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Berlin is a city of transformation—where creativity and commerce collide in the most unexpected ways. While Berlin has long been known for its vibrant underground art scene and unorthodox subcultures, the side hustle culture in the city has blossomed into something uniquely its own. From artists selling handmade crafts at flea markets to underground tour guides leading you through Berlin’s forgotten history, there’s something inherently magical about the way Berliners build their lives around passion projects. But why is this the case? And how did Berlin become the haven for quirky jobs? Why Does Everyone in Berlin Have a Weird Side Hustle? – A Deep Dive into the Quirky Jobs of Berliners The Roots of Berlin’s Hustle Culture: A History of Reinvention To understand Berlin's love affair with weird side hustles, we need to take a look at the city’s history of reinvention. After the fall of the Berlin Wall in 1989, the city’s landscape was transformed in ways that are still felt today. As East and West Berlin merged, an influx of young creatives, artists, and entrepreneurs found themselves drawn to the city’s cheap rent, gritty charm, and spirit of rebellion. It was a place where you could literally create your own world—and where old systems of tradition and hierarchy seemed to be redefined. In the 90s and early 2000s, the city attracted a wave of DIY culture—people were making art, hosting parties, and finding ways to make a living outside traditional corporate structures. With spaces like Kunsthaus Tacheles and the squatter movement, Berlin became a symbol of freedom for those who wanted to live and work on their own terms. This was the foundation of what we now recognize as Berlin’s entrepreneurial spirit, where quirky side hustles flourished without the burden of societal expectations. The Shifting Landscape: From Affordable to Rising Rents Fast forward to the present, and the situation is more complicated. As Berlin’s popularity has grown, so have its prices. The once-cheap rents that allowed for spontaneous artistic experimentation have been steadily rising, with real estate developers flocking to the city. This shift is partly due to the influx of major corporations such as Tesla, Amazon, and other tech giants establishing themselves in Berlin. Tesla’s Berlin Gigafactory, for instance, promises to bring thousands of jobs to the region, but it also plays a role in pushing up property prices and altering the character of neighborhoods. While this may be seen as a sign of Berlin’s economic success, it also means that many Berliners are being priced out of the very creative spaces that once made the city so unique. This economic shift has only further fueled Berlin’s side hustle culture. As housing prices rise and traditional job markets become more competitive, more Berliners are relying on entrepreneurial side gigs to make ends meet or follow their passions. A quirky side hustle might be a way of life for some, but for others, it’s a means of survival in a rapidly gentrifying city. Why Does Everyone in Berlin Have a Weird Side Hustle? – A Deep Dive into the Quirky Jobs of Berliners Why the Berlin Hustle Doesn’t Look Down on Anyone Despite these economic pressures, Berlin is a place where people find a supportive community. This city has a unique attitude toward success. Rather than looking down on people who don’t have traditional, stable jobs, Berlin embraces a philosophy of self-expression, experimentation, and collaboration. This non-judgmental attitude can be traced back to Berlin’s rebellious roots. Post-Wall Berlin was built on ideals of freedom, equality, and alternative lifestyles. The creative class that flocked to the city brought with them a mindset of acceptance and collaboration. Whether you’re doing Karaoke in Mauerpark every Sunday, creating a niche in Berlin’s vibrant street fashion scene, or hosting secret art gallery events in an abandoned warehouse, the ethos here is to support each other’s passions. One of the best examples of this inclusive spirit is Mauerpark’s famous Sunday Karaoke sessions. Every weekend, locals and tourists alike gather in the park to belt out their favorite songs in front of an accepting crowd. It’s a space where there’s no judgment—just people having fun, supporting each other, and expressing themselves. It’s an embodiment of Berlin’s open-minded, anything-goes mentality. Side Hustles Born from the City’s Energy Berlin’s weird side hustles are a direct product of this energy. The city’s quirky jobs aren’t just about making money—they’re about building a community around shared passions and talents. Here are just a few examples of the most unique jobs in Berlin: Underground Tour Guides:  Think beyond your usual walking tours. In Berlin, you can find tours focused on everything from the city's hidden LGBTQ+ history to its abandoned sites. These guides often don’t just share facts—they weave stories, engage visitors, and offer personal connections to the city’s untold histories. Handmade Artisans and Craft Sellers:  With Berlin’s maker culture thriving, many people in the city turn their passions for design, fashion, and craft into thriving businesses. Flea markets are filled with unique handmade goods, from one-of-a-kind jewelry to custom-made clothing that reflects the eclectic street style of Berlin. Karaoke Performers:  Not just for fun, but as an actual side hustle. Some people take their weekly Mauerpark performance to the next level, building followings and even monetizing their gigs through online platforms. Street Performers and Immersive Artists:  Berlin is also home to immersive art events that often double as performance art. Whether it’s an impromptu theater performance or an interactive art installation on the streets, people use these platforms to engage with the public in ways that are experimental and boundary-pushing. Why Does Everyone in Berlin Have a Weird Side Hustle? – A Deep Dive into the Quirky Jobs of Berliners Berlin's Future: How Side Hustles Might Survive Gentrification As more people from around the world flock to Berlin, there’s a growing concern about how the city will maintain its identity. The influx of large corporations and higher rents threaten to disrupt the creative ecosystems that have thrived in Berlin for decades. Still, the resilience of the people here suggests that side hustles will remain a vital part of Berlin’s cultural fabric. From digital nomads to local artisans, Berliners are likely to continue evolving their side hustles, finding ways to blend traditional crafts with digital innovation. Whether it’s hosting online creative workshops, selling custom Berlin souvenirs, or offering specialized tours of the city’s lesser-known spots, the spirit of Berlin will continue to thrive—even in a changing economic landscape. Conclusion: The Berlin Hustle is More Than Just Jobs – It's a Way of Life The culture of weird side hustles in Berlin is more than just a trend. It’s an extension of the city’s history of rebellion, creativity, and openness. Despite rising rents and the increasing influence of big corporations, Berliners continue to carve out niches for themselves—whether it’s through underground tours, quirky performances, or handmade crafts. Berlin's supportive and inclusive community has become a sanctuary for those willing to follow their passions, no matter how unusual they may seem. And as the city evolves, the hustle will continue. After all, when the world is telling you to conform, Berlin will always be the place where you can say, “No thanks. I’m doing my own thing.”

