuses on contemporary and slightly modern positions found in photography, painting and sculpture. The gallery is in the heart of the bohemian Berlin-Mitte quarter and, while stylish and elegant, it isn’t pretentious and it has an easy-going vibe. It’s also completely free!

The first floor is a homage to the 1990s that recreates the dreamy allure of the era. Wandering around, you are charmed by goddesses of the ‘90s: photos of the iconic Iman, Gisele Bündchen, Uma Thurman and Halle Berry, all captured by Micheal Comte, are plastered on walls. Their half-smile and bouncy curls will leave you longing. You can soothe your temporary nostalgia by moving onto the next floors, where you can admire a beautifully curated and impressive exhibition of modern works of art, some of which display a striking social commentary.

In the same building, you can also find quite an interesting permanent exhibition about The Kennedys, which explores the political success and the private life of John F. Kennedy. The admission fee is 5€.

Address: Auguststraße 11–13, 10117 Berlin Closest stations: Oranienburger Tor, Oranienburger Straße. Opening hours: Tuesday to Friday 10:00 -18:00 Saturday 11:00 – 18:00. . Prices: Free. Website: https://camerawork.de/ Contact: [email protected] Tel 030 24048614

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Yoyo FoodWorld: the oldest vegan fast-food joint in Berlin

Yoyo FoodWorld is a hip fast-food joint on the Gärtnerstrasse 27 and the first and oldest vegan fast-food in Berlin.

For almost ten years, Yoyo hasn’t been your typical fast-food. Its atmosphere is similar to one of a quiet, cozy indie bar. Indoors, the light is slightly dimmed and there are photos of famous musicians and philosophers plastered on the restaurant’s walls, along with cult film posters that would make any film student swoon. Soft rock music plays in the background. The outdoor sitting is just as delightful, as the area surrounding the joint is lovely and inviting.

The food is cheap, fantastic and sure to satisfy your cravings, as the options are varied. They have 3,50€ burgers, 6,50€ pizza, 5€ wraps, 6€ schnitzels, 5€ seitan Currywursts, 3,80€ sea food and meatballs at the price of 8 for 3,20€. All the dishes are deliciously vegan and would work perfectly as comfort food or hangover food. It’s also the place to take your friends to convince them that vegan food is tasty.

Another highlight is the toilet, which is exceptionally cool. It’s filled with queer stickers, feminist and political statements, colourful graffiti and carefully scribbled love poems; ideal for a quirky Instagram post.

Address: Gärtnerstraße 27, 10245 Berlin Closest stations: Samariterstr., Frankfurter Tor, Warschauer Str. Opening hours: Monday- Thursday 12:00 - 23:00, Friday - Saturday 12:00 - 00:00, Sunday 12:00 - 23:00. Prices: € Website: http://www.yoyofoodworld-berlin.de/ Contact: [email protected]

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Get fettundbetrunken at the Chaostheorie

Chaostheorie is the first vegan cocktail bar in Germany. Their slogan is “fettundbetrunken”: “fat and drunk”, so expect to find a perfect mix of cheap comfort food and funky alcohol.

Onto the first part of their motto, “fat”: the food is fantastic. From a veganized traditional cuisine to more modern dishes, the highlights are juicy currywursts, enormous doner kebabs, fries with dripping dips, pulled mushroom burgers and thick cheese meatball sandwiches. To sweeten things up, the selection of house-made cakes is flavourful to say the least. The Oreo cake, smooth and crunchy at the same time, is a popular favourite. The soft drinks are also a dream: creamy milkshakes, Snickers, Manner or Oreo flavored, and rich freakshakes. You can settle for classic options, too: late macchiato, hot chocolate with whipped cream and marshmallows, coffee with caramelized milk and hot applesauce with cinnamon and vanilla soya milk.

Now, onto the second part of their motto…”drunk”! You can sip traditional cocktails or try out the bartender’s specials: experimental and refreshing mixtures such as Julep Blue, bourbon, blue curaçao, ginger ale and limette.

The place itself is cozy: dim light, soft indie music, shelves stacked with books and a lovely photobooth perfect for making memories.

Even if you’re looking for a quiet afternoon with good food or for a tipsy evening, in Chaostheorie you can find the things you thought you’d never enjoy again once you went vegan.

Address: Schliemannstraße 15, 10437 Berlin. Closest Stations: Prenzlauer Alle, Stargarder Str., Schönhauser Allee. Opening Hours: Mon, Tue, Wed: 17:00 – 22:00; Thu: 17:00 - 23:00; Fri: 17:00 - 01:00; Sat: 15:00 - 01:00; Sun: 15:00 - 22:00. Price range: € (under €10). Website: http://www.chaostheorie.berlin/ Contact: 030/548 907 34; [email protected].

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Challenge yourself at the Kunst-Werke Institute for Contemporary Art

The Kunst-Werke Institute for Contemporary Art is a remarkable contemporary art institution located in the Berlin’s picturesque district Mitte. The building is a sight itself and it has a sophisticated allure, tall and elegant. The outdoor café has a lovely Parisian appeal and it’s where the hip tattooed artists you might have seen on Tumblr sip their coffees in the afternoon.

The works of art exhibited in the Institute are complex. You can marvel at political activist art, video art, visual art or interactive art. They’re also controversial, with people either excitedly praising them or dismissing them as meaningless. The exhibitions are divided into rooms: in some rooms you might be deafened by booming nature sounds, while in others you might be asked to take off your shoes and wander into an empty, soundproof room, where you’d be faced with a gut-wrenching documentary about the condition of the modern black artist. However, you never know what to expect, as the exhibits change constantly. Nonetheless, the works of emerging young artists are unique and do not hold the reassurance of traditional art: they challenge you and shake you. They draw out a strong response, be it positive or negative.

Finally, even if you occasionally roll your eyes at modern art, you should give the KW Institute a chance. At least one of the works of art displayed might move you.

Address: Auguststraße 69, 10117 Berlin. Closest stations: Oranienburger Tor, Oranienburger Straße. Price: 16€ general entrance, 10€ reduced. Opening hours: Monday: 11:00 – 19:00. Tuesday: Closed. Wednesday: 11:00-19:00. Thursday: 11:00-21:00. Friday, Saturday, Sunday: 11:00 – 19:00. Website: https://www.kw-berlin.de/ Contact : +49 30 243459-0, [email protected].

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Be Here, Be Queer at the Schwules Museum

The Schwules Museum is the world’s first gay museum, originally opened in 1985. It exhibits the violent history and the injustices the LGBTQ community endured in the past, as well as Berlin’s current queer life.

Schwules is not your typical queer museum. If you expect it to be bustling with colour and rainbows, you might be taken aback. To an extent, it is exceptionally colourful, with cheeky illustrations of young gay couples kissing, soft porn photos and neon slogans about love. But a more serious tone is predominant. The permanent exhibitions also depict gay history milestones, such as the feminist revolution, the composition of the first feminist songs of the German movement or the protests of a working group of lesbian teachers. In the middle of the museum, there’s a memorial dedicated to the LGBT people who were killed in concentration camps. Their names are written in blood-red. You will also shudder upon entering the museum, where you can see a lengthy list of countries where homosexuality is currently considered a punishable crime.

It is important to go to the Schwules Museum because you will be reminded of how painful history is and how the free world we live in required sacrifices. And how, for some, the world still isn’t free.

It is not allowed to take pictures, which at first might be quite annoying, as your initial impulse might be to want to immortalize everything. However, this might help you take in all the information and carefully weigh what you’re seeing.

Finally, is important to go to the Schwules Museum because you will be reminded of how painful history is and how the free world we live in required sacrifices. And how, for some, the world still isn’t free.

