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Deep diving: Sex positive safer spaces and darkrooms in Berlin Photo: Daniel Iglesias Being explicit about ones’ preferences, fun enough to fulfill fantasies and brave enough to head to the dark rooms – even with strangers, are all things many people would consider as sex positivity. What about using substances that trigger excitement and relaxes you - yet knowing your own boundaries inside the dark rooms? We got interested in the good - the bad - the beautiful, and - the ugly when it comes to this topic. What responsibilities do the clubs have and how can we keep on enjoying the celebration of sexual freedom yet keep people safe from sexual assault. The words sex and positive put together are presumed to be feministic and carry a strong foundation of bravery and confidence. But do sex positive spaces have any dark sides, and does being sex positive also mean that one has already faced demons and traumas from the past, something that many women and queer people assert. The experimental part of the word can include discovering sex fantasies and bringing them to life. A common one is having sex in public; with a person you don’t know and have never spoke to or having sex surrounded by others who are also enjoying themselves. Sex positivism includes those sexual activities that should be consensual, healthy, and pleasurable - as well as experimental. It also advocates for sex education and owning the way one enjoys to have sex. Berlin is a city filled with ”sex positive spaces and clubs” if that means having a dark room, and being able to be naked and maybe pleasure yourself sexually amongst others. Also, they often include people who have been consuming alcohol, drugs or both. We’ve met people who have been experiencing some of their absolute most glorious sex moments in clubs, some who have had to deal with the trauma it caused and some who are fighting for Berlin’s dark room’s to be safe spaces for everyone. Deep diving: Sex positive safer spaces and darkrooms in Berlin Voices from the inside Emelia – she / her. Would you describe yourself as a ’sex positive person’ if so - why? Yes, I would describe myself as sex positive, even when I'm not currently doing public things. It's fairly well known amongst my friends that I'm a kinky switch and that I have my own 'dungeon' full of toys. I also semi-regularly visit strip clubs and have a Dominatrix that I enjoy seeing; and I love supporting my friends over at Berlin Strippers Collective, as well as Playgirls Stripper Wars when I can. How has Berlin helped you with feeling free with your sexuality, if so? I think Berlin has helped in that there's spaces to explore, and generally people are very accepting. I used to visit a few bdsm clubs, but they've all been forced out of the city. If we feel safe and surrounded by non-judgemental people, then we're more likely to explore and figure out the full depths of our sexuality. Besides that, I used to co-run the English Munch in Berlin, which the fabulous Frau Leader. What do you believe dark rooms bring to the whole experience of ’freedom and fantasies’? Dark rooms give us a space to relax and experience things we may not normally experience. It’s public sex but there's an explicit consent boundary: you don't enter a dark room if you don't wanna see it. I once gained confidence at Berlin Fetish weekend and ended up walking someone through a hotel at 4am on a leash whist wearing killer heels, a corset, and a latex pencil skirt; also, I had the best company after an ego boost by a well-known trans porn star. I did more that night than I normally would. What’s your biggest sex fantasy that you haven’t yet fulfilled? I have one which I was wishing to do, prior to an incident in which someone violated the space of myself and others, so I'll share that here. For a while I've been wanting to incorporate some much shorter, some might say ”sluttier", skirts into my wardrobe, inspired by tumblr Bimbo culture. So, the fantasy is to be invited out to drinks at a bar, that also has a darkroom, by another woman. I’d be wearing quite the revealing outfit, and then after an initial drink, she takes me back into the darkroom, unzips her jeans, revealing her strap-on. Pushing me down to a squat I then must please her orally, before we return to the front of the bar, no one the wiser to what we've just done. I just like the idea of that it'd be our secret, we'd come back, and no one would know she'd just face fucked me with a strap-on that's hiding in her jeans. I'll probably just do this from the safety of a Dominatrix studio instead of a darkroom though. Is there anything about you that makes you hesitate to experience it, if so - what’s your fears and where do you believe they come from? Yes, back in December I went to the bar which inspired this idea, with a friend, and she was drugged, and a man attempted to sexually assault both her and myself. From that night four women were left traumatized by a single pathetic excuse for a man. We of course told the staff who called the police. Although when they arrived, the attacker likely hid in the dark room to avoid detection and arrest. Police didn't bother to search that room. The bartender failed to assist victims. Don't be that police officer or bartender, be a better human being. What do you think you’d need in order to feel safe in dark rooms and be able to fullfil your fantasies there? Mostly just time, and hopefully justice. I would like to urge all bartenders and bouncers to receive correct training in incident response. Further, I'd like to call on Berlin police to actually trust survivors of sexual assault and to have them have a refresher on laws relating to it — after my attempted assault, the police detective said to me ’if he did not penetrate you, then it's not rape’, despite the man trying to force himself on me with his dick out. Attempted rape and using drugs to allow you sexual access to someone without their active consent IS rape. You cannot do anything in a dark room without ACTIVE consent. Deep diving: Sex positive safer spaces and darkrooms in Berlin Photo: Daniel Iglesias Milad – he / him - they / them. Would you describe Berlin as a free space of sexual freedom, and if so - why? Yes, I definitely would. Simply because in comparison to many other cities and environments, Berlin offers by far one of the most liberal atmospheres. Because of my background, I know first-hand what living without political and social freedom feels like. Therefore, it's easier to feel the positive difference. What’s your thoughts on the connection between sexual freedom and Berlin clubs? A friend once told me about nightlife in Berlin that ”it seems pretentious. Why would people need to be naked or in costumes to have fun?” But I replied that literally every other public place always has certain premeditated and tight traditional guidelines and strict unwritten norms aside from the known rules, which usually seem to be designed to socially suffocate and eventually eliminate those who are different, except these clubs. How was your first experience with dark rooms and what did it bring you? I was understandably pretty nervous at first. But it was something I fantasized about for years yet did not believe I would ever really experience. So, to me it felt like, this is it. I finally found my place. Eventually I researched more and worked on myself to accept my nervousness and insecurity when I was inside them. But it's okay to be unsure, it's okay to take time to trust, it's okay to try, and it's okay to let go and let loose. What’s one of the best memories you have from a public sexual experience in Berlin? It’s when I realized that I wasn’t just “the guy” anymore. I was neither “the student” or “the Ausländer”. Instead, I had a deep feeling within that I was just me, I was just being, and following my natural instincts, although of course under consent. In that moment I forgot about all shame, and all years of being unsure or feeling unsafe, misunderstood, or like I’m obliged to always explain myself. I stopped paying attention to divisive attributes such as age, sexuality in a strictly subjective sense of it all, being black or white and I was simply being me. More plainly explained, I’ve experienced some intensely beautiful sexual fantasies in dark rooms and clubs which were in a way life changing. First and foremost, they made me know myself better and gave me a better understanding of others. Do you always feel safe in dark rooms? Mostly but not always, mainly because of the non-moderate use of substances by some guests as well as the occasional lack of basic manners by some people. Nothing is sexier than being considerate. Pornceptual Awareness Team As an Awareness Team, what’s your main role? Raves and sex-positive parties are spaces of