The Velvet Creepers – Fifi Fantôme & Dunja Von K. Photo by Tina Dubrovsky We went to see The Velvet Creepers at Ballhaus Berlin and we got mesmerised. Walking into Ballhaus Berlin is like stepping into a smoky, decadent time warp. Tucked in Mitte, this legendary venue has been a Berlin institution since 1905, hosting everything from waltz-filled dance nights to underground cabarets that thumbed their noses at convention. On this night, though, it wasn’t just the historical charm of the venue that took center stage—it was The Velvet Creepers,  a Cabaret and Circus Trio that has been creating and producing their unique show independently for over 6 years. They call what they do “Weimar Cabaret on Acid” and I experienced  a performance so provocative, sharp, and hysterically funny that I found myself transported straight into the wild energy of Berlin’s Weimar era. From Weimar to Now: A Performance That Dares Berlin in the 1920s was a fever dream of liberation and excess. Recovering from the aftermath of World War I, the city became the ultimate stage for rebellious art and unfiltered sensuality. The cabaret scene thrived, fueled by sultry burlesque, biting political satire, and the promise of freedom in the shadows. Think jazz bands, sequins, feathers, and an electric atmosphere that buzzed with both decadence and defiance. The Velvet Creepers capture that essence like no other. This trio—Lilly Mortis, a statuesque siren whose every move oozes glamour and grace; Dunja von K , a Guinness  world record holding hula hoop artist and hair hanger, who we also saw as comedic relief as a giant tampon, opened the show with mindblowing hairhanging and later (as she is the German Queen of Hula Hoops) showed us her love affair with a hoop ; and Fifi Fantôme,  who is a fantastic aerial hoop artist, dancer and performance artist, played a piece called "my bones will be dust", and took us up into the air while also down into some darker places in our souls. In her second act, she presented a full nude powerful statement piece dripping with female rage and rebellion —have created a performance that’s equal parts sultry, clever, and side-splittingly funny. This isn’t just a show; it’s an experience. And Lilly Mortis? A revelation. Imagine someone who commands the stage with effortless glamour and then, in the same breath, delivers the kind of wit that makes you laugh so hard you’re gasping for air. Her comedic timing was flawless, turning even her most glamorous moments into something hilariously relatable. But it wasn’t all laughs—when she sang, her presence was spellbinding, with a voice that filled the room and held us all completely captivated. It’s rare to find someone who can move between humor and raw, magnetic charisma so seamlessly, but Lilly Mortis did it with ease. Worth Every Cent (And Then Some) Here’s the twist: tickets were under €50. Let me repeat that—less than €50 for a show so exquisitely crafted and wildly entertaining that it felt like it belonged in a high-end theatre charging hundreds. From the costumes (think corsets, feathers, and dazzling vintage details) to the seamless flow of acts, the effort behind this production was nothing short of profound. Honestly, I wouldn’t be surprised if their ticket prices skyrocket soon—and deservedly so. If you’re in Berlin, don’t hesitate. Grab a seat while you still can because this is the kind of performance that will be commanding packed houses (and heftier prices) before you know it. Ballhaus Berlin: A Storied Backdrop It’s impossible to talk about The Velvet Creepers without mentioning their venue, Ballhaus Berlin. A relic of another era, this dance hall has survived wars, political upheaval, and shifting trends to remain one of the city’s most iconic spaces. It’s all old-world charm: wooden floors, velvet curtains, and chandeliers that feel like they’ve seen their fair share of champagne-fueled nights. During the Weimar era, venues like Ballhaus hosted Berlin’s counterculture elite, a mix of artists, bohemians, and rebels pushing societal boundaries. Sitting in that space, watching a show like The Velvet Creepers, it’s easy to feel like you’re part of that same tradition—where art isn’t just performance but provocation. The Velvet Creepers: Cheeky, Sexy, Unforgettable What sets The Velvet Creepers apart is their ability to blend bawdy burlesque with razor-sharp social commentary, all while keeping the audience on the edge of their seats. This isn’t just a performance; it’s a masterclass in cabaret—equal parts sensual, cerebral, and wildly entertaining. Whether it was Dunja von K cracking us up with her whip-smart satire, Fifi Fantôme pulling us into her effortlessly cheeky world, or Lilly Mortis taking us from tears of laughter to stunned awe with her powerhouse vocals, this trio made it impossible to look away. The depth and range of the performance were staggering—what felt like a massive production was actually the work of just three performers. What are the Creepers up to next? The Velvet Creepers are producing regular shows at Ballhaus Berlin and every time they return, they serve a new theme, a new story, and they join forces with a different fantastic guest performer. On top of that, they are touring Germany and Europe and you will be able to catch them in Leipzig, Stuttgart, Bukarest and other cities as well as several festivals including Fusion Festival. And rumours has it that they will be hosting another New Years Extravaganza at Ballhaus Berlin to finish 2025 with a bang. They are returning on February 8 and 9 with THE BIRTH OF VENUX with guest artist Oskar Mauricio aka VENUX, which promises a journey into another dimension with lots of space oddities. Tickets are already on sale on www.thevelvercreepers.com . Whether you’re a Berlin veteran or someone who’s just landed in the city, this is the show you’ll regret missing. It’s raw, it’s real, and it’s the perfect encapsulation of what makes Berlin’s underground scene so thrilling. The Velvet Creepers aren’t just performers—they’re storytellers, provocateurs, and the torchbearers of Berlin’s cabaret legacy. So, don’t walk—run to see them before the rest of the world catches on.

Playful Will Join Pinky Promise Festival 2025 - Will You? Playful TV is excited to announce that we will be joining the premiere edition of the Pinky Promise Festival 2025 , a one-of-a-kind gathering set within the grounds of a secret castle with a private lake, just two hours from Berlin. This intimate 3-day event will bring together 300 curious and playful dreamers to explore desire, pleasure, and connection in a relaxed and enriching atmosphere. As part of our participation, we will be creating a micro documentary  capturing the essence of the festival, but we won’t be filming actual events where not all participants have given their consent. Instead, we are looking for people who would like to be in front of the camera and share their personal experiences and insights. You don't have to have any prior experience of sex positive events. Just reach out and we will get in contact with you. If you're interested in participating, please reach out to us at hello@playfulmag.com .