Address: Lützowstraße 73, 10785 Berlin Closest Stations: U Nollendorfplatz, U Kurfürstenstraße, Lützowstraße / Potsdamer Straße, Lützowplatz. Opening hours: Monday: 14:00 – 18:00, Tuesday: Closed, Wednesday: 14:00 – 18:00, Thursday: 14:00 – 20:00, Friday: 14:00 -18:00, Saturday: 14:00 – 19:00, Sunday: 14:00 – 18:00. Price: € 7.50 regular, € 4 reduced. Website: https://www.schwulesmuseum.de/ Contact: 030 69599050

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Sun and wholesome food at The Bowl

The Bowl, self-proclaimed a “clean-eating restaurant”, is the perfect place for a cozy lunch with your friends or for a breakfast date with a book. They only use fresh, seasonal, healthy and gluten-free products. Everything is fully sustainable and vegan. They even use natural sugar! And, truthfully, the food is indeed full of flavour and it leaves you with a sense of freshness. They have a great variety of bowls: from rich breakfast bowls filled with sweet fruit, raw chocolate and creamy soy yoghurt to lavish plates with roasted vegetables, mashed avocado raw crackers, zucchini and smoked paprika.

The desserts are a treat, as well. The highlights are the lush vanilla almond cake, with coconut blossom sugar, raw chocolate and coconut strawberry and bananenbrot, with grilled banana, granola, warm strawberry sauce and raw chocolate.

While it is a bit pricey, 6,50 € for breakfast bowls and around 10 € for the lunch specials, the naturalness of the food, its filling base and vitamin-rich toppings make it all worth it.

The dishes are perfectly Instagrammable and the colourful variety of vegetables and legumes doesn’t even need a filter. While enjoying your wholesome food, you can bask in the sun in front of the large windows and observe the buzzing Warschauer Straße, with hazy, synth-pop music unfolding in the background.

What is more, on the ground floor of the same building where Bowl is, you can find Veganz, a plant-based supermarket with an impressively wide range of products, from cheese and ham slices to cashew cookies, ice cream and the finest chocolate cream.

Address: Warschauer Str. 33, 10243 Berlin Closest Stations: Warschauer Str. Opening hours: Monday: 10:30-23:00, Tuesday: 10:30–23:00, Wednesday: 10:30–23:00, Thursday: 10:30–23:00, Friday: 10:30–23:00, Saturday: 10:00–23:00, Sunday: 10:00-23:00. Price: €€ Website: http://www.the-bowl.de/ Contact: 030 29771447

#berlin #berlinart #travel #travel guide #travel writing #vegan food #art #bode museum #museums #culture

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mthvn · 3 years

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Post-”Chaos Theory”: Gediminas Žygus in Conversation with Metahaven

Metahaven Hi Gediminas, we really love the score you've created for Chaos Theory. Thank you so much for this collaboration. Our questions will relate to the intersections of moving image and music, both in this film but also more in general within your body of work-which we've had the pleasure of following closely since a few years. What did you think about the film when you watched it?

Gediminas Žygus I thought it was beautiful! I think that Chaos Theory is open for the audience to choose their own pathway through the film, and given its concentrated and rich nature, it's a film that rewards multiple viewings. Which is also something that is not so often the case with film, but is always the case with great music. Music can feel both infinitely rich and almost impossible to fully know, and I think that this film in its poetic language is a little bit like that.

I rarely show any of the art that I work with or make to my parents, as both of them come from generations of villagers, and they find contemporary art particularly alien, but I thought that there's aspects of this film that can transcend that cultural divide.

I initially thought that the film was almost like a musical in the genre sense, but I think I was decepted by my own presence in the film as the score composer. On the other hand, I think that musicals display a similar freedom with genre and referentiality, as I experienced Chaos Theory to have. Watching the film, I felt maybe a bit exposed how my own relation to the script, my own emotional reading of it, became part of the fabric of the film. Somehow I didn't anticipate it to happen, but it's a positive feeling.

Metahaven During the early stages of the film we talked about (the composer) Modest Mussorgsky a lot-and in particular about some of his piano sequences from Pictures at an Exhibition (1874). In general, how was it to work with these kinds of influences on the table?

Gediminas Žygus I think that for me has been more of a foundation for the score, to you see your emotional relation to the script and the process itself and the care you with it, which I appreciate. Talking about other people's music in collaborative work, I think it can be useful as a way of finding a meeting ground and understanding each other, understanding the different listening practices and histories we all have, what resonates and what doesn't. I try to not take these works as direct a reference, as when talking about music it can become an escape from talking more directly about the emotional specifics and necessary musical decisions.

Metahaven Thank you for saying that, and we agree.

Gediminas Žygus That being said, it is essential to develop shared listening practices with collaborators, and to find shared passions, and I think Pictures at an Exhibition, particularly Khatia Buniatishvili's masterful rendition of Mussorgsky's work, served as this meeting ground. I love how Khatia's playing style can make piano such a precise instrument and like how she can sculpt imagery with it. I never looked looked much beyond Ravel's impressionistic approach to piano, so her approach felt very novel and inspirational to me for Chaos Theory.

Metahaven Your work with Holly Childs on the Hydrangea album-and its sequel, soon to be released-occupies an intersection of music and spoken word performance. We've seen Hydrangea being performed a few times, and it always gave us the feeling of a spaceship lifting off in combination with a kind of whispered, secretive role playing game. It's always felt very sci-fi but also a little homemade, intimate even-a combination that we love.

How do you feel about Hydrangea, and where is it heading next?

Gediminas Žygus Holly Childs and I are releasing the second iteration in the series of albums in September. I'm genuinely happy with the record, I think it has to be one of my favorite works I ever made, including all the releases I've done as J. G. Biberkopf. I think that while the first iteration, Hydrangea, was still a bit of a clumsy attempt to plant seeds for a new form, the second album it feels like it we were able to make it bloom, by actually embracing pleasure in making it. I think that Holly and I have managed to make something quite idiosyncratic and vivid. I'm very curious how listeners will respond to it!

--- Amsterdam, July 1, 2021 This conversation was previously published on the Instagram profile of Boilerroom 4:3 It refers to the film work Chaos Theory, Metahaven, 2021

--- Gediminas Žygus is a Lithuanian artist working within the fields of sound, film and performance. Their practice focuses on the experience of selfhood in the post-anthropocene. They have presented works and collaborations at Barbican Centre, Berghain, 57th La Biennale di Venezia, Liquid Architecture, Centre Pompidou Paris, Sonic Acts, Transmediale, The Kitchen, Unsound, and others. Gediminas has collaborated with numerous artists, including DeForrest Brown Jr., Holly Childs, Mariechen Danz, Marija Bozinovska Jones, Ieva Miseviciute, and Metahaven.

#ChaosTheory #gediminaszygus #metahaven #hollychilds

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sserpicko · 6 years

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Berlin, I Love You: Stars don’t align for uneven / Film Review

Part of the same “Cities in Love” itinerary that previously included stops in Paris, New York and Rio, the wildly uneven anthology “Berlin, I Love You” exhibits telltale signs of jet lag.

The format, like the others in the series, groups together intersecting stories directed by international filmmakers — here including England’s Peter Chelsom, Switzerland’s Dani Levy, Iran’s Massy Tajedin and Germany’s Til Schweiger — whose vignettes theoretically capture the flavor of the destination in question.

Given Berlin’s fractured past and Germany’s immigration challenges in the Angela Merkel present, the locale certainly lends itself to themes of identity and tolerance, but the majority of the episodes prove to be anonymously dispensable.

For every poignant keeper (Helen Mirren and Keira Knightley play a mother and daughter who take a young Arab refugee under their wing in Tajedin’s “Under Your Feet��) there’s a clunker (Mickey Rourke attempts to bed younger woman Toni Garrn who, spoiler alert, turns out to be his long-lost daughter in the Schweiger-directed, Neil LaBute-penned “Love Is in the Air.”).

Then there’s the decision to have German characters speak in English rather than allowing them to converse in their native tongue, which creates additional authenticity issues.

Landing after 2016’s disappointing Rio installment, the film’s end-credits announcement of Los Angeles as its next stop somehow makes one hope for a fly-over.