opportunity, possibilities, and freedom. However, freedom still involves boundaries. This is where the Awareness Team comes in. We're mediators of people and their limits. How do you work to make people feel safe? We're there to make sure the guidelines that constitute our space are followed. We're present and visible as a reminder that the space is protected and we're there to take care and act in case anything happens. We're there to cater to someone's trip-gone-wrong or to an emotional hijack if they feel they wanna talk it out. But we're by no means actively responsible for their feeling of safety. We're talking about 3000 people each with their own agendas, levels of consciousness, with different backgrounds and expectations as well as needs and triggers. At any given moment something can happen that will challenge someone's feeling of safety and that's why we're not responsible for that but rather for what happens after a violation of someone's safety or feeling of safety. What’s your view on the correlation of substance use and darkrooms? I think the correlation is more between substance use and structural shame and suppression of non-heteronormative gender and sexual identities - therefore individuals - rather than the space these individuals find comfort in. It's no wonder that people feel the need to inhibit themselves when they enter that specific space to claim a part of themselves that has been judged, shamed, or denied. That's not to say that this is the only way someone can access their sexuality or observe their blockages but it’s definitely one way. From my experience, it can be eye-opening and revealing, when consciously used as a tool, but also confusing and destructive when mistaken for the destination or the only way to get there. What's your advice for the guests, who'd like to participate and get involved in sexual acts during a sex positive party? Make sure that you set an intention before going there, and make sure that intention is pleasure-based and as abstract as it can be. Make sure you're aware of the demands and hazards of your sexual practices. Make sure you're aware of your boundaries and limits as well as the ones you want to expand and the ones you're not ready to cross. Make sure you gravitate to personal safety and comfort whether that is provided by yourself, a lover or a friend but make sure you feel safe cause you are entering a space of possibilities. How do you make sure to notice if someone is not following the rules? That's usually rather obvious. In any case, we make sure to always have our people in high risk areas and always go around without interfering in our guests' private spheres. People in sex-positive parties are generally more queer-coded and "aware" in comparison to a mainstream crowd so usually they know how to also spot and report any odd behaviour and look after each other. Of course, there are always some special cases where you don't really need to be super intuitive either but rather adjust your radar to look for "what's wrong in the picture". I think we all understand body language, nuances, and power dynamics so we're trained to know it when we see it. What do you do with people who are violating the rules? You just must be very careful to properly follow the storyline behind a report until you're sure that you have the right picture of it, but from a mediating standpoint not out of mistrust. In the case that someone actually violates our rules, we track them and first we wanna have a talk and try to make it an opportunity for them to understand what's wrong with their behaviour before we decide that they can stay or leave the party, which of course depends on the sort of violation they committed. What responsibility do clubs with dark rooms, or a sex positive niche, have? To educate society in topics such as consent, personal boundaries, and mutual respect. And also, to break the stereotype about those spaces and show that anyone can be welcome and express their sexuality in this context. In that way, to spread further a message of sexual freedom. What are your rules at Pornceptual parties when it comes to this topic? The rules are clear: every act should have explicit consent from all the parties involved, so always ask before touching anyone. Guests must be respectful and keep all events free from any form of discrimination

Eva Oh talks about how she started out as a dominatrix behind a mask, why she removed the mask and became a public dominatrix, how she until today built a femdom empire where she has over 28 000 subs. We speak about how BDSM and latex culture has become mainstream and how that affects sex workers as well as her hopes and fears for the kink scene. In the extra material that you find on Patreon Eva gives her top tips on how to find your inner dom’, how you can bring kinky games into the bedroom and how to get started with that, as well as how to find what you’re into. Become a Patreon , get access to extra material, pre-releases and amazing perks as free merch. Listen to the episode on Spotify: Follow Eva Oh on Instagram BIG Thanks to our sponsors from The Code

In this week's episode of Playful Podcast , we meet with human puppies Leo and Marlon who have been together for some years. We discover more about what it means to be a human puppy, how they found out that they are in fact puppies, how it is living the puppy lifestyle, what differs their relationship compared to one between two humans, more about play dates together with other pups and much more. In the extra material we get their best tips to new puppies who want to be introduced to the community, some things to avoid, and some things to delve in. Available on Patreon.com . Playful Podcast is also available on Spotify and all Podcast Apps.

How to get into Berghain Every week we receive emails and DMs with questions if we have any advice on how to get into Berghain. Therefore, we decided to write down everything we know once and for all, so that you can read here instead. Berghain was founded in 2004 and is located behind Ostbahnhof, and a short walk from Warschauerstrasse S- and U-Bahn stations. The club got its name because it is located near the border between the districts of Friedrichshain and Kreuzberg. The club's origins go back to the club Ostgut , which was previously located in an old train track area in Friedrichshain. The club is a forerunner to Berghain and put the stamp on what Berghain has become today. Today, the record company Ostgut handles the bookings for Berghain and Panorama bar - many DJs' dream gig. How to get into Berghain How do I get into Berghain? That is the question everyone is asking, who is going to visit the club for the first time. Berghain has a reputation for having a tough door policy and the truth is that there is a risk that you will be denied entry. To increase your chances of being admitted to Berghain, be yourself, do not think too much about "what to look like" and do not stand in line as a larger group. Tourist and drunk groups of friends do not even have to think about standing in the queue. Have an interest in techno music, or at least be curious about it. Otherwise you will not have a wonderful experience. Also, you might get the question from the bouncer: "Who are you here to see tonight?" Read our long feature with Berghain's most famous bouncer - Sven Marquardt who tells about how he works and how he makes decisions about who should come in and not. Sven Marquardt for Playful Magazine. Photo: Shanelle De Melo 10 tips: How to increase the chance of getting into Berghain Go alone. Do not get in line drunk. Berghain is not your local pub. Listen to what is playing during the evening / day and decide on an artist you want to experience. Here you can find the monthly Berghain program . Be open-minded. Take a no calmly and try again a few hours later. Dress up - or be yourself. Berghain is an underground club but an extraordinary outfit does not have to be wrong if that is you. If you drink, put the bottle away before you get close to the bouncers. Do not cut the line, even if many people do this. Skip white sneakers or casual canvas shoes. Go on Sunday morning when the line is usually smaller. Can tourists get into Berghain? Yes. Every weekend hundreds of tourists aims to get into Berghain. And many of them do. If you're a tourist that are into techno, then you should definitely give it a chance. Avoid coming to Berghain as a big group of tourists, then you will most probably get rejected. What to wear in Berghain? There is no strict dresscode, even though 90% of everyone inside is wearing black, leather, latex or not much at all. Avoid jeans and sneakers though. If you're interested in wearing something more edgy and kinky, visit one of the club wear stores in Berlin. We recommend our friends at The Code and Schwarzer Reiter .