There are plenty of sex cinemas in Berlin still. Berlin is known for its vibrant nightlife and unique cultural scene, including its hidden sex cinemas. These venues provide a private and intriguing viewing experience for adult film enthusiasts. While most of these cinemas focus on traditional, straight adult films, they offer an exciting glimpse into Berlin’s more risqué side. Here’s a guide to some of the best hidden gems for naughty movies in the city. 1. Elisa's Sex Cinema Address:  Bülowstraße 90 A popular choice among locals, Elisa's Sex Cinema offers a variety of adult films in an old fashioned environment. The atmosphere makes it a go-to spot for those seeking intimate entertainment. 2. Moni's Sex Cinema Address:  Motzstraße 24 Moni's Sex Cinema is well-known for its intimate setting and a selection of adult films catering to various tastes.  3. Moni's Sex Kino Address:  Fichtenstraße 5 BerlinOffering a comfortable viewing experience, Moni's Sex Kino screens a variety of adult films, ideal for those looking for something a bit more private. 4. Duplexx Cinema Address:  Martin-Luther-Str. 14 Duplexx Cinema is known for its eclectic film selections, including adult films. The venue combines a relaxed atmosphere with a diverse array of viewing options. 5. Moviemento Address:  Kottbusser Damm 22 Moviemento is one of the oldest cinemas in Berlin, showcasing a range of films, including adult content. Its historic charm adds to the allure of this hidden gem. 6. XXL Berlin Address:  Bornholmer Str. 7 XXL-Berlin is the largest gay cinema in Prenzlauer Berg, offering a large cruising area with numerous private cabins for two or three people and a dark zone with a cage and bars, a sling room and a blow job station. *Queer firendly. 7. Schnick Schnack Kino Address:  Friedrichstraße 36 This cozy cinema is known for screening adult films in a warm atmosphere, ideal for a more personal movie night. 8. LSD Shop Address:  Oranienburger Str. 70 While not a cinema in the traditional sense, the LSD Shop offers a unique experience in Berlin's adult entertainment scene, showcasing psychedelic art and materials alongside its offerings. Whether you’re a local or a visitor, Berlin’s hidden sex cinemas offer a unique way to explore adult entertainment in a discreet setting. From cozy atmospheres to eclectic film selections, these venues are worth discovering for an unforgettable experience.

We enter the world of Fluxxious, an alter ego born from Lydia’s fusion of pole dance, fetish culture, and Berlin’s creative energy. Conceived during the pandemic, Fluxxious embodies sensuality, power, and fluidity, performing in latex and exploring the edges of art, kink, and dance. Join us as Lydia shares how Fluxxious emerged and continues to evolve, connecting with audiences in intimate, (and for some) provocative ways. Photos by: Huume Fluxxious by Huume – Latex fetish Tell us about how your alter ego, Fluxxious, came to life? Fluxxious is the result of many different experiences in my life. During the COVID pandemic, I decided to buy a pole because, as a dancer, I needed a training option at home that didn’t take up too much space, and a pole is perfect since it just rotates in one spot. At that time, I was also graduating from university in Berlin. After completing my dance studies in Estonia, I pursued a new profession in communications in a social and economic context at UdK Berlin. Like everyone, I spent a lot of time online, dancing on my pole at home while writing my university thesis. I began questioning how a performance artist or dancer like me could use this new medium, which was mostly social media, in a way that would resonate with people. For my thesis, I analyzed the characteristics of different mediums, and this super sensual pole-dancing persona, Fluxxious, began to emerge. At the same time, I became attracted to latex—both wearing it and how it looks on bodies. I suddenly felt that while performing these kinds of art, I wanted to wear latex as a second skin and heavy harnesses. I embody both masculinity and femininity, and the combination of these elements supported the way I wanted to express myself. I created, essentially, a "mood board" and learned a lot about myself, which shaped both my taste and the persona of Fluxxious. One day, someone sent me a theory text titled something like, “We are Living in Constant Flux,” and I found it funny because I had already named myself Fluxxious. The name comes from the word "flux," reflecting how we live in a constantly changing world. As a character, Fluxxious absorbs the environment of Berlin and changes with it constantly. For me, "flux" also evokes something liquid, sensual, and fluid, which perfectly describes how Fluxxious moves and feels. Who is Fluxxious that Lydia isn’t? Fluxxious is Lydia, but Lydia likes to channel certain desires and ideas through Fluxxious, where they fit better. Lydia is the foundation of it all, but there are different contexts and ideas that suit each persona. As Fluxxious, I can express deeper fantasies and kinks, using a language that aligns with BDSM, pole dance, and fetish culture. Fluxxious is super submissive but also powerful, physically technical, and aesthetically neat. Lydia performs more on theater stages, while Fluxxious works better in clubs. Every context needs its own way of doing things. Fluxxious is more extreme—a child of the internet era, catching attention quickly without asking too much from the audience and leaning towards entertainment. Lydia is more of a nerd, loving systems, structures, and deep topics. Fluxxious is driven by lust, while Lydia is more pragmatic. Fluxxious by Huume – Latex fetish What inspires you when you create your performances? As I mentioned before, the environment I live in influences me a lot. Fluxxious is a child of Berlin, fetish and club culture, electronic music, raves, latex, and the internet. All of these things inspire me. Fluxxious is particularly drawn to aesthetics and the moving, dancing body. Sometimes, I’ll see visuals—whether in a club or on social media—and then create my own version. I also get inspiration from interacting with people. The audience inspires me by how I can create special connections with them during performances, engaging them in a way that makes them feel good. Would you say you’ve had the intention to be provocative? Not at all. I’ve never intentionally tried to be provocative. However, I’m aware that Fluxxious can be a lot for