o, last week, an article of mine was published on Resident Advisor, entitled “An alternate history of sexuality in club culture.” It’s success was truly surprising—especially considering that the whole thing ran well over 8,000 words long! Despite its exceptional length, one of the hardest challenges I had in writing this article was to keep it short(er), because there was just so much to write about. That’s also a good thing, in the sense that it means that there’s still a lot to say about queer nightlife and club culture, but I was especially pained to have only included a few brief quotes from the fantastic email-interview I did with Terre Thaemlitz/DJ Sprinkles. Despite being a very busy producer, speaker, alternative historian, etc., she was immensely generous with her time, answering all of my questions in great detail. It seemed a tragedy that most of the interview wouldn’t make it into the RA article, so I’ve arranged to have the full interview published here (more…)
a Mission has been a big part of my life here in Berlin since last summer, but strangely enough it’s taken me nearly a year to get around to writing about it on this blog. Maybe I wanted to wait until the first round of multimedia craziness emerged from this performance art collective / music label / magazine, before I started crowing about it. Maybe I was too shy about discussing my own creative work. No, wait…I remember why: I was on the academic job market last fall, which meant that I got nothing else done.
La Mission is a lot of things, including a satirical doomsday cult, a music label, a magazine, an art collective, and a group of dance-music-lovers with a very dirty sense of humor. La Mission’s identity is perhaps best summed up by cult-leader El Jefe’s manifesto/sermon, “The Sermon for the Steps of the Ziggurat in our Hearts,” published in our first La Mission magazine: (more…)
esterday, there was yet another anti-GEMA demonstration held at Boxhagener Platz in Friedrichshain, just in front of the bar/club Stereo 33. There have been an ongoing series of these demonstrations in Berlin since at least late spring, but this event was interesting for how it mixed music and talk, as well as themes of culture and money.
For those of you who haven’t been living in Germany over the past year and haven’t been bombarded with (more…)
ast Sunday, Süddeutsche Zeitung’s bloggy online stepchild Jetzt.de published a brief article entitled, “Everything is so wonderfully different here!” (Alles so schön anders hier!), which sketches out a semi-serious/semi-satirical typology of the kinds of vacation photos you’ll find on your friends’ Facebook, Twitter, Tumblr, and Instagram feeds (oh, and Google+ too, I suppose). Lately, I’ve been been up to here (*points to neck*) with work, preparing articles for publication and getting a book proposal ready and preparing for the job market and figuring out how to renew my visa and my passport at the same time and entertaining a constant stream of house-guests and AAAGH TOO MUCH. So, following the example of my post last month where I translated part of a German-language article on negative stereotypes about tourists, I thought I’d do the same with this article. Like that earlier post, I’m only translating a small portion of a longer article. If you can read German, I encourage you to check out the original article here; if you like what you read and wish you could read it in English, send ’em an email and suggest that they hire a brilliant and attractive freelance translator (*ahem*) so that you can read the whole thing.
1. The Ethnic Picture (Das Ethno-Bild) (more…)
ecently, there’s been some more news on the Holzmarkt/Mörchenpark project. The city has changed its plans for the property that’s up for sale, and this might benefit the bid and development proposal put forward by the Holzmart/Mörchenpark team. In a recent article in the Berliner Zeitung (from which I’m getting most of my information for this update), the author Karin Schmidl summarizes the changes thusly: “No high-rises, no office-building monolith, no hotel blocks.” Whose development proposal was already free of all these things? That’s right: Holzmarkt.
As you might recall (more…)
uckily, I managed to find a bit of time today to write this second part to this series, so I won’t be saddled with guilt about making promises to write more on my blog and then not fulfilling them. Yay productivity! So, to review: yesterday I wrote “Doing Nightlife Fieldwork,” which claimed that there wasn’t enough helpful writing out there on how to conduct ethnographic fieldwork in nightlife scenes. It’s a problem, I think, that we don’t at least have a shared idea of what “best practices” would look like; this is an important ethical and institutional issue for EDM studies, for sure. I listed a few ways that nightlife settings throw a wrench in conventional ethnographic methods and invited other folks to write in the comments and/or write response-posts on their own blogs. The comments have already been great, and there’s talk of a few of my EDM-scholars-with-blogs buddies preparing their own posts. Today, I’m going to focus on one of the main elements of music ethnography: attending music events and engaging in participant-observation. I’ll describe how (more…)
ouldn’t it be great if there were a book entitled, “How To Do Fieldwork in Nightclubs and Bars?” Certainly, when I was working on my own dissertation, I wished that other nightlife-researchers would be more open about their methods and more generous about giving advice to new ethnographers of nocturnal scenes. To be honest, a fair number of nightlife-researchers have published some details about their methods; it’s usually tucked away discreetly in an appendix or in a section of the introductory chapter. But these brief methodological reflections often lack too much detail to be instructive and—frankly—I’m not always satisfied with their solutions to the problems of nightlife fieldwork. Despite all my griping, I have been guided by the methods of some nightlife researchers, such as Fiona Buckland in her book Impossible Dance: Club Culture and Queer World-Making (2002).
In any case, very few nightlife ethnographers actually describe their research methods in detail, even though the circumstances of nocturnal scenes often pose difficult challenges to conventional fieldwork methods. Just a few of these are: (more…)