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‘Berlin, I Love You’ Rated: R, for language, some sexual content and brief nudity

Running time: 2 hours

Playing: Arena Cinelounge, Hollywood; also on VOD

Source: latimes

By MICHAEL RECHTSHAFFEN

Film Review: ‘Berlin, I Love You’

By PETER DEBRUGE

Source: variety

If you truly love Berlin, and belong to the film industry, chances are you’re there right now attending the Berlinale, where roughly 400 movies unspool over 11 days. The Berlin Film Festival takes place annually in early February, one of the least pleasant times of year to experience a city where, in the half dozen times I’ve been, someone always apologizes for the weather — with its rain, sleet, and iced-over streets — and helpfully suggests, “You really should come back in summer.”

And so, this year, I have no regrets sitting out the festival, choosing instead to visit the city vicariously via “Berlin, I Love You,” the latest in the “Cities of Love” series that gave us “Paris, je t’aime” and similar stopovers in New York and Rio. If you’ve seen any of those movies, you know the drill: The producers pick a glamorous international metropolis and invite a handful of directors to imagine stories that reflect different aspects of the place, weaving them all together into a diverse omnibus view of the city in question.

In the Paris film, each short was set in a different arrondissement, resulting in a hit-and-miss collection of tales from the likes of Alfonso Cuarón, Gus Van Sant, Wes Craven, and the Coen brothers — heavy hitters who had in turn enlisted major stars to participate in their individual vignettes. In “Berlin, I Love You,” there are just 11 directors, and the average moviegoer won’t have heard of any of them. The biggest, Til Schweiger, is one of Germany’s most popular stars, and here he directs a screwy little episode from the mind of Neil LaBute (more on that shortly), but by and large, the film feels aimless and uninspired.

It opens with what must be an homage to one of the most famous images ever captured on film in Berlin — a winged angel — only here, instead of eavesdropping on humans’ thoughts from high above the city, as in Wim Wenders’ “Wings of Desire,” the angel is mortal, a face-painted performance artist (Robert Stadlober) standing frozen on a segment of the Berlin Wall, hoping for tips. Instead, a pretty young busker (Rafaëlle Cohen) sets up next to him and proceeds to chase away any passersby with her warbling voice.

These two, so hostile to one another at first, will gradually come to develop feelings over the course of the film, for theirs is the slow-brewing romance that serves as a framing device for the entire operation. Parceling it out across the feature allows helmer Josef Rusnak to catch up with them in various moods and locations, from the delirious thrill of standing at the center of Mauerpark’s outdoor amphitheater to what feels like a strobe-lit colonoscopy through the bowels of Berghain, where the party rages all night. There’s nothing elegant about the way the other stories are integrated, but at least these two characters offer a semblance of continuity, against which the shorts serve as variably amusing digressions.

That leaves roughly eight to 12 minutes apiece for the other filmmakers to present their stories, a format that works best when there’s some kind of twist, as opposed to a near-instant resolution to a problem that’s only just been introduced. For example, in Massy Tadjedin’s segment, Keira Knightley plays a woman who takes in a refugee for the night while his brother dies of pneumonia in the hospital. Knightley’s character can’t heal the world in that time, but she can at least convince her mother (Helen Mirren) — and maybe the audience — that Berlin is about more than nightclubs and sex parties: “This is reality; this is Berlin; this is what life is right now.”

Cut to a hotel bar where a pretty blonde (Toni Garrn) turns the head of what remains of Mickey Rourke in a silver pixie wig. She’s young enough to be his daughter, role-playing accordingly, although the episode is too short and shallow to be anything more than embarrassing for all involved, especially as Rourke pantomimes the morning-after catharsis that follows his discovery of the message she left scrawled in lipstick across his bathroom mirror. This short was LaBute’s contribution to the whole and doesn’t feel in any way related to the city of Berlin, much less life on planet Earth as we know it.

The same could be said for Mexican director Fernando Eimbcke’s contribution, in which a 16-year-old (Michelangelo Fortuzzi) strikes up a conversation with a bedraggled drag queen (Diego Luna). Granted, one witnesses some fairly outrageous personalities in Berlin, and there’s a certain stunt-like appeal to seeing Luna decked out like this, in faux fur and sequins, sharing a beer beneath the Oberbaum Bridge. Still, there’s something entirely too cutesy about the encounter, in which the curious teen coyly asks for a kiss — a Disney-fied, 21st-century spin on “Cabaret” perhaps. On the other end of the spectrum, Dani Levy’s chapter takes place in a neon-lit brothel that looks like something out of a Gaspar Noë movie.

The most effective sequence may be “Glee” actress Dianna Agron’s offering, in which Luke Wilson shows up as a Hollywood director suffering post-apocalypse-movie burnout who finds fresh inspiration after flirting with a lovely — and far less jaded — children’s puppeteer (played by Agron). Two of the other segments involve crossing Berlin by car: one about a magic, matchmaking BMW and the other involving a taxi driver pulled into a Jason Bourne-style intrigue. Each is silly in its own way, although at least it can be said that these two sequences serve to showcase the city, which is sort of the point in a series that’s starting to feel like they could be filmed anywhere.

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thotyssey · 6 years

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On Point With: DJ Nita Aviance

One of New York’s most beloved and experienced dance floor DJs, Nita Aviance (from, duh, the legendary House of Aviance) slays us the world over with beats as one half of The Carry Nation and as a solo entity. Today he tells Thotyssey about what’s in store for him, and us.

Thotyssey: Nita, hello! Thanks for chatting with us today! So last month, The Carry Nation (the DJ collective consisting of yourself and Will Automagic) finished their seasonal residence at the Good Room in Brooklyn. What was the best part of this year’s run?

DJ Nita Aviance: Aw man, this year at Good Room was such a blast--it’s hard to pick just one moment. But I’d have to say the closing night B3B with Michael Magnan was such a dream. After working with him all season on the flyers, it was an extra-special way to bring it all full circle. The vibes were absolutely on point from start to finish. Good Room has been such a brilliant club to work with cuz they really let us do our thing, and have been very supportive as we’ve grown over the past three years.

Generally speaking, what’s your favorite type of venue to spin in regarding size or type of crowd?

Each different venue really allows us to explore our sound and bend it to correspond to each. The big, the small--they all have their place in my heart. We played Elevator Club in Shanghai earlier this year, and it was probably the most diverse crowd in a very intimate club with a pumping sound system. They totally let us get weird, and were there raging hard till the lights came on.

Where are you from originally?

I grew up in the suburbs of Rochester, NY. It wasn’t a bad place to be a teenager; there was a thriving nightlife scene where I found other gays and weirdos to get in trouble with at an early age.

What was the first music that really inspired you?

There was always music in my house growing up--my dad made sure of that. His record collection is vast and varied, and he taught me to appreciate all genres. But early on I was very into 60′s pop and Motown. Also, Prince. The first time I remember being allowed to stay up past my bedtime was to watch the 1985 American Music Awards, which we recorded and I studied religiously. Prince was all over the awards that year, as Purple Rain had just come out.

What was the scene like in NYC when you started DJing... and how exactly did you get your start?

When I started DJ’ng in the East Village in the early 2000s, the bar scene was thriving but the bigger clubs were all closing down. The format was changing to more pop and hip hop, so we really had to work hard to keep the dance music alive. That said... it was a serious party, and Michael Formika Jones put me at the center of it playing AREA10009 at Opaline on Avenue A. It was the hottest ticket in town, and I got to cut my chops to a packed room every Friday night.

How did you become a member of the House of Aviance? Are you a voguer at all?

I fell in with the HOA almost immediately when I moved to the city. Spending every Sunday morning at Twilo, I met Mother Juan and Kevin very quickly, and we all just clicked. I soon started coming out in drag, and eventually began dancing backup for Kevin. I wouldn’t call myself a voguer, but I can certainly cut a shape. You’d be hard pressed not to when you’re an Aviance, and your friends have last names like Xtravaganza and Ninja. For me it was all about runway-- when that floor opens up and you really get to pump it.

You've been in the booth for many legendary parties and venues over the years, but many remember you from Tubway at the iconic Mr. Black, which you headed with another DJ legend Gant Johnson.

Mr. Black was a wild ride. It was completely debaucherous and out of control and we thrived. Tubway taught me how to throw a big party, and my musical taste and DJ style really evolved by being allowed to get buck wild every week. We were fully immersed in throwing that party. Creating a new theme and look every week is incredibly exhausting--thankfully, we had plenty of fuel.