some people to understand. I don’t want to offend anyone, but somehow, Fluxxious always seems to do so. It’s hard to say who’s at fault—me or the receiver—but I don't think anyone is to blame. I just raise questions and make people curious about the world I inhabit, and I think that’s a good thing. What role does latex play for you? I don’t think there would be a Fluxxious without latex. I’ve always loved shiny things and the concept of a second skin. I find bodies beautiful, and I love seeing every inch of a body moving, which I find incredibly sexy. Latex gives me a different attitude toward how I behave. It’s tight, slim, beautiful, and liquid-like. For me, it helps to build the character of Fluxxious, but it also turns me on. How has moving to Berlin been inspiring? As I mentioned earlier, Berlin has influenced me a lot. As an artist, I decided to focus on creating work that I’m truly in love with. I didn’t want to choreograph anything I didn’t feel passionate about anymore. Then Fluxxious emerged, and I fell in love with my work and what I do. I enjoy myself more. Fluxxious by Huume – Latex fetish What is your view on social media and using it as a communication channel for your art? I’ve touched on this before, but Fluxxious grew in tandem with social media. Fluxxious was first performed in the digital space before moving into the "real world." Then, something happened—people became very interested in seeing Fluxxious in person. So, I started performing at events. Where can we see you this fall? This fall is going to be interesting! In a few days, I’m going to Estonia to dance in choreographer Sveta Grigorjeva's work at Kanuti Gildi SAAL, where we will be radical cheerleaders—it's going to be fun! After that, I’ll return to Berlin, where you can see me perform at the next Pinky Promise event on October 19 at Club Ost. There, I’ll do more of a “Fluxxious goes Cabaret” show. Later in October, I’ll be in Milan to perform at my dear friend Soren’s (known on social media as huume_, a fetish and latex photographer) first solo exhibition opening. I’ll be inspired by naughty Italian Renaissance sculptures and bringing them to life through fetish. Finally, I’ll return to Tallinn to create my very first solo piece at Sõltumatu Tantsu Lava. This piece is inspired by bodybuilding culture, and I think a new alter ego may emerge—someone who isn’t Fluxxious but also not Lydia—something in between. Follow Fluxxious: Instagram TikTok Fluxxious by Huume – Latex fetish

Playful spoke with the creative duo, Riley Davidson and Lauri Lohi, about their new simulated diner concept "Death Drive-In". It is premiering the first week of May at Alte Münze. Playful spoke with the creative duo, Riley Davidson and Lauri Lohi, about their new simulated diner concept "Death Drive-In". It is premiering the first week of May at Alte Münze. Death Drive-in, please tell us about the concept and what the audience can expect! "Death Drive-In is the campiest heavenly diner around; an existential simulation located in a void. Heralding back to capitalism's golden days, the piece discusses our current relationship with capitalism, consumer culture and its effects on our nervous systems." "First the participants are confronted by a simulated diner and four uncanny, queer hostesses called Steven. The audience's choices send them on a participatory journey where the line between real and surreal evaporates. In groups of 20-30 people, the audience walks through five phases of ritual theatre and the halls of Alte Münze guided by Steven." Who are the artists behind it? "The piece is conceptualized and directed by Riley Davidson (Berlin, They/them) in collaboration with Lauri Lohi (Fin/Swe, They/them). Riley is a queer non-binary performance artist, dancer and theatre maker based in Berlin. Their work spans many genres including immersive/participatory theatre, clowning, drag, contemporary dance and durational performance art. Through all shapes their work may take, vulnerability and agency of the audience members is integral to each piece they create. Riley uses participatory theatre as a tool to reimagine new futures on a collective level." "Lauri works fluidly between the fields of dance, theatre and visual arts around Scandinavia and North Europe. With their starting point in street- and club-dance cultures, Lohi's art combines elements from physical theatre, absurd comedy and imaginative creatures to create experiential sneak peeks into alternative queer universes. Besides Death Drive-In, this spring Lohi can also be seen on the Finnish drama-series Dance Brothers streaming on Netflix on May 10th. " Death Drive-In marks as the artist's third collaborative piece, previous ones including the vampire-drama Mea Culpa - If you were to live forever, would you recycle? (Sweden, 2021) and clown dance theatre Breakfast! (KAKE, Berlin, 2020). Playful spoke with the creative duo, Riley Davidson and Lauri Lohi, about their new simulated diner concept "Death Drive-In". It is premiering the first week of May at Alte Münze. We understand it as a performance that discusses capitalism and consumer culture, what is your view on the topic in relation to Berlin? "Berlin is known for its underground club scene that has been built on the backs of the queer community and leveraged as a marketing tool for companies hoping to attract more tourists to Berlin and increase the city's profits." "The aesthetics of this culture have been taken out of context and turned a community into a consumable. In this process those who are coming from working class and or marginalised experiences are having their existence parced down into a digestible, sell-able format while the prices of rent rise and the demands of the day to day hustle increase. This leaves our community vulnerable to stress, illness, and a poor quality of life while we struggle to meet the demands inflation has made. Death Drive-In is a characterisation of this trajectory and the piece offers not only tools for how to cope but also a space to collectively reimagine a better future." The team behind Death Drive-in: Director, performer - Riley Davidson @guttergucci Producer, performer - Lauri Lohi @ooh_lauri Performer - Fifi Fantome @fififantome Performer - Johnny Questions @johnnyquestions Costume designer - Elodie Carstensen @elodie.carstensen Photography - Anna Poleteli @poletelianna Set design - Sara Groh @saragroh Death Drive-in will be hosted at Alte Münze between the 2-6th of May.