In this weeks episode of Playful Podcast we meet with Lolsnake - known for her hypnotic techno and queer party Weeeirdos . In this interview conversation we speak about Danielle’s upbringing feeling as an outsider, how she found her own queerness and self expression in Berlin, her view on the booking politics and what we have to look out for in the scene, and much more. In the extra material we speak about how to carve your way as a queer, non binary of female artist in the scene – how one can build their own path and start to get those bookings. Get access to Extra Material and all episodes pre-released on Patreon .

Santana SexMachine. Photo: Martin Roberts Creative, dirty and always evolving – that’s how Santana SexMachine describes the Berlin that shaped her. Now she’s the first Queen from Berlin premiering in Drag Race (Sweden). Swedish born and Berlin based Drag Artist Santana SexMachine - tell us about how you got your drag name? I got my drag name after years of many failed attempts, but finally I chose Santana because my dad likes the musician Carlos Santana and because of Naya Rivera’s character from Glee Santana Lopez. Then after moving to Berlin I fell in love with disco and house music, so I started listening to the German DJ Purple Disco Machine a lot. And from that you get Santana SexMachine, mean bitch supreme. You found your drag identity well in Berlin - in what way do you think this city inspired you to evolve into Santana? Berlin has shaped me tremendously as a performer and a person, the scene here is so unique because of the many different genres of performing. I find inspiration in each and every performer in this city. Berlin is very much like drag, it’s creative, it’s dirty and always evolving. You’re premiering as one of the Queens in Drag Race Sweden - the premiere season - how did they find you, and how has it been shooting? They found me because I never left them alone! I asked the production company about auditioning right when the news got released to the world. So it’s crazy to look back and think that after months of auditions, interviews, ‘club, and another club,’ I was finally there. It was beyond my wildest dreams stepping into the Werk Room, but I have honestly never felt more in my element. It’s literally gay heaven for drag-queens! Can you tell us a bit about the show? The show is a reality-TV competition where drag artists compete in a series of mini- and maxi-challenges in order to determine who is going to become the next Drag Superstar. I mean, locked up drag-queens in a severe pressured environment? What can go wrong!? It is TV-gold for sure. You’re the first Berlin based artist to enter the show - in what way do you think the Berlin spirit will make a difference? I think drag nowadays is so saturated and there is this new standard of what ‘good drag’ is supposed to be like. That’s where the Berlin spirit is so refreshing, it pushes the idea of gender and expression to a whole new level that I personally had never seen before. And it’s done in a way that’s purely for the art and not so much for the money. Believe me, I had to run to Sweden for reality TV to make some. It’s honestly amazing and I do owe most of my drag success and persona to the city. Tell us about your looks and what inspired them? I definitely strive to look as beautiful as I possibly can, but I’m also a campy queen by heart. I get so excited when you look at someone and instantly go ‘I get this concept!’, even if it’s held together with silver tape and desperation. Why is Drag a revolution? Drag has always been and will most likely continue to be a revolution because of people trying to continuously push back on queer people. Drag is a way to shine light– and sometimes even make fun of what’s happening around the world, and even though we sometimes do it in more lighthearted ways, it’s important to remember why we speak up about things. Especially in today's political climate where people think we groom children into some queer agenda? Pause for laughter. It’s important to be louder and more queer than ever. Where will we find you in Berlin? You can find me anywhere in the world on WOWPresents Plus from March 5th! Or you can follow @santanasexmachine Drag Race Sverige will premiere exclusively on the streamer of all things drag, WOW Presents Plus, in the UK and internationally on Saturday 4th March at 8:30pm GMT. Untucked will air at 1:00am GMT on Sunday 5th March. Following the premiere, new episodes will drop every Sunday at 1:00am GMT along with episodes of Untucked. Santana SexMachine Drag Race Sverige

Anastasia Kristensen for Playful Magazine We compare Copenhagen and Berlin, talk about inspiration, what she enjoys doing when arriving in Berlin as well as preparing a long vs a short set. Get to know Anastasia Kristensen. Who were you as a teenager - when first having moved to Copenhagen? As a teen I was this really punky rebel kid, with red hair and an alternative rock music taste. I loved listening to weird industrial music and that’s also where I got my interest for electronic music, for instance LFO - Shut Down - was one of the first tunes for me to discover and completely fall in love with that genre. How do you feel the city has shaped you and your sound? Scandinavia has a very pronounced touch of mystery and melancholia. It is both due weather, history and tradition and Copenhagen is no exception. I certainly think the city has had an effect on me in terms of shaping my musical taste, finding beauty in minimalistic and well produced works. It is a truly comfortable city to live in, that can offer all sorts of landscapes to get inspiration from. You’re still today based in Copenhagen, but also have a strong connection to the Berlin community - if you would compare the two cities and their techno scene - what differs them? Copenhagen is small and cozy and Berlin is vast and infinite. Our scenes are largely interconnected - we are seeing plenty of crews from both cities come and visit each other, our bookers often come to Berlin for the events and many Berliners are actually ex-Copenhageners as well. We are like a younger cousin to Berlin. However recently, we also see London and Amsterdam scene members coming to us and some clubs closely collaborate with each other. ‘Den Anden Side’ venue has now come properly on the grid and it’s already putting Copenhagen on an even more meaningful place in the European scene. I recommend everyone to come visit. Anastasia Kristensen for Playful Magazine If you would “sell” Copenhagen’s nightlife to a Berlin based raver, what would you tell them? Very tight and friendly local scene, a lot of variety in genres but also largely popular trance music events is what you can find here. Also the city and people are just neat and stylish to look at. What’s something you love doing when arriving in Berlin? Berlin is so diverse and kinda harsh at the same time - I have to say, I love coming here. Record stores, other events than my own and reuniting with friends is what I like doing. Usually I stay at my friend’s in Mitte and I enjoy walking around there and then going towards the Kottbusser Tor area. It’s a city with so much influence and history, I can’t ignore it and often arrive home with plenty of inspiration and new ideas. On February 19th you close RSO - how do you prepare a short set vs. a long set and what do you need to keep in mind? The process of preparation is different each time, sometimes I go through what I already have, and often I of course upload new promos and try to see how this fits in the current catalog. Long sets certainly need preparation - once I did one in NYC at Nowadays, that lasted for 8 hours. For that I have divided my set in 4 phases, sort of taking off – the ‘flying’, then being in turbulence (in a good way) and then landing again. Those are always just direction suggestions, in the end I play to create, sustain and shift the vibe in the room. For RSO I may be looking into a similar process, but I have a feeling I need to leave a lot of open room for this one. I am truly excited for my first closing in Berlin this year. Do you feel your inspirations have changed lately, or how has your sound evolved over the past years? My inspirations