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There is a lot of original music out there from you... including a mix called ”Morgan Freeman” which is such a bop. How much have you put out, exactly?

Between myself, The Carry Nation and multiple other collaborations, quite a bit...and there’s a lot more on the way.

Do you have a moment in your DJ career that you are the most proud of?

Honestly, I’m constantly gagged at the fact that I’ve managed to make a career out of something I love so much. We just played the garden at Berghain [in Berlin] last month, which is a total milestone. Also, being welcomed into the Bloc 9 family at Glastonbury for the past five years is an experience that I will be eternally grateful for.

What do you like to spin these days at your gigs?

Anything that’ll get that ass-shaking. I’m a slave to the rhythm, if I’m not dancing how can I expect you to?

Do you generally find at this point that you have a lot of freedom regarding what you can play, or are venue managers regularly trying to get you to stick to a formula?

I think I’ve always been a bit stubborn about playing the music I love, and it has definitely lost me jobs along the way. But here we are now, and I still play what I like... just more people are into it. It’s how you develop your own sound, ya’ know--years and years of trying everything out. It’s our job as DJs to expose people to new sounds... something they aren’t going to run into necessarily on their own.

What do you think about the state of gay nightlife today, still being so driven by Top 40 pop music?

Save it for your Spotify, kids. Get out there and experience something different. There’s a reason dance music started in gay clubs, it’s FOR US. People forget that the pop machine is driven by straight white men looking to make as much money as they can. Not that I don’t love me some pop, but 100% all the time all night every place you go out... that’s not the type of experience I’m trying to have.

So how was The Carry Nation formed, and why do you think you and Will work so well together?

I’ve always admired Will as a DJ, and after working together in the scene for years I called him up one day and told him it was time we made a record... thus, “This Bitch Is Alive.” It was only fair we started playing together to back it up. We were on our first tour before we were truly friends, even. But I think it’s our mutual love of the nightlife and music that drives us; we have a similar vision for how we want things to feel, and it just works. We argue like any relationship, and that helps keep things moving forward. We’re always trying to create something fresh--it’s our respect for the past, and eye on the future, that really ties it all together.

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Lets talk a little about some upcoming New York gigs this week, starting with Thursday, July 26th: Floorgasm, featuring yourself and DJ LSD XOXO at Bossa Nova Civics Club in Brooklyn.

Super excited to get down with LSD XOXO. He is absolutely brilliant, and I’ve been pulling some extra special gags for this one.

Friday, July 27th: Full Moon, featuring The Carry Nation alongside DJs Mike Swells, Mira Fahrenheit and David Kiss at the House of Yes in Brooklyn.

This will be Carry’s first one playing at the new HoY. And on a full moon, you can be sure this one will get wild.

Saturday, July 28th: Mild Fantasy, featuring yourself with DJs Rogelio and Elle Dee at Mood Ring in Brooklyn.

This venue has such a cool, intimate vibe, and I’m really looking forward to seeing how it pops off.

Anything else to mention?

Check out The Carry Nation’s new single “Prism” featuring Alissa Briana. So proud of this one--Alissa has such a beautiful voice, and she wrote us a banger!

Okay, last question: What's your best advice for a DJ who wants to make it in this city?

Stay true to you. No one else has done “you” before, I can guarantee it. If you don’t see what you want out there, create it. Study the past, dream of the future, and never stop dancing!

Check Thotyssey’s calendar for DJ Nita Aviance’s upcoming gigs, and follow him on Facebook, Instagram, Twitter, YouTube, Soundcloud and iTunes.

On Point Archives

#onpointwith #thecarrynation #djnitaaviance

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morethanboomtschk · 4 years

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Rewind: The Frontpage Magazine, 1989 - 1997

The Frontpage magazine began as a fanzine for the famous Frankfurt discotheque Dorian Gray and reported with depth and passion on the German rave scene of the 90s. The magazine's team viewed techno as a way of life and for nearly a decade recorded the evolution of EDM and house music. Frontpage immersed itself in the subculture with commitment, wit and flair and set itself apart from other publications in the 1990s as an influential voice for German rave culture.

It's easy to imagine Berghain being the birthplace of revealing parties powered by the recurring beat of techno. Looking back on the liberal history of electronic music in Germany, however, few clubs are as important as Frankfurt's Dorian Gray. From 1978 to 2000 the famous discotheque, inspired by Studio 54 and uniquely located at Frankfurt Airport, hosted wild raves and loud parties, including the electronically controlled night techno club. Frontpage was born here in 1989 as the Frankfurt club scene veteran and techno club founder Alex Azary initially financed the publication as an advertising medium for his club night. Over time, however, the scope of the magazine expanded and differed from similar magazines such as Raveline or Groove, which mainly talked about techno music. While Frontpage reported on trends, artists and the latest drops, it also put a strong focus on the techno scene and its engulfing culture. This endeavor ultimately led the cohort of contributors and editors to Berlin to pave their way into the progressive, emerging scene.

When the financing of Azary began to dry up, the founders Jürgen Laarmann and Stefan Weil saw the opportunity to relocate Frontpage from Frankfurt to Berlin. Here the group of technology lovers found a new kind of energy, in which established clubs were exchanged for abandoned warehouses and the sounds of Frankfurt's well-formed techno scene were exchanged for acid house sound. Although the newly reunited city had already embraced underground punk and techno movements, the merging of East and West offered new opportunities for countercultures to thrive, and techno-fueled raves broke out of the capital, defining the '90s as the “German Summer of love ”. During all of this, Frontpage was always on the pulse of the redefinition of the techno culture that was going on in front of them. Partying was a full time job for the magazine's team and techno was the mantra they lived their lives by. Frontpage's enthusiastic reporters published stories about emerging sub-genres, interviewed famous artists and presented the latest releases and trends as well as the mood of the scene. Mixing serious, chin-stroking reviews with candid editorial voices, the team wholeheartedly welcomed the hedonistic decadence of the raves. With columns like “Shopping on Speed” , “Hardcore Decadence” and, perhaps the most famous,“Octopussies,” in which a group of female contributors were given a monthly budget to attend parties and document their wild stories, showed the magazine its edge.

In addition to its content, the magazine also excelled through its design thanks to Art Director Alexander Branczyk, who took over the post in mid-1992. Frontpage's pages contained erratic typography and shaky images, and were tainted with the ecstasy of rave and techno culture. During this time Jürgen Laarmann developed into a kind of philosopher of the techno scene, and when he spoke to Spiegel in 1996 , he considered that "techno is a kind of cultural principle", as for Laarmann EDM (electronic dance music) a potential, an opportunity for people to shape their lives with a feeling of freedom. Despite this feeling, others had less romantic views of Laarmann and Frontpage. Because some scene nesters claimed that the magazine used its platform to market its own projects through others. Regardless of the motifs, Frontpage dominated the art of avant-garde reporting with its biting articles and well-known style and undeniably shaped the German rave culture until the magazine's final publication in 1997.

#Rewind #Nineties #Design #90s #Long Reads #Frontpage #Clubculture #History #Magazine #Techno #Germany

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inappropriatefangirlneeds · 7 years

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I was tagged by the inspiring @sunlitroom to describe myself using using photos saved to my computer. Thank you! Due to various reasons I changes this to using only pins I already pinned on that godawful pinterest site.

Tagging: Everyone who wants to do this!