Shaleen for Playful Magazine 1 of May weekend is coming up in Berlin and we had a talk with Shaleen who's doing a double set this weekend at RSO and We Are Not Alone. First she serves breakfast with a solo gig on Sunday and then afternoon tea B2B with Ellen Allien on Monday. Hi Shaleen, how’s the preparations going for the weekend? Hey there! Preparations going great, thanks for asking. Actually just got some dope new records today and gave them a spin at home. I’m carefully curating a selection for the outdoor stage - this is going to be my first open air gig this year and I want it to be unforgettable. Just praying for some nice weather tho! First you have a morning slot, 10 am Sunday, if I read the schedule correct. What's the best with a morning crowd and how do you work with them? Yeah, bright and early on Sunday, 10am to 2pm and I can't freaking wait! There is something special and electric about the morning hours when the party has been raging all night long. I'll be showing up at least one hour beforehand to soak up the vibe and get in sync with the energy already in motion. Thats how I’m figuring out where to take things. Once I get started, it's all flowing naturally. For me it’s all about the exchange of energy with the crowd. We're all feeling the music and creating something together. That's where the magic happens, when we all get swept up in the beats. Then you're playing a B2B set together with Ellen Allien herself on Monday, what will happen when we have Shaleen and Ellen behind the same decks? So hyped to be doing another B2B with Ellen. Our set at Radion during ADE was fire. It was a straight-up musical odyssey. We were in the zone from the first track, and it just flowed from there. You need a real connection and a shared vision to make a B2B work, and that's exactly what we've got. Can't give away too much, but expect a lot of heat from us! Can you give us a little tease about what to expect of your set? Let's just say, things are gonna get hot and heavy on the dancefloor. I've got some real bangers up my sleeve, you’re not gonna want to miss this one. It's a massive lineup and a party going on for 48 hours. Who are you aiming to see yourself? The lineup is absolutely insane, I'd love to catch every act if I could! But with all the gigs I've got lined up, I'll need to take some breaks to recharge. Definitely don't want to miss Alan Oldham and DJ Stingray. I'm a huge fan of the Detroit scene and these pioneers have always inspired me. While speaking with you, you're touring a lot this May. Any plans after the spring/early summer tour? Spring has been off the hook so far. I just got back from London, Ibiza, and Barcelona and I'm heading to Tel Aviv on Tuesday already for even more shows. I've got some big news coming soon about a new interdisciplinary record label I'm starting up. It's got a political angle to it, and I'm really excited about the message we're going to be putting out there. There are some other exciting gigs and collaborations in the works too, but I don't want to spoil the surprise too much. Suffice it to say, it's going to be a wild ride this year. Full We Are Not Alone lineup:

By: Riley Davidson All photos by: Max Eicke Riley Davidson. Photo: Max Eicke In the pursuit of artistic expression, visibility, and the reclamation of agency, Riley Davidson, a performance artist and dancer, unveils a powerful narrative that resonates with creatives worldwide. After an unsettling experience of having their image featured without being asked, Riley takes on the role of a journalist, crafting an article that empowers artists to tell their own stories. This transformative feature by Riley Davidson in collaboration with photographer Max Eicke showcases four talented artists, including Riley themselves, each directing their portrayal in a raw and authentic manner, shedding light on the imperative of honouring consent and context in the world of art and media. On February 3rd I woke up at 6am, jet lagged and disoriented. I had just arrived for a trip to visit my queer family in the states. I opened Instagram hoping a boost of dopamine would help me to orient myself. I checked my notifications and saw that I had been tagged in a comment. I quickly discovered that photos of me had been published in a reputable magazine doing a feature on a photographer based in Berlin. At no point did this photographer contact me to ask for consent about this publication. I rapidly cycled through a kaleidoscope of emotions: confusion, shock, bewilderment and anger. I have been a performance artist and dancer in Berlin for four and a half years now. I arrived in Berlin in the fall of 2018 with two suitcases, an acceptance letter to a dance program, two friends who live in this city and no clue about where to buy duct tape let alone how to establish myself as an artist. Over the course of the last four and a half years I have built a community, a career and a sense of self that I cherish deeply. I still don’t know where to buy duct tape. The years spent dedicated to my artistry, the difficulty of establishing myself in a new country, all of this labor of love filled me with a sense of injustice. That a brief moment in which my image was taken while working could be used to promote someone else's career. I was not alone in this breach of consent. Having contacted the other artists in the feature directly it turned out that out of 8 artists , only one had been asked for consent to be in this article. After attempting to resolve this situation directly with the photographer and being unsuccessful, I wanted to find a way to highlight this issue as it happens again and again: artists, creatives, models have their image taken and sold in galleries, published in magazines without their consent. Their image, that is an amalgamation of years and years of dedication to their craft and artistry, is monetized and do they ever see a single cent of the money made? Very often, no. All of this under the guise of “exposure” and “visibility”. The identity that we have worked hard to cultivate is used to line someone else's pockets and boost someone else’s career. Yet we are expected to be grateful that an image of us can hang on a wall in some gallery we would never be invited to showcase our own work in. The double standard is enough to bring me to a rage again but for the sake of this article and my keyboard staying intact, I’ll take a few deep breaths. So what is “visibility” really? It began as a cry for representation, to see something other than a homogenous stream of white, cisgendered, heteronormative, able bodied people in the media we consume. Deeper than that it was a hunger for the wide spectrum of human existence to be reflected back to us. It is crucial to see someone like us in the media we are surrounded with so that we feel a sense of belonging within our particular context. I believe the story does not end there. It is a success that in the last five years we are seeing a wider spectrum of people in all forms of media. However, if those people who are being made visible do not have agency in how they are being portrayed then we are missing the point. Because if visibility is reduced down to an image of a person without context, is that person truly visible? The story, the context from which that person emerges is vital. Flash forward: the rage that I felt from being taken advantage of has crystalized. Riley, the performance artist and dancer, puts on the hat of journalist. I decided to create my own article in which the artists from the original publication are given back the agency that was taken from them, all around the topic of what parts of them they want to be made visible. So, without further ado, I present to you a feature of four talented artists (myself included). Every aspect of how they are featured was directed by the artist themself. From the theme of the interview, the interview questions and how and where they were photographed. The polaroids included in the series were manipulated by the artist to capture a sense of how they were feeling that particular day. Here’s to trying something new, I hope it helps. Evilyn Frantic (she/they) Can you tell us a bit about why you've chosen to be portrayed