certainly have changed, but also the whole vision of music. It naturally has also evolved, it’s become deeper, more experimental than ever and my own way to weave un-mixable things together has become somewhat more experienced. I truly believe in meaningful energy shifts on the dance floor and not being worried whether I play too geeky music. The crowds are not stupid and as DJs we should treat them and the floor with equal respect. Musical journey is a journey we embark on together. Even though this way of thinking may already sound obvious to many, I've become even better at embracing this practice after the pandemic. You are known for your unpredictable sets, is this something you plan on doing; surprising the audience, and if so, how do you think to do that? The energy shift is always an important component for me. When I think about the event and my work to be done I always research where I am, what time before and after who. Being aware and prepared is a bonus, even if you end up playing something totally third. Eclectic aesthetics is a thing I am fond of, and will continue to pursue. It’s always a pleasure to connect with so many like-minded people out there, on the floor and in the booth. What do you think the scene is lacking at this time? How would you like to see it change? The scene lacks a little imagination. Clearly everyone is trying to make up for 2 years of losses but I can’t wait to see more diversity and bold choices from promoters in terms of bookings and see the crowd being interested too. And of course, the terms for all sides of the industry needs to improve, so everyone has a better and healthier, well protected work life.

By: Amanda Sandström Beijer Photos by: Stephanie Telomere A Dominatrix Diary by Stephanie Telomere Photographer and Dominatrix Stephanie Telomere let’s us in on her personal experience of being a dominatrix through her self-portrait series where we explore power as much as vulnerability. 'Degrade me' is an ongoing non-linear photographic diary exploring Stephanie's personal image and experience as a Dominatrix. The series is made up of self-portraits and point-of-view (POV) shots using Medium Format (MF) film and Polaroid. Tell us about the drive behind the diary! Depictions of sex workers in art history have almost always been as deviants and immorals, lacking a creative voice of their own. Porn and sexually explicit images are differentiated from ‘pure’ art forms, constraining the style and directness of an image to the ‘erotic’. My intention is to unsettle and confuse this kind of viewership, which is more often than not confined to the male gaze. This project focuses on my career as a professional Dominatrix since 2019. But the form and my visual expression culminates from 15 years of self-portrait photography, as well as my work in installation art, theatre and performance. I frame myself in positions of power and vulnerability; I am simultaneously the photographer, the objectified sexual figure and the dominatrix. I also look directly into the camera, bringing together moments of raw intimacy with a constructed scene. I use a range of formats to emphasize differing perspectives. Polaroid is used to capture a moment from the POV perspective in paid Domination sessions; I use the sound of the shutter and the harsh flash to further my clients’ chosen experience of submission and humiliation. As for the self-portraits, I use a Medium Format analogue camera, holding the shutter release and displaying a release of control. Besides being a Dominatrix and photographer, you’re also an installation artist and have studied politics and philosophy – wanna tell us when and why you chose sex work? By studying politics and philosophy I was already reflecting on how our society is structured. I wanted to creatively explore these reflections and so after graduating I studied photography. My first inspirations as for many were the intimacy, rawness and beauty, tenderness of Nan Goldin, then the starkness and strangeness of Diane Arbus. I was drawn to self-portraiture as an exploration of the construction of the self, perhaps being at odds with our internal experience. I was fascinated with Claud Cahun and how they defied social norms through images of themselves. Still now I’m inspired by self-portrait artists such as Zanele Muholi who is using herself as a conduit to re-evaluate socially constructed ideas. By starting self-portraiture (before the Iphone and using analogue photography) I looked at my presence in the world and what it represented through the image. I deconstructed and played with concepts around sexuality; exposure, confrontation, and tried to use self-portraiture as a way to disrupt the obvious. Fast forward 15years and my Dominatrix career is symbiotic as well as an informing my artwork. During these years I have also practiced performance art- bringing the body into contact with the audience directly. I was already using my body to play, experiment, connect. Now I like working with clients who have kinks; on a simple level they are expressing desires that are a diversion from the expected norm, I think this expression and play can be healthy and creative. I use my body, my genuine interest in people and my performance background in combination with enjoying BDSM in general. It is more complicated and sex work isn’t something you should take lightly, but I did come to it with a positive intrigued attitude, and I see it as a career. A Dominatrix Diary by Stephanie Telomere What does sex workers rights mean to you, and what’s your experiences from the political side, as well as from the sex workers side? I correlate sex workers rights with inequality in general. Those who are most vulnerable in society are still the most vulnerable if they engage in sex work. I have the privilege of being a legal resident, of working in a studio, charging a lot of money so I can choose my clients carefully and of being generally healthy; I pay my health insurance and I use what is available to me in order to keep myself vigilant and stable. If you lack privilege, as with all situations in our society; any risks are exacerbated. Patriarchy and racism is the status quo and society also places sex workers as outsiders. We simply need the same security and safety that is granted to other professions. So, for me, class inequality, patriarchy, globalization and rights of immigrants to gain legal residency, racism, transphobia are all struggles of sex workers because sex workers, as with their clients are in every demarcation of society. What does a day in your work-life look like? My days are made of a combination of working on my Dominatrix business, taking photographs, working on concepts for projects. When I have sessions booked, I go to the studio I work at which is all set up with great playrooms, lighting and a lot of toys, beds, chairs with stirrups and bathrooms with nice showers. I set up the space put lighting and music on. Check the session-plan which is things the client has requested, I collect toys I need from other rooms and maybe clothes they might want to wear. I get changed into my Latex or lingerie, finish my makeup and then the client will come in. We have a conversation about their experience, we go over what they want. I ask them if they are a real slave or more of a fetishist. This determines how I will treat them within the session, either with commands and humiliation or more on an equal level. They go and shower and undress and knock on the door of the bathroom when they are ready for me to go and pick them up. I then bring them to the room and tell them what they need to do. Throughout the session I will check their thresholds. Usually the safe word is simply ‘no’ or ‘no more’. For me it doesn’t bring us out of the game for them to say they can’t take any more pain or that they need a smaller dildo for example. We sometimes take pauses, and we drink water or Sekt. Once the session time has ended, they go back to the bathroom with their clothes, we have a small chat and reflect a bit on the session I usually ask them how they feel. Finally, they leave, and I clean up the toys and the space and get out of my latex and remove the makeup. I go home and chill or take my camera