Am I going to blatantly ignore the thought behind that whole thing of letting the pictures speak .. I guess I am .. but it´s like 3am rambling mode

Everyone should listen to Dickie Dawson, .. not to everything but to that, that´s mostly as much as I´m going to try tell people what to do

Ludwig II the irresponsible selfish fuck I relate too much to & his planned but never happened Schloss Falkenstein because well that feels symptomatic and simply because it is gorgeous and I love the clear cut lines and simple styles as much as I do love the dreamy, ornamental over the top so much overloaded with details that if it were food you´d have to vomit due to the sugar things

A Victorian or baroque gown (just no watteau pleats please .. or yes to watteau pleats .. they kinda can be like capes and that´s neat .. I don´t know about watteau pleats anymore .. ) could occupy that spot as well but I took the drapey black scarf thingie because that´s what I feel more like currently and I wish I had more of in my closet to take out and hide in it

Scorpius and his pet lizard (John) because space and lizards and it reminds me of a lot of ship dynamics I like, and Scorpsy once truly frightening villain now is someone I think of trying to find comfort, daydreams ahoi

Berghain simply because of the architecture and because it was a moment of daring and bravery aka going out of my comfort zone but more than the claim that I did it was not gained from it, missed and taken opportunity win and fail in one, the eternal nah that taints every yay, but well that one was overall not unpleasant,

Ancient Egypt always and still interesting and connected to a dream I never followed thus could not turn into a nightmare

Octopodes that animal people used to say are ugly and creepy and slimey yet they always looked so elegant and gracious to me, well I was pleased once I found out they are clever as well

Discourse and other peoples courage, just because someone said I looked like I´d stab someone with that think in my hair, not at all a moment I like to remember but the embarrassieren things stick

I´m small and used to be into books, that was something past me wanted to have

Olivier de Sagazan because finding his art reminded me of a very vivid dream, and it´s not quite at all similar, I can´t find something quite similar which feels symptomatic as well .. (if only I could draw) but that was one that really stuck with me for creativity and creepy reasons

Duct Pool Dead Tape that´s me .. right there, words, puns, silly “excitement” over stuff and things

#thank you for tagging me!#personal #sometimes I feel like I´m bothering people with tagging ..#aesthetic

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mastcomm · 5 years

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Protesters and Politicians Rally to Protect Berlin’s Clubs

BERLIN — On Wednesday afternoon, about 300 protesters gathered in front of a municipal building in the southeast of Berlin, dancing and holding signs. “All clubs are beautiful,” one placard said; “The day I stop dancing is the day I stop breathing,” read another.

Accompanied by loud techno music, they had come to protest the impending closure of Griessmuehle, a well-known nightclub. As has happened to numerous Berlin venues in recent years, the club is being evicted because new owners plan to redevelop the site.

Several politicians addressed the crowd, including Martin Hikel, the mayor of the Neukölln district, where the protest took place. “There is a consensus among parties that club culture should be protected,” he told the demonstrators, adding that there was “the political will” to take action on the issue.

Berlin is known for its freewheeling club scene, but in the last decade, that culture has come under increasing pressure from real estate investors and infrastructure projects. The situation is complicated by an acute housing shortage, and the city’s dramatic economic growth. In recent years, many formerly abandoned spaces have been redeveloped as offices and apartments, and real estate prices have soared.

According to the Club Commission, a group dedicated to promoting and protecting Berlin’s night life, about 100 clubs have closed over the past decade, and about 25 venues are currently under threat. There’s even a German word for it, “clubsterben,” or “club dying,” that has entered the mainstream lexicon.

A growing number of politicians from across the political spectrum have taken up the cause, partly to protect the venues’ unique role in the city’s cultural fabric, but also because the clubs are moneymakers for the broader economy. According to a study by the Club Commission, tourists visiting Berlin for its club scene contributed 1.5 billion euros, or about $1.66 billion, to the capital’s economy in 2018. The clubs have also played a large role in attracting young workers for the city’s start-up scene, which many politicians see as crucial to Berlin’s economic growth.

In an interview, Lutz Leichsenring, a spokesman for the Club Commission, said, “It’s easier to attract start-ups to Berlin than to Munich and Hamburg. And that’s not because we have better shopping options.”

In recent years, as gentrification has driven a rise in disputes between venues and residents, and led to many closures, other major cities have started initiatives to protect club culture. Amsterdam, London and Paris have all appointed “night mayors,” and, in 2017, New York established an Office of Nightlife to mediate between bars and clubs, the government and residents. But perhaps no other major city in the world is as defined by its club scene as Berlin, or stands to lose so much, both economically and culturally, if too many venues disappear.

The city’s club culture, which emerged in the 1990s after D.J.s and organizers began throwing parties in ruined buildings after the fall of the Berlin Wall, is known worldwide for its focus on techno music, and for its unvarnished, anything-goes nature. Many parties, including at Griessmuehle, go on for several days.

This fall, Caren Lay, a lawmaker for the Left party in the German Parliament, proposed legislation that would offer clubs greater protection from rent increases and strengthen their classification in building law. In an interview, she explained that clubs were placed in the same urban-planning category as brothels, making them vulnerable to eviction. She would like them to be considered as cultural institutions, on a par with theaters and concert halls, she said.

“If more good clubs close, we would be on our way toward being another boring, faceless city,” Lay said.

More people come to Berlin to go to Berghain, one of the city’s most famous techno clubs, than to go to the Staatsballett, the ballet company, she said. “Both are great,” she added, “but it’s time they are seen as being on the same level.”

The Greens have made a similar proposal, and Lay said she hoped that the resulting public pressure would force members of the governing coalition — comprising the center-left Social Democrats and Chancellor Angela Merkel’s center-right Christian Democrats — to adopt more protective measures when Germany’s building law comes up for debate later this year.

Since 2018, Berlin’s state government has also offered €1 million in funding annually to support soundproofing measures in clubs, an effort to limit conflicts between venues and nearby residents.

Yet, despite state support, many clubs remain at risk. This fall, the KitKatClub, a popular fetish and dance venue, announced that its landlord had refused to extend its lease, though negotiations were still ongoing.

Several other well-known clubs, including About Blank and Salon zur Wilden Renate, are threatened by a planned autobahn extension. The project, which was proposed over a decade ago and is meant to allow drivers to bypass the city center, is the subject of a continuing dispute between the federal and state governments, and is likely to be a major issue in next year’s state elections.

Griessmuehle, which was founded eight years ago on the site of a former noodle factory, is sandwiched between a canal and a train line. It has a playground-like outdoor area and has become known for its open-air events, and for hosting a monthly, multiday L.G.B.T.Q. party called Cocktail d’Amore.

David Ciura, the club’s managing director, said he first spotted the space while riding past it on a train, and managed to negotiate a sublease agreement with its former occupants, a logistics company, in five minutes. “That will not happen again,” he said in an interview.

The property was sold four years ago to a subsidiary of S Immo, an Austrian real estate company. Last summer, the new owners announced that they would not renew the club’s sublease. In a statement, a spokeswoman for the company said that the plan was to build “offices, lofts and workshops, as well as a community hall” there.

This week, state and local lawmakers, and members of the Club Commission, negotiated concessions from the new owner, including allowing the club to hold a closing party and exploring the possibility of opening a new club space in the developed site. Ciura said he did not want to jeopardize negotiations by commenting on them, but he added that “without the politicians getting involved and pushing the conversation, nothing would have happened.”

“Without the clubs, not only the direct but also the indirect flow of money into the city would decrease,” he said. “A lot of politicians now have it at the top of their agenda, but the more politicians take up the subject, the better.”

from WordPress https://mastcomm.com/entertainment/protesters-and-politicians-rally-to-protect-berlins-clubs/

#Entertainment

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buttonholedlife · 5 years

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10 Leftfield Techno Standards from the Deepchild cage

We've all of been there certainly, mid burn during an excellent techno collection and certainly there and also see, a searing, unknown cut of electronica you haven't heard before and also properly, you only need to recognize what it is actually as well as Shazam ain't participating in round.

Fear not, Australian shouldered, Berlin located selector Deepchild has examined his personal dog crate and also uncovered some intellectual benefits for '10 Left behind field techno standards' to show your friends at kick-ons.

The list observes the spine to support releases on the Seppuku tag with 'Swagz' and the 'Methods with Knives' EP which are actually each unsafe littles dance-floor kit that'll get back at one of the most obstinate feet relocating.

Dj Spooky-- Reload (Jimmy Edgar Edit)

Spooky's 1995 traditional jack-track still appears incredibly new, 25 years after it is actually launch. This is percussive, alcoholic, body-music perfection! Edgar's rework ads sheen, stand out, latch as well as fizzle to an ageless original.