the way you have for this article? Because this is my narrative. This is how I express myself - a bit kink, a bit trash , always antifascist. I thrive in my art and sometimes it comes out of a place of trash - what's been seen on the stage is the final product of something that's often created in chaos. And by chaos I mean my surroundings being a full blown mess. I don't have time to clean. Or my head being a full blown mess. That's how I clean my head - by creating art. How do you want to be represented? Free. Autonomous. Strong. Someone who's very powerful but wouldn't be anything without my community of punx and queers. As a prominent figure in the underground fetish revolution how do you find bodily autonomy? I find it through art and expression. By getting naked. By shocking myself. By getting out of my own comfort zone. By doing sexy and weird photoshoots. By reclaiming my image from the male gaze. By not giving a fuck. Own it, flaunt it, embrace it. I also believe it's important to participate in other artists' work. Like the book ''It's Just Sex'' by Claudel Kent and ''Berlin Reflections'' by Heike Schneider Matzigheit. To name a few. I've also been a queer punk in the movie ''Desire Will Set You Free'' by Yony Leyser and played a Finnish Witch in ''The Thinner The Air'' by Alice Evermore, check them out! Very cool movies that both represent Berlin, the queer community and give a good look into what alternative movie making in Berlin looks like. The more visibility and representation, the better. What has it been like for you to establish yourself as an artist coming from a working class family? Growing up in Northern Finland, on a small farm in the middle of nowhere surely gave me a lot of time to exercise my creativity. We moved into the city when I was about five years old, my mum started working at a stocking factory and we kind of just lived day to day. Everything was very monitored, the food, that is. To make sure we'd have enough for the week. I remember that. So as I got older, after we'd moved to -the then more “progressive”- country of Sweden, I'd begin to steal nice meat from the store, just so that we could have something more fancy than hot dogs and instant noodles. My mum was always very supportive of my art, she was the one who showed me all the old movie stars from that golden era of Hollywood. Told me about all of the fierce femme fatales like Elizabeth Taylor and the tormented and misunderstood - made to be - sex symbols like Marilyn Monroe and Jayne Mansfield. For me they represented women who owned their own sexuality and made that into their super power. But it's all so contradictory somehow - because all of that comes from the male gaze and monetizing that is still living inside of it. Representing it. See how it all comes back to body image and bodily representation? As a performance artist, I am happy to break those ''norms'' and ''dare to be ugly''. But to answer your question! Being from a working class background taught me about community and how to put in the work. Nothing comes by itself - you've got to work for it. And I have. Relentlessly. It taught me to set goals, visualize and work damn hard to get there. Be smart. Not wasteful. But always tasteful - like me - trashchique! It's called a trashCAN and not a trashCANNOT! I live by that - wherever you come from , you can do it. Doesn't matter if you're born poor or out on a small farm in the middle of nowhere - there's ways to get there. You just need that one person who'll always cheer you on - and for me that was my mum. Because without that one person, who are we going to be? Community is key. I wouldn't have come to where I am today had people not believed in what I do. I have gone from this one cheerleader to being surrounded by a HUGE community. It shows that this work is important and I don't want to let them down. You inspire others when you live an authentic life. Jesse Strikwerda (he/they) Can you tell us a bit about why you chose to be represented the way you were in the portrait session? I wanted to portray emotional vulnerability in a visual way. When we can be vulnerable and allow our authentic selves to break through the walls we put up, is when we show ourselves at our most beautiful. This is what the rhinestones cracking through my skin represent. Apart from that I just like the aesthetic of a bit of horror and gore. What does visibility mean to you? Visibility to me means to be seen in my authenticity. To be seen in all aspects of myself without constraints, put on by myself or others, due to outside influences or social pressures. To be seen for every part of my identity - such as my queerness, artistry, personality, my strengths, but also my insecurities and flaws and all. When do you feel most seen? I think I feel the most seen in moments where I am able to let go of those external influences and pressures. When I can let down my walls and be myself. When I can expose both my insecurities and grandeur without worry. When I can be vulnerable. For me, this is among my chosen family and closest friends. What is it about emotional vulnerability that makes you feel seen? Being emotionally vulnerable and exposing myself to others in that way, I think is when I allow most of myself to be seen by others. I think sometimes we have to ‘allow’ ourselves to be seen, because it’s often safer and simply easier to put up walls and project out a certain image to the world. Vulnerability is scary, but it is only in that rawness of showing myself the way I am that I feel truly seen. The art I make is a reflection of my internal workings and who I am - and I choose to put that out into a visual medium. It’s still new to me, so to put my work out there for the judgement of others can feel very vulnerable, and is at times difficult to not take on as a judgement of myself. But I think it is exactly this constant self-examination of my art and through it myself that has taught me so much over the last year. And in the end this is the only way we can truly connect with one another - by allowing others to really see us. Varusa Misidjan (She/ Her) Can you tell us a bit about why you chose to be portrayed the way you were in the shoot? I have chosen to be photographed in my apartment, which is my safe space. I chose to wear one of my own designs, which is quite transparent, “naked” but still covered. It creates a sense of vulnerability but also empowerment to own every bit of the body as it comes in the moment. What has your experience been growing up on two different continents? Being able to grow up and live on two different continents is a privilege for which I am very grateful. I don’t fit into either country because I have become a stranger to my own and will always be a stranger to the other. Home has become wherever I go, and I try to be as comfortable as possible with the self, because to be willing to be recognised by either of them causes unhappiness. In Surinam I’m too “western” . In the Netherlands I’ll always be a Surinamese who speaks Dutch very well. I never lived up to expectations and I’ve made peace with that. What do you feel are the unspoken expectations of you as a black woman business owner? How do you choose to interact with those expectations? Dealing with unspoken expectations as a female-identifying person who happens to be happily black and a business owner is sometimes very paradoxical. I’m a female who identifies as heterosexual, which some might find boring, at a time when everyone feels the need to explore all the different parts of themselves. I’m learning how to gain the confidence of white men, which is especially important as a business owner, to relearn that I have to work twice as hard to achieve anything. I’m not going to hang out with someone just because they’re black or fall in love with someone just because they’re white, it just happens that you end up with people who are completely different to you, but you still find the connection in the differences and that’s one of the most beautiful things. Why do you choose to act as a living bridge between the different communities you engage with? At this point I’m not sure it was ever a choice. It is who I am. I see people without any