out. It’s a great job but I’m always looking for new ways to unwind. You’re very focused on the other person in the session and it’s important to nourish yourself to not get burnt out especially with multiple sessions in a day. I also workout, I train with pole dancing for fun and try and build my muscles with kettlebells. My goal now is to engage in more activism which will combine my photography with academia and my experiences as a sex worker. I am currently working on a self-portrait workshop that I hope to produce in various conferences, universities and later independently. A Dominatrix Diary by Stephanie Telomere You’ve been living in Berlin since 2010 - what’s your view on the city's transformation over the years? Even in 2010 people were talking about gentrification; that it was coming, but in the last couple of years it has sped up and social policies are in flux. For me personally it hasn’t changed so much, but I have, as I don’t party so much anymore. People are still sun-bathing on a Wednesday afternoon when everyone in London would be at work, but probably for different reasons. We will see how the city copes with the new economic and energy problems. I hope that Berlin is able to look after our most vulnerable. As a sex worker, how would you rate Berlin as a city? I’m not sure I can as I haven’t worked in many other cities. What I do like about working in Berlin is that it has a heritage of BDSM, people know about it culturally and I get the feeling its more accepted through this perception. Tourists will often come for a session, and I really like to represent Berlin’s alternative roots in this way. As an artist you’ve been facing many barriers when it comes to censorship – what’s your view on this and how do you believe it affects sex workers rights? Censorship in art is very interesting to me, in fact I would describe censorship as part of my work. Censoring something is really establishing what is culturally acceptable, reflecting the values of our time. With my recent experiences, particularly in the high-end contemporary photography world, I would say we have regressed with our conceptions of sex. Perhaps it is a reaction to an implicit knowledge that there is now at least one generation of people who got most of their sex education through porn. Instead of facing this by using art to explore complexities and questions; fear tells people to ignore and repress. It’s crazy to observe how prevalent the male gaze in art, fashion and advertising is and yet using the gaze to confront and question is feared and suppressed. This ultimately affects general perceptions about sex workers and more fear and conservatism can lead to more regressive social policy. When something is illegal or does not have the same protections securing it as mainstream industry, then it is forced to move underground which becomes more and more dangerous. We can see this happening now with the regressive abortion laws in the USA. Why do you believe your clients are drawn to submission and humiliation? There are so many different reasons, some are specific to the person. The cliché is that people with power want to relinquish it as relaxation, I think there is some truth in this. In general, I believe that some kind of fetish is within almost everyone, but not everyone is in a safe, or privileged position to explore them so, they remain niche. If you’d describe your ’typical’ client, who are they, and what does a session with you bring them? There are no typical clients, there are even people who are not rich and save up for a session. They come from every profession and every walk of life. A Dominatrix Diary by Stephanie Telomere And what does it bring you besides money? It's creative and interesting, I take pride in becoming skilled in different areas, so my clients come back for more. I also love to explore sexuality in my artwork and it’s great to meet clients who feel free in their kinks. Could you describe a session for us? There are so many things you could do. It first depends on their fantasy, we are still offering a service even if I’m in control in the session so they will list some things they either want to try or that they know are their specific kinks, it can be from foot erotic to anal play to sissy games, to more sadistic BDSM and pain sessions. If they are fully a slave, and not a fetishist, then they will always start at my feet, perhaps they won’t be able to look at me and I play with them as my toy in different ways leading in and out of their specific kinks. Occasionally someone will ask for ‘anything’ which is a bit annoying because you know they don’t really want anything. But in this case, I will do ‘tests’ to determine their capacities and tastes of different things, it’s useful because you can start very light with something, and they have the ability to decide how far they can go. What’s your best tip to sex workers who want to promote their work, and yet stay safe? Twitter is useful and the least frustrating, but let’s see for how long… To stay safe simply be as anonymous as you feel comfortable with and have separate phone numbers.

Blasha & Allatt for Playful Magazine We caught up with Manchester duo Blasha & Allatt who are serving lunch at Berghain on Sunday. We found out how they met, what they would like to see change within the scene and expectations for 2023. Every duo has a “how did you meet-story”? Wanna tell yours? Blasha : We met through a mutual friend around 13 years ago and became Facebook friends as you did back in the day! We didn’t actually make contact with each other until a couple of years later when we noticed that we’d both started DJing around the same time. Naturally, we started chatting as we were the only people in our respective circle of friends that were learning to DJ at the time. As they say, the rest is history! For some reason we just always played B2B; there was never a conversation about it, so guess you could say it happened naturally. What made the two of you a great match? Allatt: Luckily, we are very aligned as far as work ethic goes, which means we make sure any given task gets done - whether that’s a mix or prep for an upcoming gig etc. Knowing you can rely on each other is crucial really as you can’t function if one of you keeps going rogue! When we first started on our journey together we had a very similar mindset; we were motivated and most importantly, doing it for the right reasons i.e. for the love of playing. Ultimately, we were both learning at the same time and quickly became each other's soundboard; able to lift each other's spirits if one of us was disheartened. I remember the pure frustration we both went through whilst learning how to mix on vinyl. Literal tears and maybe a few records thrown across the room, here and there. Finally, I’d say the fact we’re open to each other’s music tastes is an integral part of playing as a duo. In the early years we played so many different genres and were constantly influencing each other and that still stands today as we’re constantly evolving and pushing our own sound. How do you usually work together, how does the process look? Blasha : We do our music research separately which takes up most of our time, then we’ll come together in the studio and just mix. In recent years we don’t need to spend as much time together mixing just because our music tastes are currently so aligned. However, if we’ve both got a new bunch of records that we need to test run, we’ll spend 4-5 hours mixing just to see what does and doesn't work. When we find tracks that work really well together we make a mental note to use those transitions when playing out. Prior to a gig we discuss what type of set we think will work then split our record bag into different sections/sub genres so that we know we are both on the same page. The sections are split up with record dividers so once we finish on one section we’ll progress to the next and this helps us build and progress through a set. Of course, during longer sets we can go back and forth through these sub genres. For Berliners, who haven’t experienced Meat Free in Manchester, what to expect? Allatt: You’ll literally be welcomed with open arms! I’m highly biassed but the Meat Free crowd