Levon Vincent-- Affection Technique

Levon Vincent's equipment funk perceptiveness are identical parts sleaze, sweat and also sex. Affection approach lurches and also grunts like an after-party extended 2 days past its own target date. Shining, post-human funk of the dopest purchase. The planet requires even more Affection procedure.

Modeselektor-- The Afro-american Block

Modeselektor cracked every thing. No, actually. In an ocean awash with gaunt frowns, slim black denims and also man-buns, their irreverence connected splits. Integrating diamond vigorous minimalism and criminal attitude, their hedonistic hybrid of hip jump, dub as well as acid irreverence is actually infectious, extremely imaginative and near to ideal. Take place, battle me.

Kevin Saunderson Excellent Affection (jay haze edit)

Jay Fog possessed his minute (much more than a couple of infact) as the 'enfant dreadful" of a brand-new surge of Berlin expat manufacturers in the early 2000s, incorporating streetwise sincerity and unapologetic perspective along with a wildly assorted result-- covering low experiments along with Ricardo Villalobos as well as booty workout sessions along with Samim, to lesser-known remixes similar to this offering for Kevin Saunderson.

Awash in thrilled yearning, this remix is actually a dim home masterwork which hardly leaves my pet crate. It's likewise a pointer to me of the profoundly vulnerable as well as transformed guy I familiarized in Jay years eventually.

Kraftwerk-- Exposition 2000 (Abe Duque Remix)

Abe Duque is actually Nyc acid aristocracy. Dlassics like "What Occurred? (accomplishment Blake Baxter)" set THE high watermark for low-slung 303 sleaze much just before the acid home rebirth which adhered to one decade eventually. Duque's grunty bootleg rework of this Kraftwerk standard is dark, unrelenting and also ports like a muel. Important peak time grind.

Martyn feat. Spaceape-- Is This Insanity? (Ben Klock Remix)

"Parasitical attribute is the human rescuer, and restriction Fumbling and also fussing as we artificial habits, in the mutation."

2010 saw Berlin major rooms turn certainly against the supposed "deep-seated property" resurgence, ditching the onset of technician house indifference and also vanilla "soul" in benefit of far darker tones. Martyn's "Is This Craziness" took advantage of the pythonic tones of The Area Ape (best known for his collaborate with Funeral) on this seething and dystopic canal, reconstructed through Berghain resident Ben Klock to impressive, ghostly affect.

Cosmin TRG-- Izolat

Released on Modeselektor's "50 Weapons" print in Berlin, Cosmin TRG's "Izolat/ Separat" EP left behind a memorable smudge on Berghain's main-room pile. Carrying and also improving his UKG sensibilities coming from releases on the UK's Hessle Audio, this Izolat is actually a strikingly pared-back techno tool-- wincing, all natural and cavernous. Techno perfectness.

Blawan-- Why They Hide Their Physical Bodies Under My Garage?

Can a keep track of be deemed "leftfield" when Skrillex bootlegs it? The authentic surely was actually, as well as continues to be a contender for the "greatest track label of all opportunity" award. Blawan remains to sit atop crown of 'correct' techno nobility, using this grimey initial cut binding his growth as authentic youthful royal prince of the brand-new institution experimentalists.

Plastikman-- Spastik (Dubfire Rework)

It is actually tough to fault this risky big-room tool; which checks out as THE conclusive tribute to the TR-909 drum maker-- and was actually indeed initially penciled utilizing one through Richie Hawtin in 1993.

Offered the Dubfire therapy, Spastik ends up being a heaving, mutant funk exercise-- with nary a vocal bonnet, pad or regular 'hook' in sight. As an engineering wonder, this jam loopholes its own technique in to immensity-- and is a happiness to control as a DJ, along with it is actually crucial parts virtually mystically 'tuned' to the low, mid and also higher bands of a 3 channel mixer.

Toss an acappela over the leading, and witness a physical exercise in unequaled techno pureness.

Aphex Identical Twin-- Rhubarb

Techno certainly not techno. At times side, techno is maybe considered an 'adventure' as opposed to an audio-- as well as Aphex Twin's trace on the style's continues to be indellible. Rhubarb is among the paths you recognize, yet most likely don't understand you recognize.

It is actually an ambient job, certain-- but it's also the wounded weep of techno's enduring futurism-- a peek into a strangely individual future our company are still hurting to materialize, and a bonafide remedy for completion of any sort of rave. Spiritual things.

Ooooft, pair clangers for the following weekend break it seems to be! Be actually sure to also stand out Deepchild's newy in there at the same time as well as for those in Sydney, record him at Job half-done's 13th bday this Saturday with Stereogamus, Matt Vaughan, Ayebaton and also more.

https://soundcloud.com/deepchild/sets/tricks-with-knives-ep

This content was originally published here.

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fashiontrendin-blog · 6 years

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The Best-Dressed Men Of The Week

http://fashion-trendin.com/the-best-dressed-men-of-the-week-26/

The Best-Dressed Men Of The Week

Who: Henry Cavill

Where: CinemaCon, Las Vegas

No stranger to a blue super-suit, Superman himself, Henry Cavill, eschewed the red pants on this occasion for something more tailored. The blue on the jacket is so electric it’s shocked us into static, but Cavill works it with a black shirt and trousers to make the colour pop. No-break suit trousers are working well this year, and for a man with Cavill’s shoulder boulders, a generous fit on the jacket is the way to go.

Who: Sebastian Stan

Where: Jimmy Kimmel Live, Los Angeles

Stan is making near-constant appearances on our list since the juggernaut Avengers: Infinity War publicity machine rolled into action a millennia ago. It’s hard to play a checked grey suit casually, your best bet being to leave it alone to do its thing with a white tee or a luxe cashmere or merino wool jumper. If you go the knitwear route take you cue from Stan with a tonal shade.

Who: Eric Underwood

Where: Azzedine Alaia Flagship Store Launch Party, London

A former soloist with the Royal Ballet, Eric Underwood would, unbelievably, have to paint his own ballet shoes black to match his skin colour, such was the lack of diversity in the industry. Out of the leotard, Underwood looks as elegant as you would expect in a natty double-breasted pinstripe suit from Hackett.

Who: Jamie Foxx

Where: CinemaCon, Las Vegas

With most Hollywood stars having a team of stylists behind them, pushing and preening them into a collection of safe suits and jaded jackets, it’s actually rare to see a daring style move on the red carpet. And then there’s Jamie Foxx, stepping forth in a whirlwind of charisma, with a matching sky blue shirt-trouser combo, with blocks of white up the sleeve and trainers so chunky Goliath would likely use them as a doorstep.

And yet, it works. The whole look is like a futuristic boiler suit. Whether anyone else could pull this off is another thing.

Who: Usher

Where: LAX International Airport, Los Angeles

A lot of A-listers dress down for the airport, but Usher takes a different approach, mainly by looking like he’s rocking up to Berghain (only with more lax security). The satin bomber jacket has been cool since Drive, but it’s always going to be a statement you want to pare back – Usher keeps it simple with muted black pieces. Just follow his lead and not Kanye’s. ‘Binman chic’ won’t get you into the nightclub.

Who: Johannes Huebl

Where: Mr Porter x Prada party, New York

Trust the ever-stylish Johannes Huebl to steal the limelight at a fashion party wearing nothing more than some distressed jeans and a blazer with the collar up. As Mr Porter unveiled its capsule collection with fashion heavyweights Prada, Huebl balanced the dark look with some could-I-care-less white sneakers. Sometimes simple wins.

Who: Ne-Yo

Where: World of Dance FYC Event, Los Angeles

Singer-songwriter Ne-Yo’s biggest hit was the song ‘So Sick’, a ballad about a character who is sick of hearing love songs. You know, a bit like you were of the song ‘So Sick’ in 2005. Anyway, that’s enough battering the music. Let’s admire the genius of pulling off a fedora with jeans. The seemingly impossible is achieved by keeping the outfit sleek, shoelaces brighter than white and the roguish swagger of that leather jacket.