judgment of appearance. That is the way I want people to see me. When you look at people in this way, you don’t really choose which group you want to belong to. You belong to all of them and none of them at the same time. What I’ve learned from all these different environments and people in these spaces is that people are willing to listen more often than you might think. Having open, honest and vulnerable conversations more often than we think leads to connections and understanding. Riley Davidson (they/them) Can you tell us a bit about why you chose to be portrayed the way you were in the shoot? I wanted to be seen where I am most vulnerable and for me that is definitely in the bath. It’s the place where I feel the safest to let my walls down and go into my emotional body. I’ll draw a hot bath and put on some soft music and let the water soften all of my edges. Often I’ll spend an hour or more processing, crying and allowing myself to feel all the feelings that feel too big and scary to feel when I’m being “functional/masked” Riley. I wanted to be in the bath fully clothed because I am learning how to allow myself to be soft in a public setting as well. The makeup is a reflection of how exhausting and draining it is to maintain a static image of functionality to the outside world, especially when my internal experience is so tumultuous and multifaceted. What is masking? What has been your relationship to it? Masking is what neurodivergent people do to fit into a neurotypical world. Everyone adjusts their behavior to fit into the social circumstance to some degree however masking is when I suppress my authentic response to an environment to avoid social discrimination in a way that takes up an inordinate amount of energy and leads to extreme burnout. Over the last three years I have been coming to terms with my diagnosis of CPTSD and ADHD. This has been a rewarding and simultaneously frightening process. Because I was undiagnosed for the majority of my life I have unconsciously cut myself off from my genuine self as I learned at a young age through socialization that my way of being in the world was “incorrect” and that I needed to adapt to be accepted by my peers. This has led to extreme internal dysregulation and a loss of knowing my true self. How has your process of “unmasking” been? Being a performer means that a lot of how people perceive me is in an overtly social and highly stimulating environment. Often it’s difficult for me to turn off my performer mode after I’ve finished my piece. I generally need to go backstage and stare at a wall for twenty to thirty minutes before I am able to go out into the crowd and say hello to people. It’s important to me to be approachable and friendly to people post performance even when I feel drained and like I need to shut down. Because of this I have forced myself to engage socially even when it goes against what I truly need at that moment. Unmasking has forced me to slow down and humble myself to what my body needs rather than what my mind expects of me. I have discovered a self that has been largely unknown to me (because I have been trained to suppress it) and meeting this new version of myself has meant that how I engage with the external world has needed to shift greatly. It has been deeply humbling and rewarding. Through the framework of unmasking I have been able to re-inherit my bodily sensations and internal experience and learn that this is my version of “normal” and that is ok. How has this process impacted you as an artist? I’ve noticed that the work I have been creating since beginning to unmask feels more deeply aligned with who I truly am. As well, the experience of performing the work has been much more pleasurable for me and more impactful to the audience. Many things that I previously believed were core parts of my identity have fallen away but the joy I experience in creating and performing has doubled. I am excited to see how my work continues to unfold as my process of unmasking continues. Important disclaimer: The artists featured in this article self selected to be involved in this project from the original group that were published without consent. The range of artists' voices amplified in this article are not representative of the beautiful spectrum of humans this world has to offer.

By: Kristina Kirkliauskaitė Photos by: Diff Photographers Malika Maria Malika Maria's artistic journey took root between Brussels and Amsterdam. Now, she delivers revolutionary visuals to the numerous underground parties and festivals in Europe. Sharing her personal story, Malika dives into the profound messages woven within her VJing – a blend of magnetic sensuality, sweet chaos and captivating darkness. From her early years, Malika had a special feeling for creativity, which led her to art school and later to her genuine passion – crafting and blending live visuals. Still, she reflects on some moments from her childhood that shape her creativity to this very day: “I've had many cultural, political and religious influences which really inspired me as a young child to always draw and make art. Growing up, I've also discovered a darker side of the world, such as evil people, unfair governments and my own inner demons.” She continues, "I was sexually abused and assaulted in the past. Those experiences were painful. They left me scars and dark shadows. Yet, I believe that going through darkness makes you appreciate light more. The same as experiencing hate proves how beautiful it's to be loved. Through these traumatic events, I genuinely discovered the power of art, which showed me the way to healing and growth. I used art to analyse and express my emotions in a way words alone couldn't capture. And it allowed me to translate the unspeakable into a language others and myself could understand. This all played a huge role in shaping who I'm today, both as an artist and an individual. So, undoubtedly, visual art serves as my therapy and the way of expression, which I share with everyone on the dance floor." Malika's VJ sets are known for their provocative essence. She frequently directs attention to her subjects, using her own face and body in performance-based videos. Discussing her inspirations for this visual art style, Malika shares a special admiration for conceptual and performance artist Marina Abramovic: “Abramovic faced her fears by using her body as an art canvas. In one of her remarkable exhibitions, she put different objects, such as a flower, a candle, and even a gun, and invited participants to do her body whatever they wished. With this, she sent a message to every participant about how far people can go if they want. From what I think, visual art is something you can unite and communicate with your audience. These experiences inevitably shape individuals. So, I absolutely find her inspiring, both as an artist and a person.” Continue talking about the source of inspiration, Malika mentions a Serbian movie that stands out as a prime example of darkness and a unique perspective for her: “I remember watching it during my early days of work in the early 2010s when a friend recommended it to me. The movie's psychological depth, conveyed in the Slavic language, which I adore, gave me goosebumps. It dared to address sensitive issues with unflinching courage. I've seen it many times, and it made me think of how art can delve into harsh realities. Take, for example, human trafficking and child abuse. These topics really spark debate. While this movie is uncomfortable, it's a necessary mirror to society, reminding us that growth requires confronting unpleasant truths.” Malika Maria While having a strong message or idea you wish to convey, it's essential to leave enough room for its deviation and 'kill your darlings'. Working alongside various artists, events, and festivals, Malika highlights the importance of stepping beyond your comfort zone: “I'm truly grateful for some projects that pushed me beyond my limits. One time, I had the opportunity to perform my VJ set on national television in Belgium in front of massive crowds, even reaching 10,000 people. I crafted a performance that, despite avoiding nudity and sexuality, managed to captivate the audience's