is genuinely one of the best you will find and in my opinion and what makes the party so special. It could be a “headliner” or a local act and the crowd will act the same, regardless. Our crowd is open minded, vocal, supportive but above all respectful. If you came on your own you’d end up with a few mates by the end of it, no doubt. As a rule, the UK is pretty restrictive with regards to venue opening and closing times. However, we’ve struck gold with the two venues we use; The White Hotel & The DBA. Very few parties in the UK have the luxury to open the hours we do due to strict licensing laws, but due to both venues being in Salford (which is slightly more lenient), we’re able to open until 8am at The White Hotel and then continue the party at The DBA from 8am through till 3pm. We don’t know how long we’ll be able to keep going in this format so we’re just enjoying it whilst we can. How would you describe Manchester’s techno scene at the moment? Blasha : Manchester’s techno scene is small in comparison to cities like Amsterdam where there’s many stand out collectives running events. There’s a real lack of venues so this really does impact the growth of the techno scene. It’s really hard for new collectives to get off the ground with so much competition for venues and dates but this hasn’t stopped the emergence of parties/collectives such as Tiribä, 01366, Refraction and Mycelium to name a few. Islington Mill - a legendary venue in Manchester has just reopened and taken over by Partisan so we’re hoping to see more nights pop up in the near future. You recently became residents at Vault Sessions, what does that mean for you and for the dance floors around the world? (More touring etc?) Allatt: Long before we knew the Vault Sessions guys (shout out both Bas’!) we always admired the parties from afar. Since getting to know them we found that our morals and values are very much aligned as well as musical tastes, so becoming residents felt incredibly natural and a massive privilege. Needless to say, being a resident for VS has given us a really good platform to showcase our sound and since people/promoters travel all over for these parties it means we’ve reached communities we might not have done previously, so we owe a lot to the residency. We are doing two Meat Free x Vault Sessions collaborations in 2023; the first of which will take place in Manchester on the 3/4th March and then 26/27th May in Amsterdam. What is your best memory, playing together, so far? Blasha: There are so many! A highlight is always our now annual Meat Free New Year’s Day party at the DBA. The vibe here is always unmatched but for some reason NYD is the wildest date of the year. This NYD just gone we had an amazing line up (including AMORAL, Beau Didier, Yant, Bailey Ibbs, Soraya to name a few) and it was just pure joy from start to finish. Lots of familiar faces and memories that will stay with us for a lifetime. There’s nothing like playing for your home crowd. Another highlight was our Berghain debut in October last year; not because it's the cool thing to say but just because it meant so much that 20+ friends made the effort to come and see us play. Having your closest mates at the front getting rowdy was a good way to settle the nerves. Additionally, it was very special because the line-up was so reflective of bookings at Meat Free over the years such as Ben Sims, Tasha, Regis and of course Steffi, who curated the line-up in celebration of her album launch. If you could change one thing within the scene, what would that be? Allatt: I would love the scene to be more patient and less transactional. Readjusting your focus to building your momentum / refining your sound over a number of years should be the goal in my opinion. The scene doesn’t owe you anything so just be grateful for what you have, whether that’s one booking or ten. I see a lot of impatience in the scene; people wanting things quickly and unprepared to work for it. The key is to enjoy the journey and keep looking back at your progress to see how far you’ve come. What are your plans for 2023? Blasha : Since its 10 years of MF this year we’ve upped the ante and decided to throw some very special parties including collaborations with Rote Sonne & Vault Sessions (and a few more TBA) plus a party at FOLD later in the year. On a personal level, our focus is to just keep performing to the highest level we can at every gig. We’ve got some really exciting bookings coming up, so just preparing ourselves for these and enjoying it as much as we can. We’ll finally be putting some time aside for production and will also be starting a label later on in the year, so lots to be getting on with!

By: Jenny Uneby Ava L'Affaire Photo: Mi Ked Photography In this portrait, we discuss life, healing, and intimacy with sex worker and artist Ava. When we first meet, we do so at a small coffee shop in Prenzlauer Berg, where she greets me with a warm hug while smilingly apologizing for being late. She explains that she had a lot of things to get done at home, simultaneously as her ADHD acted out and made it difficult to make it in time. While sipping on some tea and eating bagels, I share that I, when looking at her socials, got struck by how intimacy seemed to form a red thread through all of the content. When entering this topic, it’s like a light switch is turned on within Awa, and her voice gets filled with excitement. “Nowadays, we are so programmed into this heteronormative perception of intimacy, we are stuck with ‘man, woman, marriage, etc’. Moreover, people tend to tie intimacy to sex. I find intimacy to be so much bigger, and it starts with intimacy with yourself. Asking yourself, ‘how is the relationship to my body, what do I like, what is needed for me to feel good?’, all of this is intimacy. It can also be non-sexual romantic, it can be a friendship, a chosen family.” She adds that if you have a good connection to your biological family, intimacy is also to be found there. For her, this is not the case. Even before going public with her occupation as a sex worker, she had a strained relationship with her parents. Their foundational values have differed from hers since a young age, and today they are not in contact. Ava L'Affaire – Portrait of a Multifaceted Muse Photo: Maria Camila Salazar “I think that I’m quite far in my progress about this stuff, I left my family at fourteen. It was difficult being the first child of refugees from Afghanistan, with their cultural heritage meeting the German society. The environment I grew up in was highly misogynistic, I lived in a bubble and wasn’t allowed to meet friends who could influence me, it was a bit like ‘they are all whores’. My orders about what to wear and how to act were strict, and I was also the oldest sibling which meant even more pressure” Early on, Avas parents put her into a boarding school-like institution, in which her behavior was supposed to be “dealt with”. She has always been a bit of a rebel, and when she got into puberty it all escalated. Around that time, the first split from her parents took place. “I eventually got back in touch with my mom, throughout the years there has been a lot of trauma bonding. Somewhere down the road, I forgave her, which was a very healing experience, but it also took a lot to get there, due to the physical and emotional abuse in my childhood. After some time, I understood that she didn’t have the same options as I did, that she grew up in Afghanistan and was forced into marriage, and that she also was impacted by her environment. I know she loves me in her own perverted way, and when I understood that I was able to let go and realize that it was never about me, it’s all about her traumas and way of coping with them. Coming to terms with this accelerated my healing process.” She says that she has become a very tough person because she as a child was ‘molded in hell’, and to expedite growth and healing, she takes bits and pieces from spiritual practices which resonate and creates her personal toolbox. Ava finds it interesting how psychology and spirituality have many overlaps, for example in how presence and awareness can increase well-being and expedite healing. “You know the brain is like a muscle, so