Who: Derek Hough

Where: World of Dance FYC Event, Los Angeles

If you hadn’t already clocked it, there’s an abundance of black and blue in this week’s line-up, proof that staple shades are your wardrobe’s hardest workers. That doesn’t mean they have to be boring, though. Take Derek Hough’s pyjama-style shirt with contrast piping matched by the similar white sneaker tread on his black brogues. See, monochrome needn’t mean mundane.

Who: Andrew Garfield

Where: Tony Awards Nominees photocall, New York

And breathe. The bruising amount of black and blue is over, finito. Let’s admire the colour of passion, fury and lust as sported by all-around nice chap Andrew Garfield. It’s not a fiery red, more of a cautious claret on a menswear staple, the bomber jacket, matched with relaxed brown chinos and laid-back Derbies. This is how you do easy smart casual; considered but not over-thought.

Who: Lewis Hamilton

Where: Vogue Designer Fashion Fund reception, London

Hypebeast steampunk or futuro pied piper… there are a million ways to describe Lewis Hamilton’s dress sense, none of which you should ever take after. But recently the style confusion has parted. There are still hints at the F1 champ’s previous flamboyance, but it’s been tapered back. Case in point is this glittery, floral blouson cropped just above the hip, toned down by the black trousers. The metallic watch strap also works well with the silver on the flowers, as does the jumper. It’s a work in progress but at least he’s still not going after ‘sheikh chic’.

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monique-ratana · 6 years

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Identifying and Describing Influences to Atmosphere of Berghain

At Berghain the atmosphere is created to directly experience history through the recreation of the underground techno scene in Berlin. When the Berlin Wall collapsed rave and industrial techno brought the people from both sides together in illegal and underground parties in abandoned buildings around the deathstrip. The Berghain is aesthetically produced to mimic these times visually, mentally and through sound and movement. In being so staged people all are experiencing a strongly similar atmosphere which is a reflection of its purpose.

An atmosphere is influenced within and outside club through the architecture. The location of the techno club, Berghain, is an impressively large 1950s neoclassical heating power plant. This is situated on the previously existing border of the East and the West. The building is raw and stripped back contributing the the industrial feel of the space and giving the illusion of abandonment, secrecy and neglect. The entirety of the site is left undeveloped with wire fences around. The fence creates a feeling of trespassing which builds adrenaline for the rebellious and less refined of society for a supposed illegal partying experience. The Incredible sized hall inside is staged as a dance floor with the speakers hanging the 18 metre high ceilings. The interior rooms vary in size and accessibility providing a free and experimental environment or space making you feel open to experiencing new things and mirroring the experimenting with alcohol, sex and drug culture that came after the fall of the wall.

Music is highly important in creating an atmosphere at Berghain. The music is carefully selected and hand picked to represent the beginnings of underground techno music which began there, as oppose to the more mainstream which is commonly used in a clubbing environment. The industrial, or empty sounds matches the industrial and empty architecture. A variety of forms of music are used which appears largely experimental and also in less professional forms such as soundclound which creates a sense of community among musicianship. The DJ takes sound cues from the pulse of the crowd and is rather an instrument of the crowd which enhances the euphoria of the sound/movement relation. The sound heard by a raver is a floor to the four beat with bass drums on every beat has been describe to create a rhythm among feet.

While dance is informed by atmosphere it also influences the atmosphere. In rave dance the cues of movement are taken from techno music, the beat and consciously instructs a certain type of dance involving the shuffling of feet and subtle robotic arm movements. This type of dance is quite individual and self enjoyed going with the flow of what you feel from the technical environment around you rather than as a performance or being enhancing or attracting. You feel a need to dance in this way by way of the environment and when every other person is also dancing in this way you feel included and like you are a part of something bigger, the swell of the dancing crowd which then feeds back into the music and beats. It is very self expressive and breaks down ideas of class in society. People from the West and East Berlin danced to techno music together and this broke down all of these barriers, which was referred to as the wall in people’s minds. The freedom from judgement and in bodily expression all contribute to the experimental unstructured party scene.

A contributing factor to atmosphere by means of extreme yet arguably unethical control is the people who are allowed to contribute/experience Berghain. There is a rather unpredictable selection of accepted visitors of those who line up. The bouncers decide who gets to be a part of the atmosphere and thus visually and spiritually contribute. Dark and casual clothing is thought to be the dress code but many people are turned away based just on their look and being. The process of selecting who can enter the space largely contributes to the atmosphere and it is something that is not commonly heard of or practiced. Visually and being wise letting in only specific people adds to the significance of simply being in the atmosphere which in itself is another invisible layer of atmosphere when you are experiencing Bernheim through feelings of privilege or even an acknowledgement of yourself giving you a sense of value.

#Week 3 #Task 2

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foursprout-blog · 7 years

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Life’s Better Unplugged: The Value Of Cell Phone Bans In The Music Industry

New Post has been published on http://foursprout.com/happiness/lifes-better-unplugged-the-value-of-cell-phone-bans-in-the-music-industry/

Life’s Better Unplugged: The Value Of Cell Phone Bans In The Music Industry

Sos Adame

Technology has drastically improved our world. In a matter of seconds, I can send a video clip to my boyfriend across the country, I can Skype with my mother in the Midwest, I can Instagram a memory of my sister and I and remind her how much she’s loved. With technology, I’m able to talk with friends and strangers from across the globe, discuss writing, sell products, express thoughts, engage and celebrate both our similarities and differences. I can make loved ones feel as if they are with me during important moments; I can record and relive a blip in time, again and again.

But what happens when technology becomes too much?

What happens when, instead of enjoying an experience we’re trying to capture it for the aesthetic? For likes? For views?

What do we miss out on when we’re so busy trying to share a moment with the rest of the world, instead of just absorbing it?

Daniel Goldstein, known by his stage name Lane 8, is an Denver-based musician, electronic music producer, and DJ who challenges the use of technology in our highly-influenced world. Since the opening of his tour, This Never Happened, he’s put a strict ban on cell phone/camera usage at his shows – making the focus shift from capturing the experience to actually living it.

On his website, Goldstein’s message is this:

“We live at a time when distractions from reality are never further away than our fingertips. Our phones offer us unlimited stimulation and temporary comfort. The possibilities of technology are endless, but they also limit the possibility…the possibility to truly experience and submit to the moment.”

There’s so much truth in that.

One of the things I’ve love about concerts/clubs is the ability to just release – to pull away from every day life, to find peace, to live in the now. But honestly, sometimes I’m so distracted by my phone/camera that I don’t let the music wash over me fully. I want to capture the moment, show it to the world. I want to share the artist/DJ/experience with friends and family who aren’t there with me. I want to experience the event later, and all over again. But when I’m so focused on recording I’m not actually experiencing.

And what’s the use of attending something live if I’m merely going to watch through a pixelated screen, trying to get the best snapshot to post on social media?

Lane 8’s tour pushes back against this cultural norm. He speaks to the experience of music and why the media ban is of utmost importance to him:

“For me, going to a club has always been about letting go of the world around me, like a vacation from the nagging realities of everyday life…The best clubs I have been to, the people were united by a desire to experience electronic music in the purest sense; to get lost in its tension and release,” he says.

“No matter what was going on in their lives, it was a place where, for at least a few hours, nothing else mattered by the sheer power music had to bring people joy. And those experiences – held only by those in that room, at that moment – were almost like the reward to submitting to a secret society.”

In having a cell phone/photography ban, Lane 8 allows for his fans and concert-goers to have that ‘secret society’ experience—a place where they are the only ones privy to the music, the moment, the community. For him, it’s not just about the artist/DJ performing, but about the shared space—the community.

Dance music has always been a communal experience – but how much of that community is lost when we’re all on our screens? All recording videos? All posting Snapchats? Instagrams? Live videos for our Twitter feeds?

“I understand people want to take quick pictures or videos at a show, just so they can remember it later, and I don’t feel there’s anything inherently wrong with that,” Goldstein says, “But I feel we’ve moved to a new phase where the focus is not on experiencing what is happening in front of you, at all, but on using your (phone) photos and videos as an asset to bolster your social media presence. That’s what I object to.”