attention. Even though I was pretty stubborn about my vision, trying new things was rewarding. It taught me valuable lessons and helped me evolve.” Although playing live videos at the parties has another level of magic. Malika explains that usually, it's impossible to prepare 100% of the right material for the party vibe in advance. So, connecting with the music helps to tap into a feeling and choose the perfect flow: “When the music resonates, it aligns with the atmosphere, and that's where my visual art and VJing come into play. And just at the moment, you're in sync with the vibe, and you feel good about it that energy spreads naturally, connecting with people and creating a memorable experience.” As some parties remind you of a rollercoaster – speeding so fast and blending so many emotions with adrenaline – you evaluate how well you connected with the audience just after the party finishes. And when you do it right, Malika describes this feeling as super humbling: “Connecting with the audience is a big part of my VJing experience. Honestly, it's heartwarming how, after every show, people approach me with compliments and messages. I remember a particular event where, even an hour after the event ended, people were still there, applauding and cheering. These reactions make me feel that my work is valued and respected. From an artist's perspective, knowing that my work and vibe resonate so well is very fulfilling. I'm genuinely grateful for these moments. They're fantastic.” Besides creative projects and VJing, Malika expresses the significance of finding your community and the right people in the underground scene. “Being a part of this community and its support has driven me to explore different aspects of myself. It's a circle of people who share a common passion and drive, especially within the realm of music. The connection and sense of belonging I feel when attending these events are truly special.” Naming her a 'partner in crime', Malika cherishes UK-born and Berlin-based DJ and music producer Rebekah. Both Malika and Rebekah share many years of collaboration, tight friendship as well as numerous crazy-good projects: “Rebekah isn't just a colleague but a dear friend of mine, and I feel grateful for the strong support we've built over the years. A couple of years ago, Rebekah also initiated the 'MeToo For The Music' campaign, which empowers survivors to share their own stories, helping to raise awareness and fight the ignorance of violence as well as abuse in the music industry. I deeply appreciate her dedication to driving positive change in the underground scene and beyond. Her sobriety journey has also inspired me personally, and I'm truly excited to follow that path.” She adds, “I'm fortunate to align my passion with my work. Rebekah's presence and this community are a constant source of inspiration that enrich my creative path and personal well-being. These connections are the cherry on top of this incredible journey.” Malika Maria - Playful Magazine And another cherry on top in this interview is Malika sharing her thoughts about VJ scenes in Berlin and Amsterdam, where she is currently based: “Comparing Amsterdam and Berlin, it's not about one being better than another. They're unique in their own ways. Let's say in Amsterdam, the scene inclines towards innovative concepts involving tactile sensations and LED lighting. Looking from Berlin's perspective, its scene is quite distinct and features a different style compared to Amsterdam. Despite the preference for darkness in visual arts, it's interesting how these aspects play out on screens and how we adapt our work accordingly. Some challenges arise, like blurry visuals due to adjusting to different streaming formats. Once, I played in Berlin with Rebekah and faced similar challenges of visuals, yet again, it ended up being one unbelievably amazing party. I believe this diversity is part of Berlin's club culture, embracing the old-school while pushing the boundaries. Both scenes continue to evolve, adapting to new technologies and trends.” As we reach the end of the conversation, Malika marks some events and festivals as must-see spots for visual art fanatics or those who want to go to a full visual experience for the first time. She mentions experimental music festivals – Berlin Atonal (DE) and Amsterdam Dance Event (NL), as well as the Intercell event series (NL) – as her favourite and highly-worth-seeing places of underground visual art. Discover more of Malika Maria's art: Malika Maria Art Instagram Learn more about the MeToo initiative: MeToo For The Music

Tijana T - interview at Glitch Festival See the full interview with Tijana T below. New episode of Playful Podcast with Tijana T - where we speak about cancel culture within the techno scene and the power social media has over us, as well as the unwritten but clear rules that we are meant to keep and continue promoting, and a reminder to not let us be distracted and loose the centrepiece; music. In the extra material we speak about Tijana pro tips for new emerging artists, and the pros and cons in growing quickly. Only available on Patreon.com/playfulmagazine. As always Playful Podcast is available on Spotify, all podcast apps, YouTube etc. Playful Podcast is recorded at Factory Berlin and covers underground culture, kink and electronic music.

In this week’s episode of Playful Podcast we speak to porn film producer Paulita Pappel about creating and acting in porn as a feminist. We talk about why porn is good for you, how she got started with acting and producing it herself; from believing it was bad, and what she’s discovered since then when it comes to her own sexuality, amongst much more. In the extra material (available on Patreon) we’re getting the masterclass for anyone interested in working within–, and changing the industry. It’s long and it’s oh so good. Go push Play on Spotify , YouTube or your favourite podcast app and Enjoy!

BASHKKA - Photo by Julius Ertelt BASHKKA is known from her hometown residency at Muich’s Blitz Club and delivers her sassy and unapologetic energy and technical prowess that makes it hard to forget her. Now releasing her solo debut EP Maktub that blends uptempo dance floor music with Kurdish vocal samples, alongside a Chicago-influenced bounce house piece featuring BASHKKA’s own vocals. If you would describe your personality using 3 words, what would they be? New. York. City. Now you’re releasing your first solo EP through Nene H’s new and non profit label UMAY, which is a Chicago-influenced bounce house piece with your own Kurdish vocals - can you tell us about the inspiration and energy behind it? The inspiration behind it was a dear friend of mine in Copenhagen and his unapologetic and passionate way for his heritage and culture. As a marginalized individual I am drawn to this organically and I am always going to stand with the underrepresented. You’re born and based in Munich - if you would compare Munich and Berlin, how would you say the two cities' rave scene differ? Contrary to popular belief, Munich has a flourishing local subculture and in my opinion, enormous potential to be a scene that you would easily find in bigger metropolitan cities. Berlin which I equally love, has just more international influence and therefore of course a lot more stuff is happening. However, I am not a fan of comparisons. Just like every person, every Artist and every City and it’s Scene there is a uniqueness about it. You’re also a resident at the hyped Blitz Music Club - what has that place meant to you over the years? That’s family. They recognise and respect the importance of my existence in this Scene and let me totally fly, artistically. Also, they have the best Sound System in the world. What’s something you’d like to change in the rave scene if you could? Colonialism in Electronic and Dance Music. We “wouldn’t” like to change it. We ARE. What are some goals you’re wishing to manifest in 2023? To be in my best mental and physical health and just do what I love to do. Make and play music and be a vibe. Have you had any leading words that have somehow followed you along your journey up until this day? Don’t ride the Hype. Ride the Wave. Follow BASHKKA on Instagram below.