if we train it we get results, but of course it takes time. Sometimes I feel like, why are we not more patient with our minds? I believe that all of us have magic within, and one part of that magic is our ability to change.” Ava might not be in contact with her biological family, but she has found a new one within a close-knit friend group. One of these people also happens to have the same occupation as herself, something she finds deeply comforting. “It's a privilege since we truly understand all work-related aspects of one another’s life. Both of us create art in our free time, and that’s how we found each other. With the pictures I partake in, I try to tell a story with my body. Being naked is for me one of the most ‘seeable’ things about vulnerability, also maybe even more so since I diverge from the beauty standards by having scars and body hair. Except for being a performer with my body, I also do spoken word. Recently I participated in a themed event that focused on love, and while writing my material I reflected on how I in fact have dedicated my life to love, lust, and intimacy. They form the energy which drives me and helps me to heal.” Except for scars from her childhood, Ava also carries sexual traumas. She notes that it for many will appear as cliché that she, as a sex worker, has this kind of experience. It happens that people take for granted that it is the foundational reason she entered this profession. “I don’t give a fuck what people think. In August I shared online that I do sex work, and even if you don’t care about the reactions, it’s an enormous step to take. As I posted it, my hand was shaking. I used the song Wet Ass Pussy by Cardi B as the background sound to the post, and I have honestly been waiting since it was released to do just that. It was an empowering thing to do, and I’m so proud to be a sex worker. Why? Because it’s magical. Most people don’t understand which kind of care work we do, a work which in turn can be very healing for both me and/or the client. However, we have been indoctrinated since birth with the use of words such as ‘whore’ as insults, slutshaming, and other things which goes so deep, that I sometimes have difficulties separating my personal values from taught ones. At these times, I can find myself crying and contemplating my choices. Then, it’s invaluable to have a best friend in the same profession. I’m glad to say that I always manage to stand up again and be like, ‘you know what, I’m a proud whore’.” An etiquette Ava use in addition to “proud whore”, is “muse and provocateur”. She has modeled for several painters and describes it as an honor as well as an enjoyment to be pictured, especially since she labels herself as an exhibitionist. She laughs and adds that she also has had some poems written about her, and expresses it as one of the biggest gifts to understand that your presence has inspired others. Ava L'Affaire – Portrait of a Multifaceted Muse Photo: Maria Camila Salazar “To be a muse, it’s not enough to be visually beautiful. A muse is someone who muses in the way they talk, think, and approach, so it’s a composition of every facet of an individual.” Recently, Ava tried out something new connected to body performance – she participated in a porn set. The idea first appeared some time ago, when she began discussing the possibility of filming something with her now best friend, the artist and sex worker earlier mentioned. Her friend is a videographer, and she wanted to include Ava in one of her shoots. However, the idea never came to fruition and instead, a close friendship arose. “It’s so funny that we instead met and become very close friends, and after a while, we were like ‘bro, didn’t we want to shoot something, what happened with that?’. Now, we have however made it happen and recently we recorded a video!” She describes the film as very different from the porn you usually come across online. It focused on latex and had more artistic qualities than mainstream videos most often feature, with “resistance’ as the pervading theme. “It didn’t showcase any penetration, but rather portrayed fetishes in a very visual way, for example by me exercising dominance. The classical porn scene doesn’t interest me, but in this format, there was a sense of playfulness and exploration which I enjoyed. The experience was completely new and differed a lot from meeting with a client since I somehow had to perform, and at work, I don’t. My nerves made me shaky, but I also found it to be very thrilling. The experience was great, but I don’t feel like getting further into that field as of now, since I aim to focus on my writing during the coming year.” I ask if there are other areas of sex work that she yet would like to explore, and she shares that she a few years ago tried the field of stripping. When she says that it didn’t work out, I expect there to be something in the experience that wasn’t enjoyable. However, that wasn’t the case. “I did it only for a short time, I just really sucked at doing it!” she laughs. Ava L'Affaire – Portrait of a Multifaceted Muse Photo: Maria Camila Salazar

Photos by: Mathew Stott Merve DJ interview with Playful Magazine Melbourne-born Merve is about to settle in Berlin, celebrating her move with a 4-hour set in Panorama Bar this Sunday. Playful had a chat about how to read the crowd, Berghain memories, and much more. From Melbourne to Germany, what made you move to Europe? I definitely knew I wasn’t going to always stay in Melbourne. So last year when I was touring I was based in Berlin, and I had a meeting with my agent a couple of weeks in and I said ‘I’m going to move here next year!’ that’s when I decided. I always felt that ‘ah, I’m home’ when I would return from the weekend, and I also have a lot of good core friends here and my agency is based here as well, so it all made sense. That being said, I didn’t always feel this way about Berlin. I came here in 2017 and had the worst time and I was in a bad headspace, I felt like the universe was sending me all these signs to go back home. As silly as my brand new laptop dying, and it wasn't covered here. Eventually I was like ‘fuck this city, I'm never coming back’. But I did return and I’ve had the best times since! We read that you've been growing up "between gay saunas and punk clubs in Melbourne," tell us about it! I grew up on Wellington Street in Collingwood. It's very gentrified now, and I guess it's the same as Neukölln and Kreuzberg. I lived between Wet on Wellington (Melbourne's finest gay sauna), and on the other end is The Tote Hotel, which is one of the last iconic rock and punk pubs which they then tried to close down in 2010 because the Victorian government hates live music. But the whole street protested because it's such an iconic venue and it’s still open now, and so is Wet on Wellington should anyone wish to pop in! So I grew up in between these two spots and all the characters they bring with them. You started collecting records as a teenager; what was the collection like in the beginning? They were punk and rock records like Iggy Pop, The Jam, and Ramones. I was actually going through them recently, which was pretty cute. They were like pocket money records. I actually realised I have a Kings Of Leon record too... which according to discogs is the most expensive record in my collection lol. Later down the track, I started collecting disco and boogie as that was what I was interested in and listening to at the time and then it just grew from there, and I grew out of those sounds. You've also worked in the industry for a while, both with bookings and curating events, for example. What is the best with the industry? I started clubbing when I was underage, but at first it was to just listen to the music that I loved. Then after a while, I realised that I really wanted to be in events. I love music so much that I want to be a part of the process of bringing it all together and bringing people together. My favourite part of every event I was involved in would be that moment when the event was peaking and I would just watch everyone having a time, and you’re pretty much dead, you've been up since 5 am, you probably smell a bit too, but it was all worth it. Essentially you're