Lane 8 is not the first producer/performer to implement a media ban; from Dave Chappelle, Bob Dylan and Alicia Keys to Jack White, Björk, Savages and the Yeah Yeah Yeahs, artists have noted and enforced this important change. However, inspired by clubs like Berghain in Berlin and Output in NYC, Lane 8 is one of the first in the electronic scene.

Even though this genre is heavily influenced (and ultimately created) by technology, taking a step away from that is actually getting back to the roots of the music experience – community, connection, and release.

‘This Never Happened’ and Lane 8’s media ban are all about mindfulness – being present, being authentic, being here.

And in removing the screens, he gives people a space for dancing, for interacting, for letting go of inhibitions and societal pressures, and for having fun rather than worrying about having the best thing to post.

He sums up his goal perfectly in a letter to fans, “Sometimes the best thing we can do is fully appreciate what is happening in that room, at that moment, with those people around us.”

And this, we can only do when our phones are put away, and our hands are joined with those around us—celebrating right here, right now.

#Happiness

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nofomoartworld · 7 years

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Alchemy. The Great Art

In medieval Europe, alchemy was the Ars magna, the ‘Great Art’.

Sarah Schönfeld, All you can feel, Crystal Meth (Planets), photo-pharmaceutical series 2013. Crystal Meth on photo-negative, enlarged as c-print

Alchemie. Die Große Kunst/Alchemy. The Great Art (exhibition view.) © Photo: David von Becker for Staatliche Museen zu Berlin

Alchemy. The Great Art, a show which will close this Sunday at Berlin’s Kulturforum (i’m writing this post in a hurry in the hope that some of you might still catch it) explores the enduring relationship between alchemy and art. The alliance between the two fields is an intimate one: both art and alchemy are about creation, both rely on experimentation, knowledge-seeking and passion.

Mixing historical artefacts and contemporary artworks, the exhibition also rehabilitates alchemical practices and illuminates their legacy. We often dismiss alchemy as a charlatan pseudo-science which sole purpose was chrysopoeia (the making of gold.) Most of its adepts had a very modern pursuit though: they wanted to imitate the divine act of creation itself and even to surpass it. This drive to transmute existing matter into a man-made compounds still influences many artists (and scientists) today, especially the ones whose work investigates processual transformation of material.

The parallels between the old-time practice and contemporary life do not end there. The need to mine the alchemical “first matter” (prima materia) from below ground echoes our ‘extractivist’ society. As for the creatures of doctors Faustus and Frankenstein and the disquieting new forms of life elaborated in research laboratories, they are the scions of the homunculus, this tiny human being grown in a glass jar and depicted in medieval manuscripts.

While searching for the philosopher’s stone, the elixir of immortality or the panacea, some experimenters made – sometimes by chance – discoveries that paved the way for modern chemistry and pharmacology. The by-products of alchemists’ exercises, such as porcelain, gold-ruby glass and phosphorus, are still very much valued today.

Alchemy. The Great Art manages to pack the historical, the spiritual, the hocus-pocus and the protoscience dimensions of alchemy into a rich and fascinating show. My pitiful article, however, doesn’t have the ambition to cover the multiple perspectives on alchemy presented at Kunstforum. It will mostly look at a few artworks i discovered while visiting the show:

One of the focal points of the exhibition is Sarah Schönfeld‘s Hero’s Journey (Lamp). Over a period of ten weeks, the artist asked partygoers of Berghain, allegedly Berlin’s most exclusive nightclub, to donate their urine. She then treated the yellow liquid with an antimicrobial agent often used as a preservative in the cosmetic industry.

The biological excretions are now contained inside an illuminated glass case. The urine shines like gold and constitutes a kind of monument to the club’s mythical status as well as to the ecstatic emotions induced by recreational drugs.

Sarah Schönfeld, Adrenaline – Adrenaline on photonegative analogue, enlarged. From the All you can feel series

Sarah Schönfeld, MDMA on photonegative analogue, enlarged. From the All you can feel series

For the All You Can Feel photo series, Schönfeld developed a process that she calls “modern alchemy.” She sprinkled all sorts of mind-altering substances, from caffeine to neurotransmitters, onto photo negatives. The results of the chemical reactions between the negative’s emulsion and the drug was then submitted to photographic process.

When asked by VICE how she managed to create images that match so adequately the feeling that these various drugs impart, the artist answered:

Well, I didn’t think that when I first produced the work, but after I published the book (also called All You Can Feel) a lot of people said yes, this is how it feels. And what was really interesting is that I got a call from a drug rehabilitation center and they said that they had run their own little experiment. Without explaining the images, they had shown the book to their patients and asked them to pick a favorite. Every single one of them chose their drug of dependence, with 100 percent accuracy. Even the secretary who only ever drank coffee chose caffeine.

It was particularly interested in the suggestion that photography, an artistic discipline born out of darkrooms and chemical laboratory experiments, used to be surrounded by an alchemical aura. Schönfeld’s work evoke photograms, the photographic image made without a camera by placing objects directly onto light-sensitive paper which is then exposed to light. There were some beautiful examples of photograms by Walter Ziegler in the show but i can’t find any image of them online, alas!

Heinz Hajek-Halke also experimented with photographic processes, exposures, instruments and materials. To create his “colour lucidograms” series, he drizzled soot-blackened glass negatives with liquids such as turpentine to produce craquelure-like patterns as the original congealed.

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Peter Fischli & David Weiss, Der Lauf Der Dinge/The Way Things Go, 1987

Der Lauf der Dinge (The Way Things Go) is a famous video that follows a 30 minute long, uninterrupted chain of physical and chemical experiments full of carefully prepared explosions, accidents, fires, etc.

The Ripley Scroll, 18th century (Mellon MS 41, Beinecke Library). Alchemie. Die Große Kunst/Alchemy. The Great Art (exhibition view.) © Photo: David von Becker for Staatliche Museen zu Berlin

The ‘Ripley Scrowle’ (detail), 18th century. Image: Beinecke Library

The copy of the Ripley Scroll i saw at Kulturforum is one of the most exquisite artifacts i’ve seen this year.

There are some twenty copies of these alchemical scrolls in existence. Each of them is a variation on a lost 15th century original. The manuscripts use pictorial cryptograms to detail the various processes involved in the preparation of the philosopher’s stone.

Although they are named after the English priest, author and alchemist George Ripley, there is no evidence that he designed them himself. The link with the alchemist is that the elaborate imagery of the emblems derives from his verses.

This watercolor shows that many early alchemists used instruments similar to the ones pharmacists or chemists would use later.

Sigismund Bacstrom, Device for Distilling Lunar Humidity, 1797

Johann Friedrich Böttger, Gold- and Silver nuggets, circa 1713. © Staatliche Kunstsammlungen Dresden, Porzellansammlung. Photo: Hans-Peter Klut, Elke Estel

One gold, one silver nuggets, allegedly transmuted by Johann Friedrich Boettger for King August of Poland in 1713. Boettger probably made them from ducats to win the King’s favour.

Louis-Jacques Goussier: Chymie, Laboratoire et Table des Rapports, in: Denis Diderot, Encyclopédie, 1771. © bpk / Staatliche Museen zu Berlin, Kunstbibliothek. Photo: Dietmar Katz

Yves Klein, Anthropometrie in IKB on Monogold, 1965 (exhibition poster), Galerie Alexandre Iolas, Paris. © Yves Klein / VG Bild-Kunst, Bonn 2017

More views of the exhibition space:

Alchemie. Die Große Kunst/Alchemy. The Great Art (exhibition view.) © Photo: David von Becker for Staatliche Museen zu Berlin

Alchemy. The Great Art, an exhibition curated by Jörg Völlnagel, remains open until Sunday 23 July at Kulturforum in Berlin.

Previously: The Occult, Witchcraft & Magic. An Illustrated History and Artefact: are technology and magical thinking really incompatible?, From swarms of synthetic life forms to neo-alchemy. An interview with Adam Brown.

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#IFTTT #We Make Money Not Art

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