assisting in creating a space where people can have these moments. A space where people can have a break, escape from reality or find themselves or just dance their hearts out. DJing is a lot about reading the room to create an atmosphere for that particular crowd. How do you work your magic? Reading the room is a skill I value a lot and I’m glad I’ve had the time to develop it over many years of djing. I play a lot of different genres that sit under the electronic dance music umbrella, and I think being able to read the room helps with being able to do what I do and play different things into each other. I always have one track that I've dug up and found deep in my search, and I look forward to sharing it with everyone and see their reaction. But then, everything is about timing and waiting for when it feels right. I mean, I'm impatient. I'm an Aries. But DJing has taught me this: Sometimes I need to stop myself from mixing out too soon. Shut up and let it breathe. Let the track play. Merve DJ interview with Playful Magazine You're playing at Panorama this weekend (15/4). What does Berghain and Panorama Bar mean to you? I love Panorama Bar, that’s always the floor you’ll find me on. When I play there, it feels like you're in the middle, and everyone is around you, and it's super cozy. I love that it's no frills. It's just a booth, and it has everything you need in it. Your lighting person is there, and you're ready to roll. I love it. I remember the first time I went. I was in my pyjamas and about to go to bed, and my friend called and said, 'Get up, we're going to Berghain.' The full amateur that I was at the time, once we got through security and I didn't have any cash on me, my friend had to pay for me and that was where I started learning. This is not Australia, and you're not going to be tapping your card around. It was a funny night, and ever since then, I always have the best time there, meeting great people, even if it's just small interactions. Last summer, I was there, and it was stinking hot, and I was fanning myself. There was this person behind me and they said, ‘every time I feel your fan, I feel loved’, and I told them that they are loved! That was super cute. It's it own weird little world, and I love and appreciate it. What's up next for you? What are your plans for the spring and summer? Besides setting up my life here. Djing around Europe and the UK - I’ve got a few shows I’m really looking forward to (I can’t remember them all off the top of my head but you can check on Resident Advisor). Working on other little projects. Having fun and seeing my friends!

Interview by: Amanda Sandström Beijer Photo: Lior Neumeister Femme Bass Mafia – From left back: Dangermami, Marie Midori, Luz1e The lack of options for women, non-binary and trans people to learn electronic music production and how to DJ is the foundation of why Femme Bass Mafia (FBM) got started. Today they are fighting for femme representing people to take up space and being acknowledged as artists in an industry they know from the inside and out. "As female identifying people, we experience the struggles in our daily life and work. Through exchange with other marginalized people and connecting with like minded folks who have encountered similar roadblocks and gatekeeping, we came to realize that these incidences are quite common", Lilia says and continues; "It takes an extra amount of work, luck, connections, and the thing is that you need to have all these elements together in order for you to get ‘somewhere’. Most artist agencies have male-dominated rosters and this can definitely be discouraging at first. Another important aspect is the gender pay gap within the industry and behind the decks." As a booker, Marie still needs to explain to promoters why gender-diversity is important and why she won’t accept male-only line-ups. "I would like to see more support from male identifying people. The fight for equality is very one-sided so far and this is something that needs to change. I wished more male DJs spoke up or denied offers when the events they got booked for have no or barely any FLINTA* ( female, lesbian, intersexual, non-binary, transgender & a-sexual ) artists included. Even if it's unintentionally, they keep the system running like that, she says." "There’s a lot of backend work to do, starting with diversifying the structure behind the scenes, and giving access to leadership positions in the music industry to more FLINTA’s and BIPOC. This also includes showcasing the work of FLINTA collectives, labels, artists by booking, releasing or promoting them", Lilia fills in. Change cannot just rely on the shoulders of the least privileged "Change cannot just rely on the shoulders of the least privileged" Luz1e highlights and continues; "In other words, talk to women and queer people and listen to them. Question yourself, your actions and behaviour and reflect on your own privilege. Hold space for marginalized people and take a step back, decenter yourself and help to support new ways of inclusive coexistence." Femme Bass Mafia Photo: Lior Neumeister They all highlight how one is expected to have really thick skin to enter the scene, which is also a reason behind why the collective’s supporting its mentees with getting their first gigs after the six month program that contains bi-weekly workshops. These include courses focusing on the ins and outs of DJing on CDJs, a radio performance workshop, a course about everything technical, from signal flow to cabling, alongside a few courses on mental health or EPK building "The application process includes us asking about everything from music taste, prior experiences in the music scene and personal experiences as a marginalized person. It’s essential for us to facilitate a balanced group energy and support system based on trust, transparency and open communication. After the program is done we try to offer our mentees a few opportunities from FBM partners such as a show on Hör Berlin, a radio show on Refuge Worldwide or gigs at different venues in Berlin such as Crack Bellmer and Paloma Bar, Lilia explains." Asa producer, one of the first technical introductions is many times Ableton Live. Although, a tip from the pro’s is to start out with having a basic idea of what kind of sound you want to create. "With this in mind you have a vague vision that can guide you through the process. From this point on it is just about experimenting and not being afraid to make mistakes or do something wrong, as in music and art, there is no wrong. Try out different sounds and instruments, layer all kinds of drum elements and beats, just let yourself be part of the process and see where it takes you. Even if you do not finish up a project at first, you will learn a lot from just making music and working with the program." The most important thing with every skill you are trying to learn is curiosity and consistency Luz1e herself started out in the program like many others who opened it up the first time. "I got an old Ableton Live version from a friend back when I was 20 years old. When I first opened it I was overwhelmed and confused because the whole surface looked so complicated. But I was so keen on learning to produce my own beats that I just sat hours and hours on end with the program trying to teach myself and figure out how I could create the sounds I was imagining in my head. The more I got to know the user surface, the better I understood what I was trying to do and able to actually create with different samples and vsts. Ableton is a program which makes a lot of sense once you get the gist of it. The most important thing with every skill you are trying to learn is curiosity and consistency. Those values have helped me to stick to producing my own stuff even though I was at the point of throwing everything out the window many times, she laughs and continues; "I’m at a point now where I expand in different directions using new Vsts, trying out different effect chains and basically experimenting with everything I already do know. It’s a never ending process of discovery. That’s what I love about making music." This article is done in collaboration with Ableton. Get a FREE 90 day trial of Ableton Live here .